Located at the southern foot of Wuzhou Mountain some 16 kilometers west of Datong City, Shanxi Province, Yungang Grottoes were built against the mountain and extend about 1 kilometer (0.62 miles) from east to west. The construction of the caves was started under the auspices of the noted monk Tan Yao in 453 and took 50 years to complete. Some 40,000 people, including the Buddhists from what is present Sri Lanka, contributed to the huge project. In 2001, UNESCO added it on the List of World Heritage.
The 53 grottoes in Yungang Grottos include some 1,000 niches with about 51,000 statues - a treasure-trove of cave art that combines traditional Chinese art forms with foreign influence, particularly Greek and Indian. Sculptures here are noted for their vigorous features and rich variety that range from the smallest, only 2 centimeters high, to the tallest - a Buddha 17 meters high. The tallest Buddha is surrounded by many small Buddhas in Grotto No. 5, also called the Big Buddha's Cave.
What to visit
These grottoes include a variety of vivid religious figures, such as the Buddha, Bodhisattiva, disciples and deities. There are also many different shaped wooden constructions done in simple styles, sculptures of the Buddhist story with prominent themes and exquisite decoration, vivid figures of Northern Wei Dynasty, and a large number of carvings of ancient musical instruments, such as Konghou, horizontal bamboo flute, vertical bamboo flute (Bili), Pipa, and others.
Three zones
Yungang Grottoes are composed of three zones: east, west and central and numbered from east to west. Pagodas dominate the eastern zone; west caves are small and mid-sized with niches. Caves in the middle are made up of front and back chambers with Buddha statues in the center.
East zone
These are made up of grottoes No. 1 through No. 4 and are generally called the "pagoda caves" due to the carved tower or pagoda in the middle of each.
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Grottoes No. 1 and No. 2
All of these were carving during the Northern Wei period, and grottoes No. 1 and No. 2 are best preserved. In the center of each is a square tower and covering it as well as all four walls are carved stories of the Buddha and Buddha in various structures. These provide important reference material in researching Northern Wei architecture. -
Grotto No. 3
Apart from the pagodas one Buddha and two Bodissatva statues were added and from the looks of the carving technique and style these appear to be Tang dynasty works. -
Grotto No. 4
The grotto No. 4 has severely deteriorated but on the southern wall is preserved an inscription from the year 520 of Northern Wei. This is the latest inscription still remaining from the Northern Wei period in the Yungang Grottoes.
Central zone
Grottoes No. 5 to No. 20, these are situated in the central region of the precipice of Wuzhou Mountain. They were the earliest part of the grottoes to be carved and they are of the highest value. The five grottoes No.16 to No. 20 were supervised by the high priest under the Northern Wei Emperor Wencheng and are considered to be the most resplendent of all.
Buddhist carvings
They are particularly notable for their Buddhist carvings. To the east of these five grottoes are grottoes No. 9 to No. 13, which have come to be known as the "painted" caves since later generations painted the carvings in them. Again, these provide important material for researching the history of architecture, arts, calligraphy and music.
Grottoes No. 5 and No. 6
Grottoes No. 5 and No. 6 are closely linked and are on a very grand scale: the central seated Buddha in No. 5 stands seventeen meters high, the tallest of any statue at the Yungang Grottoes. In the No. 6 stands a 16-meter-high stupa, carved with Buddha statues on all sides. The carving in these two grottoes is practical and is considered to represent the pinnacle of the art at Yungang Grottoes.
West zone
Most of the grottoes are in the west zone, and each has its own character. To the west of the grotto No. 20 are relatively small caves, some of which have not yet been given numbers. The dating of these is relatively late, most being works after the 19th year of Emperor Taihe of Northern Wei (495). The carving styles and techniques are more developed than in the eastern and central zones; the Buddha figures are thinner and so on. This is a more Sinified style of Buddhist art, which begins to approach the style of Longmen after the capital of the Northern Wei moved to Luoyang.
Sakyamuni statue
Grotto No. 20 - one of the five earliest caves of monk Tan Yao - houses the sitting statute of Sakyamuni, 13.7 meters high, with a full and round face with a majestic smile, slim lips and a high nose, ears that extend almost to the shoulders, radiant eyes and broad shoulders. Sakyamuni statue is representative of Buddha sculptures in Yungang Grottoes.
Art style
The art style of Yungang Grottoes both attracted the essence of overseas carving and developed the tradition of ancient China's art, taking an important position in the art history of the whole world. The grottoes of the early times are simple and grand with its distinguished Ajanta style; the grottoes of the middle times are exquisite and beautiful for its clear influence from Han Nationality; the grottoes of the later times are completely showing the characteristics of Han Nationality.
It is not only the important image materials for the study to ancient China's politics, economy, culture, art and religion, but also the example of the friendship between China and the other countries.
When to visit
- Opening Hours: 8:00a.m. - 17:00p.m.
- Recommended Time for a Visit: Two hours
Getting there
Bus Route: Take No. 4 bus at Datong Railway Station and transfer No. 3 bus at Xin Kaili.