妙因寺万岁殿外回廊壁画是明初重要的藏汉佛教美术遗存。以往对其的研究主要集中在对东、西壁佛传壁画内容及风格源流的探讨方面,尚未对北壁东段《一百本生传》壁画的内容做出完整准确的辨识,同时也很少探讨其画风和画稿来源等问题。本文通过实地调查,并结合藏汉文献和目前所发现14世纪在西藏(尤其是卫藏)地区流行的相同题材唐卡画作,对此进行探讨。经比较分析,笔者认为该铺壁画在全画的整体构图和具体各个佛本生故事画面的图式特征方面明显受到了这些唐卡画作的影响,并由此认为,该铺壁画的画稿应是从西藏带来。从该铺壁画所呈现出与东、西壁汉传佛传壁画相一致的技法特征来看,该铺壁画应为一组同时也绘制了东、西壁壁画的汉地画家所绘。 Miao Yin Temple long live hall outside the hallway is an important early Ming Dynasty Buddhist and Buddhist relics. In the past, the researches mainly focused on the discussion of the contents of the murals and the origins of the styles in the eastern wall and the western wall, but also did not completely and accurately identify the contents of the " Less to explore the style of his paintings and sources of such issues. Based on the fieldwork and the Tibetan and Chinese literature and the same Thangka paintings of the same subject that are currently found in Tibet in the 14th century, especially in the Tibet Autonomous Region, this article explores this issue. After comparative analysis, I believe that the shop murals in the whole composition of the whole picture and the specific characteristics of each Buddha’s story picture features are obviously affected by these Thangka paintings, and that the mural paintings should be Brought from Tibet. From the mural painting presented with the Eastern and Western Wall Han Buddhism Buddhist murals consistent features of the technical point of view, the pavement mural painting should also be a group also painted the East and West murals painted by Chinese painters.