Geographical knowledge about Yungang Grottoes

English name: Yungang Grottoes

Selection criteria of world cultural heritage: C(I)(II)(III)(IV). Yungang Grottoes was selected into the World Heritage List 1 65438 in February 2006.

Evaluation of World Heritage Committee: Yungang Grottoes in Datong City, Shanxi Province, with 252 grottoes and more than 565,438+0,000 statues, represent the excellent Buddhist grottoes art in China from the 5th century to the 6th century. Among them, the Tan Yao Grottoes with strict and unified layout is the classic masterpiece of China's Buddhist art at its first peak.

The exact location on the map is1137 ′ 20 ″ east longitude and 40 6 ′ 35 ″ north latitude.

Protection scope of the scenic spot: 348.75 hectares.

Buffer: 846.8 1 hectare.

[Edit this paragraph] Overview

Yungang Grottoes is one of the largest grottoes in China, and it is also known as the four artistic treasures of China, together with Dunhuang Mogao Grottoes, Luoyang Longmen Grottoes and Maijishan Grottoes. Located at the south foot of Wuzhou Mountain, about 0/6 km west of Datong City, Shanxi Province, it is carved by the mountain and stretches for about one kilometer from east to west, with great momentum and rich content. There are 45 main caves, 252 grottoes and 56,5438+0,000 statues, representing the outstanding Buddhist grottoes art in China in the 5th and 6th centuries. Among them, the Tan Yao Grottoes with strict and unified layout is the classic masterpiece of China's Buddhist art at its first peak.

Yungang Grottoes is also one of the world-famous treasure houses of stone carving. 196 1 was declared as a national key cultural relics protection unit by the State Council, and was listed as a world cultural heritage in 200 1. On May 8, 2007, Yungang Grottoes in Datong City was officially approved by the National Tourism Administration as a national 5A-level tourist attraction. It has become an important place for people from all walks of life to visit in China, and it is also a tourist attraction that international friends admire and yearn for.

In this one-kilometer-long stone carving group, the statues are as big as ten meters and as small as several centimeters, with huge stones and numerous stone carvings, which are spectacular. Some of them are sitting in danger, lifelike, singing and dancing, flying high, or beating drums and bells, or holding piccolo or pipa, carefree and smiling at tourists. The faces and costumes of these Buddha statues, flying clouds, sponsors and providers all retain the wisdom and diligence of the ancient working people. These Buddha statues and musicians' statues also clearly reveal exotic colors. On the basis of China's traditional sculpture art, it absorbs and blends the essence of Indian Gandhara art and Persian art. It is the wisdom crystallization of the creative work of the ancient people in China and the historical witness of their friendly exchanges with other countries.

Yungang Grottoes have a history of 1500 years. It was built in 460 AD and was excavated by Yao Tan, a Buddhist monk at that time. The existing Yungang Grottoes Group is one of the first batch of national key cultural relics protection units announced by the State Council in 196 1. The whole grotto is divided into three parts: east, middle and west. The niches in the grottoes are as dense as honeycombs, and large, medium and small caves are densely embedded in Yungang. The grottoes in the east are mainly towers, so they are also called tower caves; The central grotto is divided into two rooms, with the main Buddha in the middle and the cave walls and ceiling covered with reliefs; Most of the grottoes in the west are small and medium-sized grottoes and niches, which were built a little later and were mostly works after the Northern Wei Dynasty moved its capital to Luoyang. The whole grotto is magnificent, solemn in appearance, beautifully carved and prominent in theme. Various religious figures in grotto sculptures have different expressions. In terms of carving techniques, it inherits and develops the fine tradition of Qin and Han art in China, absorbs the beneficial elements of Gandhara art, and creates Yungang's unique artistic style, which is extremely valuable information for the study of sculpture, architecture, music and religion.

[Edit this paragraph] Grottoes History

The grottoes were dug in the second year of Xing 'an in the Northern Wei Dynasty (AD 453), and most of them were completed before the Northern Wei Dynasty moved its capital to Luoyang (AD 494), and the carving work continued until Zheng Guangnian (AD 520-525). The images of Bodhisattva, Lux and Tian Fei in the grottoes are vivid, and the towers are beautifully carved. They inherit the essence of realistic art in the Qin and Han Dynasties (2265438 BC+0-220 AD), and open up the romantic color in the Sui and Tang Dynasties (5865438 AD+0-907 AD). They are also called "the Three Grottoes in China" with Mogao Grottoes in Dunhuang, Gansu and Longmen Grottoes in Henan.

According to the excavation time, it can be divided into three periods: early, middle and late, and the grotto sculpture styles in different periods also have their own characteristics. The early "Tan Yaodong" was magnificent and had a rich and simple western flavor. In the middle period, the grottoes were famous for their exquisite carvings and ornate decorations, showing the complex and magnificent artistic style of the Northern Wei Dynasty. Although the grottoes in the later period were small in scale, the figures were thin and handsome, and the proportion was moderate. It is a model of grotto art in northern China and the source of "skinny and clear images". In addition, the music, dance and acrobatic sculptures left in the grottoes also reflected the popularity of Buddhist thought at that time and the social life of the Northern Wei Dynasty.

Yungang Grottoes vividly recorded the historical track of the development of Indian and Central Asian Buddhist art to China Buddhist art, and reflected the gradual secularization and nationalization of Buddhist statues in China. A variety of Buddhist sculpture styles have achieved unprecedented mastery in Yungang Grottoes, and the resulting "Yungang Model" has become a turning point in the development of Buddhist art in China. The statues of the Northern Wei Dynasty in Dunhuang Mogao Grottoes and Longmen Grottoes were influenced by Yungang Grottoes to varying degrees.

Yungang Grottoes are the beginning of the China-ization of Grottoes. The Chinese Palace architectural style sculpture that appeared in Yungang Grottoes in the middle period and the Chinese-style Buddhist niches developed on this basis were widely used in the construction of later grottoes. The layout and decoration of the grottoes in Yungang's later period showed a strong architectural and decorative style in China, which reflected the deepening of "China" of Buddhist art.

According to documents, in the peaceful period of the Northern Wei Dynasty (AD 460-47 1 year), the famous monk Yao Tan dug five grottoes in Wuzhousai, a western suburb of Beijing, and now they are numbered 16 to 20 grottoes, which was the earliest so-called "Tan Yao Cave 5" dug at that time. Most of the other major caves were completed before Emperor Xiaowen moved to Luoyang in the 18th year of Taihe in the Northern Wei Dynasty (AD 494), with a history of 1500 years.

Yungang Grottoes, with a long history, large scale, rich content and exquisite carving, are known as the miracle in the history of China fine arts. There are buddhas, bodhisattvas, disciples, protectors and other lifelike figures in the cave group. There are imitation wood buildings with simple style and diverse shapes; There are Buddhist reliefs with outstanding themes and skillful knife skills; There are rich and complicated compositions and exquisite decorative patterns; There are also sculptures of ancient musical instruments in China, such as Zou, Paixiao, Zan and Pipa, which are colorful and dazzling.

In terms of carving techniques, he inherited and developed the excellent tradition of carving art in Qin and Han Dynasties in China, absorbed and integrated beneficial elements of Indian Gandhara art, and created unique works of art, which left an important page in the history of Chinese sculpture. Yungang Grottoes are not only important video materials for understanding and studying China's ancient history, sculpture, architecture, music and religious beliefs today, but also physical evidence for tracing the ancient cultural exchanges between China and the West and the friendly exchanges between the people.

/kloc-In the past 500 years, Yungang Grottoes have been seriously damaged due to weathering, water erosion and earthquakes. Before liberation, they were also destroyed. According to incomplete statistics, 1400 Buddha heads and statues were stolen overseas, and the traces of axes and chisels still exist.

Since the founding of the People's Republic of China, under the care of the Party and the government, many large-scale maintenance projects have been carried out on Yungang Grottoes, which has properly protected this ancient art treasure house.

[Edit this paragraph] Ten Highlights

Look at the name

Yungang Grottoes is a historical relic left by the Northern Wei Dynasty when Pingcheng was the capital, a world heritage, a national treasure and a business card of Datong culture. Crowds of Chinese and foreign tourists admire its reputation.

Second, look at the appearance.

Wuzhou Mountain, also known as Wuzhou Mountain, is located in Xishan, Datong City. "Taiping Universe" in the Song Dynasty quoted the map of Jizhou as saying: "Wuzhou Mountain is in the northwest of the county, hundreds of miles from east to west and fifty miles from north to south. Shan Zhinan noodles, thousands of walls stand. " Yungang Grottoes were cut by the southern edge of Wuzhou Mountain.

Sankan Grottoes

Yungang Grottoes have various cave types and complex structures. There are mainly elephant caves, Buddhist temples, pagoda temples, monk houses and Zen caves, among which the first three are the main types of Yungang caves.

Siguan Buddha

The appearance of religious figures such as Buddha, Bodhisattva, disciple and protector is accompanied by the development track of Buddhist art.

Five pictures

When the exquisite "Stone Book" of Yungang Grottoes was opened, it seemed to open an unparalleled scroll painting. Pictures featuring Buddha, Bodhisattva, Disciples and Tian Fei are also dotted with some Buddhist story paintings. Although these story paintings are not the mainstream of sculpture content, they, like other sculptures in the grottoes, set off the theme, beautify the grottoes, and make the dazzling pearl of Yungang Grottoes bloom with unique artistic brilliance.

Liu kanyi

The music and dance sculpture in Yungang Grottoes is the product of the combination of ancient multiculturalism, and it has accumulated profound and long-standing folk music and dance art of all ethnic groups. According to the investigation and statistics, there are currently 22 grottoes carved musical instrument images, more than 500 sculptures of various musical instruments, 27 kinds and more than 60 groups of bands. There are geisha music dedicated to Buddhism or the secular world, and there are also patterned decorative geisha music dotted in the wall space; There are large-scale and beautiful forms of Tiangong Geisha music, ethereal and distant flying Geisha music, and the beauty of dancing and flowing.

Seven look at history

Tuoba of Xianbei nationality is a nomadic people who grow on the grassland at the southern foot of Yinshan Mountain. In 386 AD, the Tuoba Department of Xianbei rose and established the Northern Wei regime in Lesheng, now Inner Mongolia and Linger. Subsequently, he conquered the northern ethnic groups in China, and moved the capital to Pingcheng, now Datong City, in 398. Pingcheng served as the political and cultural center of the north for 96 years.

The custom of Xianbei Tuoba is Chunyi. He didn't believe in Buddhism at first, but after being hired by Wei and Jin Dynasties, especially after being introduced by Shi Yigui, he began to accept Buddhism.

Eight people

Over the past 65,438+0,500 years, Yungang Grottoes have attracted many literati, scholars, officials and dignitaries to sing for them, leaving behind many immortal masterpieces, which greatly enriched the cultural connotation of Yungang Grottoes.

Old publication association

Plaques that appeal to both refined and popular tastes are always loved by people. Yungang Grottoes have left many couplets in the past dynasties, adding luster to the world cultural heritage.

On the front of the five caves, there is a plaque of Xin Maoxia 165 1 [Giant Buddha Pavilion] in Shunzhi in Qing Dynasty, which was inscribed by the special governor, the Military Forces Division and the assistant minister Toarey Yang. The couplet is:

Buddha's heart built a Buddha statue in the Buddha country.

The Yunling Belt of Yunshan will bring clouds and water around Yuncheng.

There is a plaque inscribed by Kangxi Imperial Pen [Solemn Law] in the middle of Liudong Gate.

External door connection:

Natural Ming, Kagami Akira, Yunming and watery groups are all good men and women.

I sincerely converted to Buddhism from Purdue, Cihang, Qian Qiu, and I gave extensive training to entertain tourists.

Lintel couplets: the mountains show Buddha lanterns with clouds, and the days are getting longer.

Shiwansi

The wooden structures built in front of Yungang Grottoes are called "Ten Halls" and "Ten Halls".

The theory of "ten names" began in Liao Dynasty. There are still ten people in the Jin Dynasty. In the seventh year of the imperial system (1 147), Cao Yan wrote "Rebuilding the Stone Cave Temple Monument on Wuzhou Mountain in Xijing, Dajin", and the inscription recorded that "... Xijing Cave Temple was built by Wei Zheng, with a total of ten people, all of whom were told that there were two spirits, three whales, four towns and five countries.

In the tenth year of Chenghua in Ming Dynasty (1474), the five "temple views" in Shanxi Tongzhi compiled by Hu Shu said: "It was built thirty-five miles west of Datong House, starting from Shenrui and finally shining. Every seven emperors have a calendar of one year. Its temple: rise together. Er Lingguang. Three towns, four countries, Five Blessingg, six sons, seven talents, eight strictness, nine palaces and ten pockets. There are 20 stone Buddha shrines built by Yuan Zaixiu in the temple, which are made of gold. " The fourth volume of Datong Temple Annals compiled by Zheng De Zhang Qin in Ming Dynasty and the fifth volume of Datong Temple Annals compiled by Jiajing are all similar to Chenghua Annals. Qing Shunzhi Hu wrote "Notes on Counties and Counties in the Clouds": "Ten Cave Temple ... contains 20 niches of stone buddhas for restoration. The wall stands thousands of miles, and the face is like a Buddha. In the eighth year of Tongyu Shunzhi, the governor donated money and overhauled it. The attic platform and fragrant Zen forest of the temple are resplendent and magnificent. This is also a victory for Yanbei. "

The "Ten Halls" were abandoned after the middle of the Ming Dynasty.

[Edit this paragraph] Introduction to caves

The first and second caves are double caves, located at the eastern end of Yungang Grottoes. The two-story square tower is carved in the center of the cave, and the back wall stands like Maitreya. Most of the four-walled Buddha statues are weathered and denuded, with Vimo and Manjusri carved on both sides of the cave entrance on the south wall, and the relief of the original story of the Buddha statue on the lower part of the east wall is well preserved. There is a square three-story tower column in the center of the second cave, with three pavilions carved on all sides of each floor and five small towers carved on the inner wall of the cave, which is the image data for studying the architecture of the Northern Wei Dynasty.

The third grotto is the largest grotto in Yungang, and there is a broken wall about 25 meters high in front of it, which is called Yao Tan Translation Tower. The grottoes are divided into a front room and a back room. A Maitreya grottoes is carved in the middle of the upper part of the front room, and a pair of three-story square towers are carved on the left and right. There are three statues carved on the south and west side of the back room, which are round in appearance, full of muscles, fine in corolla and smooth in clothing lines. The height of the Buddha sitting on this statue is about 10 meter, and the height of the two bodhisattvas is 6.2 meters each. Judging from the styles and carving techniques of these three statues, they may have been carved in the early Tang Dynasty (7th century AD).

In the fourth cave, there is a rectangular column carved in the center of the cave, with six Buddha statues carved on the north and south sides and three Buddha statues carved on the east and west sides. Above the cave gate in the south wall is the inscription of Zheng Guangnian in the Northern Wei Dynasty (520-525 AD), which is the latest inscription of Yungang Grottoes.

The fifth cave, located in the middle of Yungang Grottoes, is a group of double caves with the sixth cave. The cave is divided into two rooms, the front and back. The north wall of the back room is the third Buddha, and the central sitting statue is 17 meters high, which is the largest Buddha statue in Yungang Grottoes. The cave walls are covered with carved niches and Buddha statues. On both sides of the archway, there are two Buddha statues sitting on the top of bodhi trees, which are embossed and fly beautifully. There are five four-story pavilions in front of the two caves, and the existing buildings were rebuilt in the eighth year of Shunzhi in the early Qing Dynasty (AD 165 1).

The sixth cave, the plane of the cave is nearly square, and the center is a two-story square tower column connecting the top of the cave, which is about 15 meters high. Below the tower is a large niche, with a Buddha statue carved in the south, a Buddha statue carved in the west, a sitting statue of Ying Duobao carved in the north and a Maitreya statue carved in the east. On the two sides of the pagoda, east, south, two or three sides of the cave wall and two sides of the open window, 33 reliefs depicting the Buddhist story of Sakyamuni from birth to enlightenment were carved. This cave is the most representative one in Yungang Grottoes. It is magnificent in scale, rich in sculpture and exquisite in technology.

The seventh hole has three layers of wooden eaves in front of it, and the hole is divided into two rooms. The upper layer of the main wall of the back room is carved with a bodhisattva sitting on a Leo. There are statues of shrines on the east, west and south walls, and the six bodhisattvas on the arch of the south wall are beautiful and lifelike. The reliefs on the top of the cave are flying in the sky, lively and vivid, each with lotus as the center, dancing in circles and moving.

In the eighth cave, there are pigeons Luo Tian riding a peacock with five heads and six arms on both sides, and Luo Tian riding a cow with three heads and eight arms on the east side, which is extremely rare in Yungang.

The ninth cave is divided into two rooms, the front gate archway is octagonal, and the walls of the rooms are engraved with shrines, musicians and maidens, which are vivid and dynamic.

Cave 10 excavated at the same time as Cave 9 is divided into two rooms. There is flying in the front room, with beautiful posture and coordinated proportion. In the upper part of the open window, the composition of the stone carving is complex, exquisite and eye-catching.

In Cave 11, there is a tower reaching the top of the cave, and there are Buddha statues carved on all sides. On the front, the Buddha statue is well preserved. There are statues and small Buddha statues in the niches on the walls around the cave.

In Cave 12, a geisha is carved on the top of the main wall, holding stringed instruments and percussion instruments, with different expressions and vivid images. The classical musical instruments in their hands, such as flute and piano, are very precious and are important materials for learning China music.

Cave 13, there is a Maitreya statue in the center of the cave, which is more than 2 meters high/kloc-0. There is a statue of an arm bearer carved between the left arm and the leg, which is the only example in Yungang Grottoes. The statue of seven buddha on the upper part of the South Gate Arch is exquisitely carved and elegant.

Cave 14 has a variety of statues, with square Buddha columns on the west wall and some remaining statues on the east.

In Cave 15, there are more than 10,000 small carved Buddha statues, which are called the Ten Thousand Buddha Cave.

Cave 16 and Cave 16 to Cave 20 are the earliest five caves in Yungang Grottoes, commonly known as "Cave 5 of Tan Yao". The sixteen caves are flat and oval. In the middle of the main statue, the statue of Sakyamuni is 13.5 meters high, standing on the lotus pedestal, and there are thousands of Buddha halls carved on the surrounding walls.

Cave 17, with the main statue of Buddha III and the seated statue of Maitreya in the middle, is15.6m high. There are niches on the east and west walls, sitting statues on the east and standing statues on the west. The Buddhist shrine in the 13th year of Taihe in the Northern Wei Dynasty (AD 489) on the east side of the Ming window was later carved.

The neutral statue in Cave 18 is as high as 15 meters, with its right arm exposed and wearing a thousand Buddhist robes, which is exquisite and vivid and touching.

The main statue in Cave 19 is the III statue, and the sitting statue of Sakyamuni in the cave is16.8m high, making it the second largest statue in Yungang Grottoes. Two ear holes are cut out of the hole, and each is carved with an 8-meter sitting statue.

The 20 caves in front of the cave collapsed about Liao Dynasty, and the statue was completely open. The statue is a sitting statue of Sakyamuni in the middle, with a height of 13.7 meters. This Buddha statue has a full face, broad shoulders, magnificent shape and vigorous spirit, and is a masterpiece of carving art in Yungang Grottoes.

The fifth and sixth caves in Yungang, located in the middle of Yungang Grottoes, were a group of double caves excavated about 465-494 before Emperor Xiaowen moved the capital to Luobo. There are five four-story wooden pavilions, vermilion columns and glazed tile roofs built in the eighth year of Shunzhi in Qing Dynasty (165 1), which are quite spectacular. The fifth cave is an oval thatched cottage, which is divided into a front room and a back room. On the north wall of the back room, the original statue was Sakyamuni, with a height of 17 meters, which is the largest Buddha statue in Yungang, and the exterior was rebuilt by clay sculpture in the Tang Dynasty. There are Buddhist shrines everywhere in the grottoes. There are two Buddha pairs sitting under the bodhi tree on the west side of the cave, with the top embossed and beautiful lines flying. The sixth cave is nearly square in plane, with a two-story square tower in the center, which connects the ceiling and is about 14 meters high. There are four-faced buddhas carved on the tower column, and there are nine small towers with eaves at each corner, which are carried on the elephant's back. The cave walls are covered with statues of Buddha, Bodhisattva, Lohan and Tian Fei. Thirty-three days at the top of the cave, all kinds of amusement facilities are dizzying. Around the tower and in the middle and lower part of the southeast and west walls, there are 33 reliefs depicting the Buddhist stories of Sakyamuni from birth to enlightenment, with coherent content and exquisite composition. This cave is magnificent in scale, rich in sculpture, rich in content and exquisite in technology. It is a representative cave in Yungang Grottoes and a major review of the sculpture art collection in the middle period.

The seventh and eighth caves in Yungang are located in the middle of Yungang Grottoes, which are a group of double caves and were excavated earlier for the second phase of Yungang Grottoes. The existing wooden building in front of Qidong was built in the eighth year of Shunzhi in Qing Dynasty (165 1). The planes of Caves 7 and 8 are all rectangular, and the layout in the Caves is layered up and down, divided into left and right sections. In the middle of the canopy niche on the upper floor of the northern wall of the seven-hole back room, there is a statue of Maitreya, sitting on a Leo, lying on the left and right, with two threats to serve the Buddha. The content is still the third Buddha and the combination of idols. The next niche is where Sakyamuni and Duobao Buddha sit side by side. At the junction of the wall and the ceiling, a row of portraits of geisha musicians are carved, and each instrument is playing. The east and west walls are symmetrically excavated, and a row of thousands of buddhas are carved at the junction of the wall and the top. There are eight different niches carved in four layers. The south wall has doors and windows, and four niches are carved on the left and right. Between the doors and windows, there are six portraits of the provider and the actress. Carve a bodhisattva and a Zen monk in the bright window. The inner arch is carved with the power to protect the heavenly king and flying. Carved a flat chess at the top and a lotus ball in the middle, Zhou carved in the air and decorated the whole cave ceiling with flowers. Compared with the previous caves, the seventh and eighth caves have undergone many changes in shape, content, sculpture composition and theme, reflecting the torrent of social changes in the Northern Wei Dynasty.

Tan Yao GrottoesNo. 16-20 are the first grottoes excavated by monks in Yao Tan and one of the most striking parts of Yungang Grottoes. According to Shu Wei? "Shi Lao Zhi" contains: "At the beginning of peace, ... Bai Di, Yao Tan, in the capital of Xiwu Prefecture, built five caves, each carved with a Buddha statue, 70 feet high and 60 feet high, which was crowned in the world. "With Daowu, Mingyuan, Wu Tai, Mu Jing and Wen as models, five statues were carved. These five caves are large in scale and magnificent in spirit. In form, the same feature is that the outer wall is covered with thousands of buddhas, which generally imitates the oval thatched cottage form and has no back room. The statue is dominated by the third Buddha (past, future and present). The main Buddha is tall and occupies a major position in the cave.

Cave 16 siddhattha gotama is13.5m high, handsome and handsome. In the middle of Cave 17, there is a statue of Maitreya, which is installed by a bodhisattva and is 15.6 meters high. This cave is very big and aggressive.

Cave 18 is a statue of Sakyamuni wearing a thousand buddhas, which is15.5m high and magnificent. The disciple statues on the upper floor of the East Wall are unique in shape and skillful in technique. Cave 19 is the statue of Sakyamuni, with a height of16.8m, making it the second largest statue in Yungang. Cave 20 is an open-air statue with a sitting statue of Sakyamuni in the middle, with a height of 13.75 meters. It is the representative work of Yungang Grottoes, with a semi-round face, deep eyes, high nose, big eyes and thin lips. Big earlobe shoulders, straight shoulders, magnificent shape and vigorous momentum.

Wuhua Cave in Yungang is located in Cave 9- 13 in the middle of Yungang Grottoes. These five caves were painted in mud on behalf of others, hence their names. Cave 9 and 10 are a group of double caves with a front chamber and a back chamber. They were built in the eighth year of Emperor Xiaowen of the Northern Wei Dynasty (484) and completed in the thirteenth year of Taihe. Chongfu Temple was built here in Liao Dynasty. The planes of these two caves are almost square. The south wall of Ding Qian is chiseled into an octagonal column, three niches for visiting wooden buildings are carved on the upper parts of the east and west walls, and the rest of the walls are carved Buddha statues and flying sky. There is a bright window carved on the door of the back room cave, and the main Buddha on the north wall is Sakyamuni Buddha. The main statue of Cave 10 is Maitreya Buddha. There are carved patterns inside and outside the back door arch, which are rigorous in structure and rich in changes. Caves 1 1- 13 as a group, caves with the front and back caves as the center 12. The cube tower in Cave 1 1 has niches on all sides, except Maitreya in the south, all of which are statues of Sakyamuni. On the east wall, there is an inscription on the statue of the seventh year of Taihe in the Northern Wei Dynasty (483), which is an important material for studying the excavation history of Yungang. On the northeast side of the grottoes, there is a tablet niche in the 20th year of Taihe (496) and a statue of seven buddha. In front of the main hall of Cave 12 and the upper part of the east and west walls, there are three architectural shrines imitating wood carving, with two rows in the front row and three openings. At the top of the cave is carved a geisha Lotte, playing flute, pipa, flute and waist drum, which is an important material for studying the history of music. The statue in Cave 13 is Jiao Jiao Maitreya, which is about 13 meters high. A lux bracket is carved on the right arm, which has both mechanical and decorative effects. The seven Buddha statues in the upper part of the south wall and the offerings of heaven and man in the lower part of the east wall are all fine works in the cave. The niches on the east wall have different shapes. Wuhua Cave is exquisitely carved and colorful, which is a precious material for studying the history, art, music, dance, calligraphy and architecture of the Northern Wei Dynasty, and also an important part of Yungang Grottoes.

The cave group in the east of Yungang refers to 1-4 at the eastern end of Yungang Grottoes, all of which are tower-shaped caves. Caves 1 and 2 are a group that opened at the same time. They were carved before Emperor Xiaowen moved to Luodu, with a square tower in the middle and niches on all sides. The main statue of the first cave is Maitreya Buddha, and the lower layer of the South Tower is carved with the statue of Sakyamuni, while the upper layer is carved with the statue of Sakyamuni. The five-story small tower relief is the image data for studying the architecture of the Northern Wei Dynasty. The second cave is the statue of Sakyamuni, the lower floor of the tower is carved with the statue of Sakyamuni, and the upper floor is carved with the statue of Buddha III. On both sides of the south wall of the two caves are carved Vimo and Manjusri. The third cave is the largest cave in Yungang Grottoes, with a vertical front wall about 25 meters high. It is said to be the translation building of Yao Tan. This cave is divided into two rooms. A tower is carved on the left and right sides of the upper part of the front room, and a square cave is carved in the middle. The main statue is Maitreya Buddha, and the wall is covered with thousands of Buddha pictures. On the south side of the back room, there are carved one Buddha and three bodhisattvas with round face, plump muscles and smooth agricultural lines. The sitting statue is about 10 meter high, and the two bodhisattvas are 6.2 meters high. Judging from the style and carving techniques, it is probably a work in the early Tang Dynasty. The weathering and water erosion of the fourth cave is serious. There is an inscription of the Northern Wei Dynasty just above the cave entrance in the south wall, which is the latest inscription in Yungang Grottoes.

The caves in the west of Yungang include caves 2 1 to 45 in the west of Yungang Grottoes, as well as some small caves and shrines without numbers. Most of them belong to the works after the eighteenth year of Taihe in the Northern Wei Dynasty (494). It is characterized by many grottoes in groups, many small and medium-sized grottoes, and many small niches as supplementary carvings. Most of the sculptures are thin and distinct, with overlapping pleats at the lower part of the clothing lines. They are elegant and beautiful, flying freely in algae wells, with a strong Chinese style, which is very close to the "Longmen Period" sculptures. Among them, the relief on the north wall of Cave 38 is the image data to study the mixed words of the Northern Wei Dynasty.

There are five towers in the center of Cave 39, with five towers and six columns on each side. The arch at the top of the column supports the eaves and scales, and the width and height of each floor are smaller than those of the lower floor, which is an important data for studying early tower buildings. The overall layout of Cave 40 skillfully uses decorative art, which makes the cave shape and composition rules changeable and improves the artistic style of the cave.

[Edit this paragraph] Yungang Research

Li Daoyuan, a famous geographer in the Northern Wei Dynasty, recorded the magnificent scenery of Yungang Grottoes in his Notes on Water Classics: "Because of the rock structure, it is really magnificent and is expected by the world. The mountain hall is opposite to the water hall, and Lin Yuanjin's mirror covers his eyes. "

Since the 1960s, there have been more than 40 reports on the status of heritage protection, mainly including:

(1) Engineering Geological Problems of Yungang Grottoes (1960) Beijing Geo University, Wang, Shen Xiaoyu.

Abstract: The engineering geological conditions of Yungang Grottoes were extensively investigated, the weathering conditions, types and distribution of the grottoes were described, and the causes of weathering were put forward.

(2) Summary Report of Three-year Maintenance Project of Yungang Grottoes (1976), leading group of maintenance project of Yungang Grottoes in Shanxi Province.

This report is a detailed account of the reinforcement project of 1974- 1976 grottoes. Based on the principle of "emergency reinforcement, eliminating dangerous situations, maintaining the status quo and protecting cultural relics", combined with other engineering means, the cracks in the main caves of the grottoes were chemically reinforced, and some broken sculptures were restored to their original positions. This project plays a very important role in the stability and seepage control of grottoes.

(3) Weathering of sandstone stone carvings in Yungang Grottoes (1984), Huang Kezhong.

This paper discusses the weathering of stone carvings in Yungang Grottoes, the types and causes of weathering, and puts forward some control ideas.

(4) Weathering microseismic test of Yungang Grottoes (1989), by Huang Kezhong and Zhong.

Abstract: The weathering depth of stone carvings in Yungang Grottoes was measured with a miniature sounder. According to the analysis of test data, the weathering depth of stone carvings in Yungang Grottoes is generally between 0.2 and 2 cm, and the deepest part can reach 7 cm.

(5) The Influence of Environmental Pollution on Yungang Grottoes (1988), by Yuan Jinghu and Xie Zhu.

Based on environmental test data, this paper analyzes the causes of environmental pollution, puts forward the influence and mechanism of environmental pollution on grottoes, and proves that environmental pollution plays a catalytic and promoting role in grottoes weathering.

(6) Environmental Monitoring Report of Yungang Grottoes in Datong City (1989), Datong Environmental Protection Bureau.

Abstract: By monitoring the environmental conditions of grottoes, this paper analyzes the present situation of environmental pollution in grottoes, evaluates the environmental quality, and puts forward some measures to control the pollution.

(7) Engineering Geological Survey Report of Yungang Grottoes in Datong City (1990), the third comprehensive survey company of Shanxi Bureau of Geology and Mineral Resources.

Abstract: The regional geology, geomorphology, lithology, structure and hydrogeological conditions of Yungang Grottoes were investigated, and some suggestions for seepage control at the top of Yungang Grottoes were put forward.

(8) The influence of environmental changes on Yungang Grottoes (1990), Yuan Jinghu and Huang Jizhong.

Abstract: Based on the analysis of meteorological data, the variation law of temperature and humidity in grottoes and the conclusion that precipitation is concentrated and evaporation is greater than precipitation are obtained, and the mechanism of the influence of climatic and environmental conditions on grottoes is discussed.

(9) Control of Dust Deposition in Yungang Grottoes in China (1994), Glen R .Cass, Department of Environmental Engineering, California Institute of Technology, USA.

Based on the analysis of the collected data of dust particle settlement, this paper puts forward the control methods of "the air entering the cave is exchanged through the filter" and "the doors and windows are added with dust screens".

(10) Summary Report on Sino-US Cooperation in Protecting Yungang Grottoes (1994), Getty Conservation Institute, Shanxi Yungang Grottoes Cultural Relics Institute.

During the period of 1989- 1994, the technical summary of Sino-US cooperation in protecting Yungang Grottoes was made, and the implementation and conclusions of such projects as seepage control and drainage test, eaves design of 19 Grottoes, meteorological and environmental monitoring, pigment analysis and grotto management training course were introduced in detail.

(1 1) Influence of coal dust on stone carvings in Yungang Grottoes (1996), Huang Jizhong.

Abstract: The influence of coal dust on stone carving was studied through indoor simulation test. The results show that the influence of coal dust on grottoes is physical and chemical. Physical weathering and chemical weathering coexist, and they alternately promote the weathering of stone carvings.

(12) Summary Report of the Eighth Five-Year Maintenance and Protection Project of Yungang Grottoes (1997), leading group of the Eighth Five-Year Maintenance and Protection Project of Yungang Grottoes.

Abstract: The reasons, construction technology and completion of the maintenance and protection project of Yungang Grottoes during the Eighth Five-Year Plan period are described in detail, including the report on the ground lowering in front of Yungang Grottoes, the report on the excavation of the site in front of Yungang Grottoes, the summary report on the construction of wooden eaves in the seventh and eighth caves of Yungang Grottoes, the summary report on the reinforcement of Yungang Grottoes and the test report on the seepage prevention and drainage at the top of Yungang Grottoes.

[Edit this paragraph] scenic spot information

Best time to travel: Due to the high terrain in Shanxi Province, there are mountains in the southeast to block the ocean airflow, with low temperature, less precipitation and large temperature difference between day and night, especially in spring. Therefore, the best tourist season of Yungang Grottoes is May -65438+ 10.

Fares:

Precautions for ticket purchase:

1. Admission fee [according to document 136 (J.J.F.Zi. (2003) No.87 (200 1)]

1. 60 yuan RMB for each visit ticket;

2. Children under1.4m are free;

3. Retired cadres are free with retirement certificates;

4. Servicemen are free with valid certificates;

5. Disabled persons are free with disability certificates;

6. Older people with valid certificates are over 65 years old (inclusive) and over 70 years old (inclusive) free of charge;

7. Students can buy half a ticket with valid certificates.

Two, the tour guide service according to the same price fee word (2005) No.46 document execution, each batch of 80 yuan.

Business Hours 

Summer: April15-1October 27th 18: 30- 17: 20.

● Winter:1October 28th/kloc-0-April 8: 30-07: 00, 14.

● Extend the opening hours appropriately according to the actual situation on holidays.

[Edit this paragraph] Surrounding scenic spots

Hengshan, Huayan Temple, Shanhua Temple, Hanging Temple, Kannonji, Pingxingguan Museum, Datong Museum, Datong Coal Mine Exhibition Hall, Taohua Mountain in Lingqiu, Jiulongbi and Shahukou.

[Edit this paragraph] Traffic guide

Bus line

There are buses and coaches outside the west gate of Datong city. Take bus No.4 (1 yuan, 30 minutes, pass through Xima Road-Dabei Street-Daxi Street, and the taxi may be around 8 yuan) at Datong Railway Station and take bus No.3 (1.5 yuan, 30 minutes) in the west of the city to Yungang directly. You can take CMB next to Yanzishan, Railway Station D and Hongqi Hotel, and get off at 5 yuan.

Now there are 3-2 bus lines from the railway station to Yungang Grottoes.