二十世紀初俄國探險家科茲洛夫在黑水城發現了大批的西夏文物，其中有不少十 二、三世紀的「接引圖」和「西方淨土圖」，與西夏淨土題記的時代分佈吻合，說明西夏晚 期淨土信仰流行。本文旨在探討黑水城出土西夏彌陀畫的風格與圖像源流、西夏特色、以及 繪製的宗教目的。 西夏佛教文化深受宋代與西藏的影響，黑水城出土的彌陀畫也不例外，其「接引圖」或「西 方淨土」的圖像，皆上承宋代彌陀畫的傳統，其繪畫風格又多與宋畫如出一轍；部分畫作的 人物造型、裝飾紋飾等，則顯然又受藏畫的影響。但是這些作品中西夏的特色亦不容忽視， 在風格方面，「接引圖」中供養人的肖像，甚至於部分作品的佛和菩薩像，都表現了黨項民 族的容顏特徵；西夏「西方淨土圖」又將漢藏兩種截然不同的繪畫傳統，巧妙地融於一爐， 這些都是西夏藝術「妙能自創」的地方。在圖像方面，「接引圖」中往往在亡者的頂上加繪 化生童子欲登蓮臺的模樣，有些「西方淨土圖」則融入了藏密的成分，這些都是西夏彌陀圖 像獨特之處。由於大部分黑水城出土的彌陀畫皆繪供養人的肖像，推知這些作品並非寺院供 奉的作品，而是個人供養繫念的畫軸。

　　　　　One of the most remarkable archaeological findings in the eraly 20th century is the treasure of Khara Khoto. It contains over 11000 pieces of Tangut art work within which a good number of Amitabha paintings categorized into two groups based upon their themes: (1) the Welcoming Descent of Amitabha (Ch. chieh-ying), and (2) the Paradise of Amitabha are found. These paintings not only shed lights on our understanding of the Pure Land belief and its art in the Xixia kingdom (1031-1227) but also offer insights into the complexity of Tangut culture. This paper focuses on the stylistic and iconographic study of these Xixia Amitabha paintings in order to establish the sources of these Xixia Amitabha paintings and point out Tangut characteristics which are distinguished these paintings from their Chinese and Tibetan prototypes. In addition, this article discusses the functions of these paintings and explores the relationship between these Buddhist paintings and religious practice as well. The Xixia kingdom was locted between Song China and Tibet, in consequence, its culture was strongly influenced by Chinese and Tibetan traditions. According to stylistic analyses, the Amitabha paintings from Khara Khoto are closely related to Song Buddhist paintings. The iconography of the Khara Khoto chieh-ying paintings was clearly derived from the Northern Song prototype while that of the paintings of the Paradise of Amitabha was stemmed from the Southern Song model. In the meanwhile, Tibetan influences on these Amitabha works are also easily discerned. On the basis of the study of these Amitabha paintings, it is quite evident that Chinese and Tibetan elements have been integrated together to create a specifically Tangut iterpretation. As the Amitabha cult and ists art developed in the Tangut state, certain innovative iconographic features have also been created. In terms of the functions of these Khara Khoto Amitabha paintings, because most of these Amitabha paintings bear the portrait/portraits of the deceased or donoers, they were likely painted for personal devotion and meditation rather than for the purblic worship or the general concept of salvation.