I will be posting several articles about my trip to Shanxi. This trip had been planned for a long time and finally took place during the Dragon Boat Festival holiday in mid-June. The general itinerary was to fly from Pudong to Datong, rent a car in Datong, and stay there for three nights. On the second day, I visited the Yungang Grottoes and Huayan Temple in the Ancient City of Datong. On the third day, I went to the Yingxian Wooden Pagoda, Mount Heng, and the Hanging Temple. On the fourth day, I stayed at Mount Wutai for two nights, visiting Yanmen Pass and Foguang Temple on the way. The fifth day was spent exploring various attractions within the Mount Wutai scenic area. On the sixth day, I traveled to Taiyuan before returning to Shanghai.
The first article focuses on the Yungang Grottoes, a renowned treasure house of grotto art in China. Primarily constructed between the second year of Xing’an (453 AD) and the nineteenth year of Taihe (495 AD) of the Northern Wei Dynasty, it was the first large-scale grotto complex in China commissioned by the imperial court and nobility. The entire grotto complex is divided into eastern, central, and western sections. The eastern grottoes predominantly feature pagodas and are also known as Pagoda Caves. The central “Tanyao Five Caves” represent the earliest excavated and most magnificent cluster at Yungang. The western grottoes date from a slightly later period, mostly created after the Northern Wei capital was moved to Luoyang.
In 1961, the Yungang Grottoes were listed among the first batch of Major Historical and Cultural Sites Protected at the National Level. In 2001, they were inscribed as a UNESCO World Heritage Site.
The entire scenic area is quite expansive. The parking lot is divided into Zone A and Zone B. Zone A is closer to the entrance, but the nearest spots are reserved for tour buses. There are not many spaces for private cars in Zone A, and they fill up quickly. Once full, visitors must park in Zone B, which requires a considerable walk to reach the entrance. After passing the ticket checkpoint, you encounter Tanyao Square and the Buddhist Worship Avenue. Passing Lingyan Temple leads you to the actual grottoes. If you prefer to avoid excessive walking, especially if you have other plans later, you can take an electric shuttle cart.
Cave 3, also known as “Lingyan Temple Cave,” is the largest cave at Yungang and features a unique architectural layout. The cave is grand, majestic, and imposing in scale. It has two doors and four windows, with a massive platform built externally. In the center of the platform sits a rectangular cave housing a cross-legged Maitreya statue, commonly referred to as the “Maitreya Cave.” At the east and west ends stand square, three-story stone pagodas, which are severely weathered. The stone walls on the platform are flat and towering. More than 10 meters up the platform wall, twelve vertically rectangular beam holes are neatly arranged; these holes connect deep inside to vertical shafts leading to the mountaintop.
The rear chamber contains three large statues. The central figure is a seated Buddha approximately 10 meters tall, featuring a high ushnisha, round face, regular features, large eyes, broad ears, and a distinct urna between the eyebrows. The posture is upright and well-proportioned. The robe covers both shoulders and fits closely to the body, while the thick, rounded hands form the Abhaya (fearlessness) and Varada (wish-granting) mudras. The attendant Bodhisattvas on either side stand 6 meters tall, with high topknots and meticulously ordered strands of hair draped over their shoulders. Their jeweled crowns are exquisitely carved, demonstrating rigorous design concepts and mature sculpting techniques. Compared to other statues at Yungang, these three figures appear fuller and rounder, showing a distinct artistic style. Opinions on their carving date vary among Northern Wei, Sui, Tang, and Liao dynasties, largely inferred from their artistic characteristics.
Cave 6 was completed in the eighteenth year of Taihe, prior to the relocation of the capital to Luoyang. The east and west walls of the pavilion in Cave 6 depict images of the Eighteen Arhats, nine on each wall, holding various ritual objects and standing amidst clouds; these were created during the reconstruction of the pavilion in the early Qing Dynasty. Above the cave entrance, a plaque reading “Solemn Dharma Appearance” inscribed by Emperor Kangxi once hung but was destroyed during the Cultural Revolution’s campaign to “Destroy the Four Olds.” The octagonal pillars carved on both sides of the entrance were originally supported by elephants and lions. Flanking the pillars are statues of the Four Heavenly Kings, characterized by angry expressions and muscular builds. Above the Heavenly Kings, a pair of white five-clawed dragons on a red background is painted on the cliff wall, depicted with vivid postures and extraordinary momentum.
The cave follows a central pillar design. The central pillar stands approximately 14.4 meters high, divided into upper and lower tiers, reaching directly to the ceiling. The overall design is symmetrical along a central axis. The wall surfaces are orderly, with niches arranged in vertical layers and narratives flowing continuously from left to right. It is the largest, most comprehensively designed, richest in content, most finely carved, and most magnificent cave at Yungang, as well as one of the best-preserved. Preliminary statistics indicate that over 2,900 Buddhist statues remain in this cave, interspersed with decorative patterns, presenting a vast array of diverse and expressive forms.
In the lower niche on the south face of the central pillar sits a clay Buddha statue wearing a dragon-patterned kasaya. The left hand rests on the knee, while the right hand forms the Abhaya mudra. With blue spiral curls and a serene expression, this is a later clay-over-stone painted sculpture. It is the only Buddha statue at Yungang wearing a dragon robe. The clay coating is solid, the drapery folds are fluid, the decoration is elaborate, and the colors possess an antique patina. Notably, the applied dragon motifs on the kasaya are exceptional, likely dating from the Liao or Jin dynasty.
This is also the only cave that requires queuing to enter, and the interior can be quite crowded.
Caves 11, 12, and 13 form a group excavated simultaneously during the middle period of Yungang in the Northern Wei Dynasty, representing works from the maturation of Yungang art. Cave 11 features a central square pillar extending to the ceiling, classifying it as a central-pillar cave.
Upon entering Cave 11, the tall, upright central pillar immediately catches the eye. Divided into upper and lower tiers, it consists of a base, body, and top. The lower tier is substantial, comprising about two-thirds of the total height, with niches on all four sides containing standing Buddha statues representing the “Four Buddhas of the Four Directions” described in the Suvarnaprabhasa Sutra. The attendant Bodhisattvas flanking the front standing Buddha feature slender necks and waists with gentle expressions; these were added during the Liao Dynasty. The upper tier also has niches on four sides: the front depicts a cross-legged Bodhisattva and a pensive Bodhisattva in royal ease posture, while the east, west, and north sides each show two parallel standing Buddhas. On the sumeru pedestal at the top, large, spreading palmette leaves frame three central Asura heads connected to the cave ceiling. As the earliest square pagoda at Yungang, it differs significantly from later pagoda caves and the prevalent eaved square pagodas, reflecting more Central Asian architectural characteristics.
Inside a house-shaped niche on the west wall stand seven Buddhas with wavy hair, plump faces, tall statures, and flowing robes. Additionally, on the upper east wall of Cave 11 lies an inscription stele from the seventh year of Taihe (483 AD). The calligraphy is dignified, archaic, and ingeniously rustic, making it the longest and most complete inscription from the Northern Wei period at Yungang. Comprising 24 columns and 341 characters, the text records that fifty-four lay believers from the Northern Wei capital region voluntarily commissioned ninety-five Buddha statues at the Wuzhou Mountain Grottoes. This stands as the earliest extant Northern Wei dedicatory inscription at Yungang.
Cave 13 houses a seated cross-legged Bodhisattva statue approximately 13.6 meters tall. Adorned with a jeweled crown, a bell-suspended necklace and pearl garlands around the neck, snake ornaments on the chest, a pearl in the mouth, and feet resting on a lotus, the colossal figure occupies most of the elliptical cave space. Although millennia of weathering and erosion have damaged the Bodhisattva’s form, its towering and majestic presence remains awe-inspiring.
Due to the massive size of the main statue, the raised right arm forming the Abhaya mudra could not be left unsupported. Consequently, Yungang artisans “custom-designed” a four-armed Vajrapani figure to prop up the giant arm. This ingenious design not only securely solved the structural support issue but also perfectly accentuated the grandeur of the Maitreya Bodhisattva and the divine strength of the protector deity, creating a composition that is both logical and visually stunning.
During the Northern Wei Dynasty, despite Emperor Taiwu’s persecution of Buddhism—which included edicts to destroy temples, burn sutras, and execute monks—Buddhism generally flourished, leading to widespread grotto excavation and statue creation.
Initially, the monk Tanyao petitioned Emperor Wencheng, and in the first year of Heping (460 AD), cliffs were carved along the Wuzhou River, a tributary of the Sanggan River, creating five caves (now known as the Tanyao Five Caves, numbered 16-20). Subsequently, large-scale excavation began at Wuzhou Mountain, marking the peak of Buddhist patronage. Hundreds of thousands of traditional artisans from Hebei and other regions carved additional caves.
Cave 17 is the only large cross-legged Bodhisattva cave among the early Yungang grottoes. It features a horseshoe-shaped plan and a domed ceiling, with a bright window and entrance on the front wall. The floor level is one meter lower than the exterior ground, retaining the rough, uneven texture from the original excavation. The walls are primarily adorned with Thousand Buddha carvings, characterized by simple, vigorous, and unadorned styles typical of early Yungang art.
The main statue on the north wall is a large cross-legged Maitreya, standing 15.6 meters tall. Wearing a jeweled crown with hair draping over the shoulders, a dragon-shaped necklace, pearl garlands, armlets, and a sash across the upper body, the figure has a cinched waist and wears a pleated skirt, seated on a lion throne with strong exotic influences. The standing Buddha on the west wall has a round face and archaic styling. Cave 17 is not only the first large cross-legged Maitreya cave at Yungang but also the earliest colossal Maitreya statue in Chinese Buddhism. The spread of Maitreya belief served to promote the continuity of Buddhahood across past, present, and future, aligning with the ideology of eternal imperial rule. Large seated and standing Buddhas carved in trapezoidal niches on the east and west walls form a Three Ages Buddha triad with the central Maitreya. The seated Buddha on the east wall features squared shoulders, fluid drapery lines, and skilled carving. On the outer edge of the halo of the west wall Buddha, a celestial offering figure kneels on one leg, holding a lotus with both hands, displaying a serene expression and graceful form.
Cave 19 features the Three Ages Buddhas as its main theme. The central statue stands 16.8 meters tall, making it the second-largest Buddha at Yungang. Cave 19 comprises a central main cave and two subsidiary caves on either side. The main cave was excavated inward from the central cliff face, with an entrance below and a bright window above, featuring an elliptical plan and domed ceiling. On the chevron-shaped cliff surfaces on both sides, smaller caves identical in design to the main cave were carved, creating a symmetrical layout. This makes it the largest and most uniquely structured cave among the Tanyao Five Caves. Because the outer wall of the central main cave recedes about 5 meters northward compared to contemporary Tanyao caves, some scholars speculate that a collapse occurred during excavation, forcing the reconstruction further back.
Cave 20 is one of the early Tanyao Five Caves and serves as a large Buddha cave located at the western end of the group. Due to the collapse of the front wall, the Buddha statue is exposed to the elements, earning it the name “Open-Air Buddha” (or “Great Exposed Buddha” in the late Qing and early Republican eras). Archaeological evidence suggests the front wall collapsed during the Northern Wei period.
A wooden eave structure built during the Liao Dynasty was later destroyed by war. The Open-Air Buddha stands approximately 13.7 meters tall, seated on a stone pedestal. The head features a polished ushnisha, square-round face, broad forehead, full cheeks, slender eyes and brows, straight nose, and large ears reaching the shoulders. An urna adorns the brow, lips are slightly thin, and a mustache appears above the lip and on the chin. The pupils are glass inlays, likely installed during the Liao Dynasty. The body is upright and robust with broad shoulders, wearing a kasaya exposing the right shoulder. The heavy fabric features natural, flowing folds reminiscent of Gandharan sculpture. The inner garment is thin and form-fitting, with balanced density and exquisite craftsmanship.
The Buddha’s expression is solemn yet benevolent and serene, seated in lotus position with hands overlapping at the abdomen in the Dhyana mudra. Unfortunately, wind and rain have eroded the hands and legs, removing all detail. Nevertheless, the statue remains majestic, dignified, and vibrant, integrating Eastern and Western sculptural arts. It embodies the “Thirty-Two Marks and Eighty Minor Characteristics” of the Buddha, making it a sculptural masterpiece. Behind the Buddha, a circular head halo with flame patterns and a boat-shaped mandorla are carved in a standardized, orderly, rich, and magnificent manner.
Flying Apsaras at the upper corners of the mandorla wear Bodhisattva attire, hold lotus buds, bend slightly at the waist with legs together and bare feet, maintaining a dignified and steady posture with an archaic simplicity representative of early Yungang Apsaras. Kneeling offering Bodhisattvas inside and outside the mandorla wear floral crowns and earrings, with slender arms and dense drapery folds, expressing devout reverence and strong exotic influence. Originally, standing Buddhas and Bodhisattvas flanked the main figure in a Three Ages Buddha or Five Statue arrangement, but today only the eastern standing Buddha remains.
The eastern standing Buddha is approximately 9.5 meters tall, with a polished ushnisha, round face, large ears, deep-set eyes, high nose, and a kasaya covering both shoulders. The right hand is raised at the chest in the Abhaya mudra, while the left hand holds the robe hem hanging down, standing barefoot on a lotus pedestal. Its drapery and stylistic features strongly reflect Central Asian artistic charm. The western standing Buddha likely mirrored the eastern one originally but has long since collapsed, leaving only traces of a circular head halo, bare feet, and a lotus pedestal.
Cave 20 is the most representative masterpiece of Yungang, vividly and profoundly expressing the Tuoba Xianbei spirit of bravery, strength, ruggedness, boldness, magnanimity, and wisdom, delivering a profound spiritual impact.
The Yungang Grottoes were the first large-scale grotto complex in the Northern Wei Dynasty authorized by the imperial court and constructed with national resources. They embody the political ambitions of the Northern Wei regime and represent the pinnacle of global Buddhist sculptural art from the 5th to 6th centuries. Furthermore, they pioneered grotto temple excavation in the Central Plains and initiated the Sinicization of Buddhist art. Integrating ancient Indian, Central and West Asian artistic elements alongside Greek and Roman architectural and decorative styles, they serve as tangible evidence of cultural exchange between East and West.
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