This study examines the color representation in Dunhuang murals and Central Plains blue-green landscape painting landscapes during the Sui and Tang dynasties. Through a multi-layered comparison of form, technique, and function, it systematically analyzes differences in color structure, spatial logic, and creative context between the two. Research reveals that Central Plains blue-green landscapes pursued an idealized natural order and aesthetic autonomy, exhibiting a closed, formulaic color structure. In contrast, blue-green elements in Dunhuang murals served religious narratives and visual edification, demonstrating an open, flexible contextual expression. Building on this, the study further argues that Dunhuang's adaptation of Central Plains blue-green forms was not passive imitation but a process of localized "functional reconstruction," demonstrating the subjectivity and creativity of the receiving culture in cross-cultural artistic transmission. This research provides a concrete case study for understanding the diverse interactions within Sui-Tang painting and offers methodological insights for reflecting on theories of artistic transmission.