本文是作者在“敦煌莫高窟专题研讨会”上的总结发言。作为考古学者，他认为现有的考古证据表明，莫高窟在结构、功能上，与印度及中国新疆石窟有所不同，但是与中原豪强多墓室的墓葬壁画更为相似。在这一点上，作者赞同与会学者沙尔夫教授与索尼娅·李及汪悦进等人的观点：即便是非常明显的叙事性壁画，其彩绘装饰也不一定是说教性的；敦煌莫高窟的造像本质上是用来自我表现的，与汉代墓室中的壁画装饰非常相似。“,”This paper presents the concluding remarks spoken by the author of “Cave Temples at Dun-huang:History, Art and Materiality.” As an archaeologist, the author regards that throughout its recorded histo-ry Dunhuang remained the westernmost instance of a full-fledged, mainstream Han-Chinese community. In accord with Professor Scharf’s thinking, the Mogao Grottoes site can thus be understood to more closely resem-ble the multi-chambered tombs of the elite that emerged in the Chinese heartland during the Han period, the planning and building techniques of which would be used under subsequent dynasties for centuries. The author agrees with Professor Sonya Lee and Professor Eugene Wang’s ideas that the painted decoration, even when os-tensibly narrative, was not necessarily meant to be didactic, and especially with Professor Wang’s idea that the i-conography was essentially designed to perform itself, very much in parallel with the painted décor of Chinese chamber tombs.