广元皇泽寺第 45 窟北朝石窟元素与唐代造像元素的时空叠压与融合现象使其呈现出独特的艺术风貌，这种现象呈现了石窟艺术的多样性，也引发学界对该窟准确修建年代的关注。皇泽寺第 45 窟“三壁三龛”式石窟空间与中心塔柱融合的复合型空间结构，呈现出北朝时期广元地区佛教石窟建筑空间的多元性 ；该窟中心塔柱出现的装饰图像样式与北魏晚期中原石窟艺术中出现的样式具有较强的相似性，又展现出该窟装饰受到北魏晚期以龙门石窟为代表的汉化风格影响。皇泽寺第 45 窟建筑形式和装饰图像不仅是该窟断代的重要依据，也是北魏晚期中原石窟艺术向西南地区传播的重要实证。

The phenomenon of temporal and spatial superimposition and integration of Northern Dynasties elements 
and Tang Dynasty statues in Cave 45 of Huangze Temple in Guangyuan makes it present a unique artistic style. This artistic phenomenon not only showcases the diversity of the grotto statues but has also drawn academic attention to the exact construction date of this cave. The special hybrid spatial structure that combines the “three niches on three walls” layout with a central pillar in Cave 45 demonstrates the diversity of architectures in Buddhist grottoes from the Guangyuan region during the Northern Dynasties period. Furthermore, the decorative patterns on the central pillar show strong similarities to styles prevalent in the grotto art of the Central Plains during the late Northern Wei dynasty, reflecting the influence of the sinicized artistic style represented by the Longmen Grottoes. Therefore, the architectural form and decorative imagery of Cave 45 serve not only as crucial evidence for its dating but also as important proof for the southward transmission of the grotto art of the late Northern Wei Dynasty from the Central Plains to the southwestern regions.