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就对于考察中国早期山水风景画发生 发展史的实证意义而言,天水麦积山石窟第一二七窟壁画中的《萨（土垂）太子本生·车骑山行》一图（以下简称《车》图）[1]与同在此窟而且同在（录皿）顶（分处对应的北、南两披）的《（目炎）子本生图》（以下简称《（目炎）》图）具有同等珍贵的价值。关于《（目炎）》图,一年前在拙稿《孝子变相·畋猎图·山水平远》[2]中曾作过初浅的介绍和讨论,本篇的意图则是接承前文,继续对出于同一时间、同一作者群的整组壁画中这一幅《车》图,展开具体的分析和介绍,主要工作重心在对于该幅图式结构处理（如措景、布局、置势、构成等》方面的新鲜特色加
For the purpose of examining the historical significance of the development of landscape painting in China’s early history, the “Saotu (Tuzhu) Prince Benniusheng car riding in the mountains” in the murals of Cave No.178 in the Maiji Mountain Grottoes in Tianshui (hereinafter referred to as the “ (Motoji) ”(hereinafter referred to as the“ Moto ”map) [1] and the same parcel in the cave and at the same (at the top of the pen) “Figure) has the same precious value. On the ”(Yan Yan)“ map, a year ago in the coffin draft ”filial son in disguise, hunting map mountain level“ [2] had a shallow introduction and discussion, the intention of this chapter is to accept the preceding article, Continue to analyze and introduce this ”car“ picture of the whole group of murals of the same author group at the same time. The main work focuses on the handling of the schemata (such as scenarios, layouts, settings , Composition, etc. ”fresh features plus