Yungang Grottoes
(By Tsem Rinpoche)
At Datong, Shanxi Province
Under the imperial patronage from the Northern Wei capital at Pincheng (Datong), construction of the Yungang Buddhist cave chapels began in 460 AD and continued until 494 AD, when the capital moved to Loyang. The caves, being the central jewel in the necklace of Buddhist caves that begins with Dunhuang and ends with Longmen, is an intriguing study of the union of Central Asian and native Chinese art forms. Numbered consecutively from east to west, the caves extend along a south-facing cliff.
Below are some featured carvings and statues in Yungang Grottoes:
[Images and captions extracted from: http://www.art-and-archaeology.com/china/datong/yg02.html]
Cave 20, Northern Wei, Period I, 460-465 AD
The 14m-tall seated Buddha of Cave 20 is an icon of Chinese art, comparable to the colossal exposed Buddhas of Dunhuang and Longmen. It was originally flanked by a pair of smaller standing Buddhas, of which only the eastern figure now remains. Square holes in the back wall once held the beams of a wooden protective façade but are now long-gone. The lower parts of the figures have deteriorated, a fate shared by many sculptures at Yungang; its soft sandstone rock was ideal for fine carving, evident in the detailing of the Buddha’s robe and mandorla, but susceptible to destructive alternations of temperature, wind, and weather. Their faces, although partially restored, have retained the non-Chinese physiognomy that was inherited from their predecessors at Dunhuang; likewise the drapery of their robes is Central Asian, rather than Chinese.
Caves 16-20 are the earliest at Yungang. Their iconography is uncertain, not least because the overall scheme of the caves may have altered in mid-course, between the original three caves (18-20) and two slightly later additions (16-17). These caves are often called the “Tanyao Five,” after the powerful Monk Tanyao, who oversaw their construction in his capacity as imperially-appointed supervisor of all Buddhist clergy. Significantly, Tanyao hailed from the Gansu terminus of the Silk Road, and was consequently well-positioned to import the religious architecture of Dunhuang to this new work of the Northern Wei. Various scholars have identified the Tanyao Five Buddhas with Northern Wei emperors, Dhyani Buddhas, and even the Buddha Field of Vairocana.
The seated Buddha of Cave 20 is either Amitabha (based on his hands-together meditation posture) or Shakyamuni (based on the idea that this cave represents the Three Buddhas of the Past, Present, and Future).
Cave 19, West Side, Northern Wei, 260-265 AD
This beautiful carving is a pinnacle of the sculptor’s art. With right hand in abhaya mudra and legs spread in “Western” style, it might represent Shakyamuni or other historical Buddhas. The eyes are detailed with pupils of dark glass or stone, and the large, “dish-plate” ears (my term) are prominent as in the other sculptures from this group of caves.
Cave 18, Northern Wei, 260-265 AD
The friendly Buddha of Cave 18 looks out, with benign expression, from his upper window.
Cave 18, Northern Wei, 460-465 AD
The multiplicity of Buddha figures, covering the robe and sleeve of this colossal standing figure, will immediately remind any viewer of the cosmic Buddha, Vairocana. However, its inscriptional identification as Shakyamuni seems secure, reminding us that any Buddha can manifest numerous other Buddhas from its body. A Bodhisattva, crowned by disciples, appears on the viewer’s right. Small puncture-holes in the body of the principal image held pegs that once attached a coat of plaster to the body.
Cave 3, Sui Dynasty, 581-618 AD
The principal Buddha in Cave 3 belongs to Phase II (465 AD and later) of the caves. Its rounded face and Chinese robe has led scholars to assign it to the Sui Dynasty, just before the Tang, a full century later than the Tanyao Five. The Buddha’s right hand is raised in abhaya mudra, the left in an unusual open posture. Small holes in the body once held pegs with attached plaster, as seen on the previous page.
Cave 3, Sui Dynasty, 581-618 AD
A beautifully-carved, small Bodhisattva nestles by the principal Buddha’s outstretched hand. Climatic damage is visible to the lower parts of the figures.
Cave 13, Phase II, after 465 AD
The outstanding and unusual feature of the sculpture in this cave is the guardian figure that supports Maitreya’s upright wrist.
Cave 8, West Jamb, Phase II, after 465 AD
This deva is difficult to identify; local signage assigns it to “a boy form of Vishnu, Kumaraka, riding on a peacock, and carrying a chicken in its hands.” But Vishnu rides on Garuda, not a peacock; more likely this figure is a Buddhist rendition of Skanda, the warrior son (Kumaraka) of Shiva, riding on his peacock and displaying the sun and moon in his hands.
Cave 8, East Jamb, Phase II, after 465 AD
The paired deva here is undoubtedly a form of Shiva, with the crescent moon in his crown and riding on his bull mount Nandi. Unusual aspects of this iconography include his upright hands holding the sun and moon, and his central hand that holds a bunch of grapes. These paired devas appear across and above several other doorways of Yungang, including the Cave 10 North Wall.
Cave 9, Phase II, after 650
The cross-legged Bodhisattva Maitreya is shown here, on the east wall of the antechamber of Cave 9.
Phase II, after 465 AD
A valuable image of early palace architecture is shown here; below the roof with its projecting rafters, we see the alternating dougong and inverted “V” shaped timbers that supported the eaves.
Phase II, after 465 AD
This close-up shows a band of celestial musicians, flanked below and above by flying apsarasas and Buddhas.
Cave 12. Phase II, after 650 AD
A riot of decoration is illustrated here, with Buddhas, musicians, and apsarasas.
Phase II, after 465 AD
Musicians playing the pipa and sheng overlook the passing scene.
Cave 6, Phase II, after 465
The deeply-carved Cave 6 is one of the highlights of Chinese art. Directional Buddhas face outwards from its central pillar, their niches unusually framed by carvings of flying apsarasas (close-up)
Phase II, after 465
This outstanding sculpture of a guardian needs no elaborate introduction; it speaks for itself.
[Source: http://www.art-and-archaeology.com/china/china.html]
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Amazing architecture and unique sculpture in Buddhist cave chapels back dated AD centuries.All the caves carvings and statues in Yungang Grottoes were indeed unique and outstanding in a way how it was built at that time without modern technology.The carving was done beautifully by looking at the images shared. That is interesting ,with all the discoveries Buddhism did exist many many years back in the AD ‘s.
Thank you Rinpoche for sharing or else we would not a chance to look at those amazing and unique sculptures of the century caves at Datong, Shanxi Province,China.
It is sheer joy to read and look at pictures of ancient architecture depicting historical religious characters and legends. Sometimes, I imagine one can travel back in time following the beautifully decorated and masterfully crafted ceiling or wall art. If there is a chance to visit Yungang Buddhist Caves or Dunhuang, it will be nice to take time to admire the artifacts. Thank you, Rinpoche for this sharing.
Thank you very much Rinpoche for sharing these wonderful and interesting pictures of Grottoes.I really amazed with all the huge Buddha carving in the caves. At the time that must be very difficult for them.Those that caught my eyes are…Cave 6, Phase II, after 465, Cave 3, Sui Dynasty, 581-618 AD, Cave 20, Northern Wei, Period I, 460-465 AD.
Every time I see these ancient statues, carvings and paintings of deities, “mythical” beings, gods & goddesses, Buddhas, etc always the same question come to mind. Did the people create these actually saw these beings?
Dragon, mermaid, unicorn, centaur – are these all just made up creatures or are they real and someone actually saw them once upon a time ago.
4-arms, 1000-arms, 4-faces deities, deities with animal heads – do they physically exist even if not in this realm but another realm or are they just made up and symbolic? Why did these people of the past spent so much effort and time in creating these statues, grottoes, carvings and paintings of beings, things and events that are seemingly not real in the world today? What is their purpose and what are they trying to preserve, what are they trying to tell us?
Ooh I love the stylistic marriage between the softer Chinese style with the Indian iconographic gestures and details as seen on these Buddha images. The faded colors of the paint that once adorned these images must have been brilliant, powerful and brought to life a whole assembly of divine Buddhas, Boddhisattvas and attendants.
I imagine that the order of the day was a mix of influence of scriptures, masters, scholars, monks, pilgrims and patrons from both east and west. The result is this bold and wonderful display artistic and religious brilliance. Today, these wonderful sculptures serve to remind people of the long history the Chinese had with Buddhism and one the brought about the most powerful artistic expressions and displays of religious faith. Perhaps, it will one day inspire a whole new generation of practitioners and artists with a similar religious conviction.
What really amaze me is the time and effort that the artists put in to carve those beautiful sculptures. After all these years, they are still intact and solid. These places should be well preserved for the future generations to see. If not, all that is left will only be remnants.
I really amazed with all the huge Buddha carving in the caves. At the time that must be very difficult for them. The tools that they used to carve these Buddha took them very long time to accomplished. There are Angkorwat and Borobudor which I also amazed with their beautiful architecture. I would like to visit all these holy places to touch and feel the energy physically.
I feel Buddhist art really has a place in the world. There is a statement that informs us that even when we are in a state of anger (angry mind) by viewing a Buddha line drawing plants seeds of enlightenment in us. If there is such a benefit in anger, imagine seeing buddha images whilst not in anger. I feel make more buddhist images all over the world it has real value, calms the area and also plants great imprints in people’s minds. I do recall Shariputra was a messenger who retired at night and the place he retired too had murals of the buddha and faith welled up in him and he wanted to meet a Buddha. Shariputra became the most intelligent of Shakyamuni’s students
I visited the Yungang Caves with some members of my family in 2004. I was very impressed by the details added to the statues. I think I made some aspirational prayers there. It was in April and quite cold.I would like to visit the place again to see whether they have repaired the damaged statues.