一個政權之穩定發展，政治傳播為當中重要一環，然而佛教壁畫中具政治功能之圖像，向來較少被深入研究。當中莫高窟220窟的維摩變中，首次出現的帝王像及四夷像，以及吐蕃時期的贊普像最為特別。本文認為，帝王像與四夷像之出現，與華夏帝王傳統及國際秩序之重構有關，吐蕃時期之中原帝王像，未必能代表「人心歸唐」，贊普像也不能視為壓迫象徵。
Political Communication is an important key to develop a regime stably. However, there isn’t a lot of exhaustive study on the political functions of the Buddhist Murals. The Vimalakirti Sutra painting in Mogao Caves 220 is very special mural, particularly the first appearance of the portrait of Chinese Emperor, the portrait of foreigner (Siyi), and the portrait of Tsenpo in Tibetan’s era. This article suggests that the appearance of the portrait of Chinese Emperor and the the portrait of foreigner had a relationship between the tradition of “Huaxia’s Monarch” and restore the “Zhongyuan’s international order”. Moreover the portrait of Chinese Emperor in Tibetan’s era does not necessarily represents that people supported Tang Dynasty by that time, and the portrait of Tsenpo should not be seen as a sign of oppression.
