汉代画像石艺术在汉代四百多年的历史进程中不断发展，并以其广泛的运用几乎涵盖了整个汉代社会的历史状貌。本文主要以东汉晚期武氏家族墓地祠堂之一的武梁祠西壁画像中的人物造型为主要研究对象，从历史地理位置出发探讨汉代武梁祠西壁画像石艺术产生的历史背景，同时通过横向对比同一时期不同地区同一题材的人物造型，尝试归纳汉画像石的造型手法，以及通过对比以验证历史久远的武梁祠西壁画像石呈现出受礼教影响下造型规整且高度概括并能从各角度全方位艺术性地表达人物形象，堪称汉画像石的典范，体现汉代画像石造型艺术已经高度成熟。并探讨汉画像石的造型观念以及其高度升华的人物造型随时代更迭何以历久弥新，同时对于当下中国画人物画造型艺术的升华具有指导意义。本文尝试以此对武梁祠西壁画像石造型展开研究。

The art of Han stone reliefs, which almost reflects the historical features of the entire Han Dynasty society, had been continuously developing along with the historical process of Han Dynasty for 400 years. This paper takes the figure modeling techniques of the stone reliefs on the West Wall of Wuliang Temple, one of the temples of Wu family in Han Dynasty, as the major study subject. It takes the methods of comparing the figure modeling features of the stone reliefs on the West Wall of Wuliang Temple with that of other stone reliefs which were created in similar themes and discovered in different regions during the same era, concluding the analyzing the similarities and differences between them, to finish the study. As a result, it indicates that, under the influence of the Confucian, the stone reliefs on the West Wall of Wuliang Temple show a regular and highly generalized shape, and is able to express the image of the characters artistically from all perspectives. It represents the well-developed art of Han stone reliefs and could be rated as quintessence. Meanwhile, the paper discusses on the notion of figure modeling of Han stone reliefs and how it inspires the figure modeling theory of modern Chinese figure paintings asa long-lasting ancient Chinese artistic form.