One of the best examples of Chinese Buddhist art is the Longmen Grottoes, also known as the Longmen Caves (simplified Chinese: 鎙门石窟; traditional Chinese: 龍斀石窟; pinyin: Lóngmén Shíkū; lit.
‘Dragon’s Gate Grottoes’). Situated 12 kilometers (7.5 miles) south of the current Luoyang in Henan province, China, they are home to tens of thousands of sculptures depicting Shakyamuni Buddha and his followers.
Many of the formerly painted figures were carved as exterior rock reliefs and within man-made caves that were dug out of the east-west running limestone cliffs of the Xiangshan (香山) and Longmenshan. Between them runs the Yi River (弊河), which was once known as Yique (漊阙; ‘The Gate of the Yi River’).
“Dragon’s Gate Grottoes” is another name for the area because of the two hills that control the Yi River’s flow resembling the traditional “Chinese gate towers” that used to be the entry to Luoyang from the south. The 2,345 caverns contain up to 100,000 sculptures, with sizes varying from 1 inch (25 mm) to 57 feet (17 m).
Along with more than sixty Buddhist pagodas, the region is also home to almost 2,500 stelae and inscriptions, earning it the moniker “Forest of Ancient Stelae”. The caverns, which are located in a picturesque natural setting, were excavated from a cliff that stretches one kilometer (0.62 mi) on each side of the river.
Less than 10% of the total are caves from earlier periods. Thirty percent are from the Northern Wei and sixty percent from the Tang dynasty. Patrons and benefactors included emperors, Wu Zetian, members of the royal family, other wealthy families, generals, and religious organizations, beginning with the Northern Wei dynasty in 493 AD.
Because it is “an outstanding manifestation of human artistic creativity,” a perfect example of an art form, and a summation of Tang China’s sophisticated culture, the monument was included into the UNESCO World Heritage List in 2000.
Geographical
One of China’s three famous grottoes is this complex. The Yungang Caves in Datong in Shanxi Province and the Mogao Caves near Dunhuang in Gansu Province are the other two grottoes. The Yi River forms a valley that is bounded to the east and west by the Xiangshan and Longmenshan hill ranges.
The western and eastern slopes of these ranges of hills have high slopes. Yi is a tributary of the Luo River that flows northward. The Longmen Caves are a set of grottoes that were sculpted out of limestone rocks on both banks along a 1-kilometer stretch of this river.
The majority of the work was completed on the western bank, with the larger monastic communities residing in the smaller number of caverns on the eastern bank.
There are 100,000 sculptures spread among the roughly 1,400 caverns, some as little as 1 inch (25 mm) in height, while the tallest Buddha statue is 57 feet (17 m) in height. Additionally, there are perhaps 60 pagodas and 2500 stelae. On each side of the Yi River are the grottoes.
While the caverns on the east hill were totally carved during the Tang dynasty, fifty big and medium-sized caves that can be seen on the west hill cliffs are attributed to the Northern, Sui, and Tang dynasties.
A clear “progression in style” can be seen in the abundance of caves, sculptures, and pagodas found in Longmen Grottoes. The first caverns were straightforward and well-shaped, with carvings of Buddha and other religious figures.
The Tang dynasty times, which are “more complex and incorporate women and court figures as well,” are when the stylistic shift is most noticeable. Along the west bank of the Yi River, the caverns have been numbered progressively from north to south. The northern end is where one enters the caverns.
Past Events
Earlier times
The Northern Wei Dynasty’s Emperor Xiaowen moved his capital from Dàtóng to Luoyang during his reign, which is when the Longmen Grottoes were first created. Luoyang holds significant symbolic importance being the seat of 13 dynasties’ past capitals.
Four separate eras of excavation and carving of Buddhist topics took place in the grottoes between 493 and 1127 AD. The Northern Wei dynasty (493–534) marked the beginning of the first phase.
The second phase, which spanned the years 524–626 under the Sui dynasty (581–618) and the early Tang dynasty (618–907), saw a sluggish growth of caves due to regional warfare.
The third stage took place from 626 until the middle of the eighth century, during the Tang dynasty, when Chinese Buddhism was at its height and there was an abundance of caves and sculptures.
The final phase, the fourth, spanned the latter years of the Tang dynasty and the Northern Song dynasty, at which time the number of grottos constructed decreased. The internal conflict between the Jin and Yuan dynasties caused it to end.
The earliest cave temple constructed in the middle of the southern floor of the West Hill was called Guyangdong, or the Shiku Temple, and is attributed to Emperor Xiaowen. Following up on this endeavor, Emperor Xuanwu of Northern Wei dug up three more caves: two dedicated to his father, Emperor Xiaowen, and one to his mother.
These three caves, collectively known as the “Three Binyang Caves” (Binyangsandong), were constructed over the course of 24 years by the emperor. During this time, around 30% of the caves that are visible now were constructed.
The Huangfugong or Shikusi grottoes, a significant cave, were finished in 527. It’s a south of the West Hill cave that has been kept in excellent condition.
During the Tang dynasty, the Fengxiansi Cave on the southern level of the West Hill was finished in 675. This signified the culmination of the gottoes’ formation and the third stage of their development. It is estimated that between 626 and 755, 60% of the caves at Longmen were created.
During this time, certain Buddhist temples were constructed in open areas with beautiful surroundings within the complex, in addition to the caves that held Buddha sculptures of varying sizes.
But most of these are now in ruins. Emperor Gaozong and Empress Wu Zetian, who ruled from Luyong during this period, had a significant role in stepping up the activities.
Subsequent historical events
Two dynasties controlled China between 1368 and 1912: the Ming from 1368 to 1644 and the Qing from 1644 to 1912; during this time, there was a cultural renaissance and the Longmen Grottoes were acknowledged on a national and worldwide scale.
Numerous sculptures were taken back to Japan by the Japanese during their looting of the site during the Second Sino-Japanese War. Nowadays, Japanese museums house many of these artifacts.
Political instability throughout the 1940s led to vandalism. Following the People’s Republic of China’s founding in 1949, the grottoes were designated as protected areas and are now being preserved.
Various legislative instruments created to safeguard and maintain China’s cultural legacy have further clarified Article 22 of the Constitution, which among other things also allows for the preservation of natural heritage sites.
The Ministry of Culture founded the Longmen Relics Care Agency in 1953. The newly formed Longmen Caves Cultural Relics Management and Conservation Office carried out a site inventory in 1954. In 1961, the State Council proclaimed the Longmen Grottoes a national cultural monument that required further care.
It was designated as one of the first sets of scenic zones to receive official protection in 1982. In 1990, the Management and Conservation Office changed its name to the Longmen Grottoes Research Institute, and the People’s Government of Luoyang City took over as the entity in charge of managing the historical sites. In 2002, the governing body changed its name to the Longmen Grottoes Research Academy.
At this location, the Qin general Bai Qi once routed the Han and Wei united armies during the Warring States period. The location has seen serious damage on many occasions during its existence. In the early 20th century, Western collectors and souvenir seekers took significant relics.
In the course of the Cultural Revolution, other sculptures also had their heads smashed. There are reportedly two murals from the grottoes on show in the Nelson-Atkins Museum of Art in Kansas City, Missouri, and the Metropolitan Museum of Art in New York.
Viewpoint
Caves
Numerous significant grottoes have noteworthy collections of Buddhist sculptures together with calligraphic inscriptions. Guyang-dong (493), Binyang-dong (505), Lianhua-dong (520s), Weizi-dong (522), Shiku-si (520s), Weizi-dong (520s), Yaofang-dong (570), Zhaifu-dong (ca. 636), Huijian-dong (630s), Fahua-dong (650s), Fengxian-si (672), Wanfo-si (670-680s), Jinan-dong (684), Ganjing-si (684), and Leigutai-dong (684). The caverns in Guyang, Binyang, and Lianhua are arranged in a horseshoe.
Guyangdong
With its Northern Wei-style sculptures, Guyangdong, also known as Guyang Cave, Old Sun Cave, or Guyangdong, is considered the earliest Longmen cave. Situated in the middle of the west hill, it’s also the biggest cave.
Emperor Xiaowen ordered it to be carved. As of right now, the earliest sculpture in this limestone cave dates to 478 AD, about the time Emperor Xiaowen is said to have moved his capital from Datong to Luoyang.
The Buddha sculptures in this cave’s niches are expertly crafted. There are over 600 exquisitely calligraphed inscriptions of Northern Wei-style literature located here. Religious organizations encouraged the kings and queens who contributed many of the sculptures found inside the cave.
The three enormous pictures in the cave are of Sakyamuni Buddha in the middle with Bodhisattvas on either side. The photographs’ traits are representative of the Northern Wei style, which is characterized by lean, malnourished bodies.
The cave contains the highest number of inscriptions of any Chinese cave, about 800, on its walls and in its recesses. The painters have left notes about their names, dates, and motivations for carving a vast number of pictures in two rows of niches on the cave’s northern and southern sides.
Binyang
There are three caverns in Binyang: Middle Binyang Cave, South Binyang Cave, and North Binyang Cave. The Middle Binyang Cave is the most well-known.
Binyangzhongdong
The Middle Binyang Cave, also known as Binyangzhongdong (宍阳中洞), is a Datong-style cave located on the northern floor of the west hill. Emperor Xuanwu erected it as a memorial to both his mother and father, Xiaowen.
It is said that between 500 and 523, 800,000 laborers produced it. Five enormous Buddhist figures in the Northern Wei style are carved onto the cave’s main wall. Sakyamuni Buddha is shown in the center statue, flanked by four figures of Bodhisattvas.
Additionally, Buddha and Bodhisattva images border two of the side walls. The Buddhas in the cave, grouped into three groups, stand in for Buddhas from the past, present, and future.
The roof canopy is shaped like a lotus blossom. Two sizable bas-reliefs depicted royal processions, with the late emperor’s parents, Empress Dowager Wenzhao, and Emperor Xiaowen among the worshippers. In the middle of the 1930s, the reliefs were entirely pilfered.
The Metropolitan Museum of Art in New York currently houses the emperor’s procession, while the Nelson-Atkins Museum of Art in Kansas City currently houses two-thirds of the empress’s.
Some sculptures are in the natural style of the Tang dynasty and are strongly constructed, while some are carved with “long features, thin faces, fishtail robes and traces of Greek influence”.
Binyangnandong
The South Binyang Cave, also known as Binyangnandong (宍阳南洞), is home to five enormous pictures carved by Li Tai, the fourth son of Tang Emperor Taizong, the first Tang emperor.
Made them in honor of his mother, Empress Zhangsun, in AD 641. The primary artwork, which combines elements of the Northern Wei and Tang dynasties, depicts Amitabha Buddha sitting on a pedestal and surrounded by Bodhisattvas in a tranquil manner.
Fengxian
The biggest cave on the west hill, known as Fengxian, Feng Xian Si (祉先寺), or Li Zhi Cave, is the Ancestor Worshipping Cave. It was constructed for Empress Wu Zetian between 672 and 676. It is said that the sculptures represent the pinnacle of the Tang period’s architectural brilliance.
The cave’s shrine is 39 m by 35 m in size. At the Longmen Grottoes, have the biggest Buddha statue. The most striking of the nine enormous carved sculptures is the enormous image of Vairocana Buddha, which is etched on the Fengxian’s rear wall.
The image’s ears are two meters long and 17.14 meters high. The year of carving for this figure is indicated by an inscription at its base: 676.
The primary picture of Buddha has a Bodhisattva on the left, adorned with pearls and a crown. A wicked ghost is also seen being crushed by a godly figure. The essential elements of the Vairocana picture are plump, with a serene, natural expression.
The expressions on the other huge sculptures are all appropriate for their representational functions. Empress Wu Zetian ordered them to be carved, and they are regarded as a singular example of the Tang dynasty’s “vigorous, elegant, and realistic style.” Some have referred to the enormous Vairocana statue as “the quintessence of Buddhist sculpture in China.”
In addition, the Vairocana monument commemorates Wu Zetian and lists the names of the artists who labored here as well as the giver, Emperor Gaozong. Wu Zetian allegedly contributed “twenty-thousand strings of her rouge and powder money” to the construction of this structure.
Therefore, it is hypothesized that the Vairocana Buddha—also known as a “Chinese Mona Lisa, Venus or as the Mother of China”—was sculpted to resemble the Empress. These photographs all project character and animation and are in perfect condition.
The main statue is flanked by statues of two of Vairocana’s prominent students, Kasyapa and Ananda, and two Bodhisattvas wearing crowns. There are also many pictures of “lokapalas (guardians or heavenly kings), dvarapalas (temple guards), flying devas, and numerous other figures.”
Others
Huangfugong
Located south of the west hill, Huangfugong, also known as Shikusi, is a three-wall, three-niche cave that was chiseled out in 527. It is extremely well maintained and was finished in one go as a single item. The lintel features seven Buddhas engraved on it which gives the impression of having wood finishes.
In the main hall, there are seven enormous images, the Buddha picture being flanked by two Bodhisattvas and two followers. In the cave’s nooks, pictures of Buddhist organizations may also be seen. The ceiling is adorned with an enormous carving of a lotus blossom, with eight melodic apsaras (also known as nymphs or water spirits) on either side. Huangfu Du, Empress Hu’s uncle, designed it.
Wan-fo-dung
Yung-lung-tung, also known as Wan-fo-dung (“Cave of Ten Thousand Buddhas”万佛洞), was constructed in 680 by Gaozong and Wu Zetian. It has 15,000 Buddhas carved in tiny recesses, each one unique and measuring a little 2 centimeters (0.79 in) in height.
Yaofangdong
The medicinal Prescription Cave, also known as Yaofangdong (药方洞), features 140 medicinal prescriptions written in a minuscule script that address anything from the common cold to insanity. These may be seen etched into both walls just at the entryway. The late Northern Wei era and the early Tang dynasty are represented in these sculptures.
Qianxisi
Qianxisi, also known as Hidden Stream Temple Cave, is a sizable cave on the northern tip of the west hill that is accessible via contemporary concrete stairs that climb the face of a cliff. The enormous, sitting Amitabha Buddha statue, which was created in the cave during Gaozong’s reign (653–80), is surrounded by statues of the Bodhisattvas Avalokitesvara and Mahasthamaprapta.
The sculptures have a refined expression that is characteristic of Tang sculpture. The Nanping princess may have financed it, and Gaozong, her recently deceased father, would have benefited from it.
Lianhua
The Lotus Flower Cave, also known as Lianhua (鎲花洞), dates back to the Northern Wei dynasty and is dated to 527. The roof of the Grotto features a sizable lotus bloom that is sculpted in great relief. The south wall features several little Buddhas etched into it. Shrine chambers on the north and south walls’ niches are also visible.
Laolong
Many niches in the Laolong, also known as the Old Dragon Cave (老鎞慞), which bears the name of the Old Dragon Palace, date back to the reign of Gaozong and were constructed during the Tang dynasty.
Temples
Longmen Grottoes has a number of temples. The Tomb of Bai Juyi, Bai Garden Temple, and Xiangshan Temple are a few notable examples. The others include the Tiangong temple under Xiaowen, the Lingyan and Huguo temples under Emperor Wencheng, the Tongle temple started during Emperor Mingyuan and the Chongfu temple under Qianer.
The Temple of Xiangshan
Of the eleven temples in Longmen, Xiangshan Temple is among the oldest. It is situated near the east hill’s middle. The name of the spices, “Xiangge,” which are widely distributed on these hill slopes, is the source of the name “Xiangshan.”
It was rebuilt at some point in the Qing era (1707), based on an ancient temple that had previously been there. In 2002, the Longmen Grottoes Administration added the “Belfry, the Drum Tower, the Wing Room, the Hall of Mahavira and Hall of Nine Persons, Eighteen Arhats, the Villa of Chiang Kai-shek and Soong Mei-ling” to the temple. Boardwalks, a compound wall, and a new gate from the southern end of the temple were among the additional features.
Temple in Bai Garden
Located atop the Pipa peak, north of the east hill (Xiangshan Hill), is the temple known as Bai Garden. During the Qing era, Tang Youzeng rebuilt it in 1709. The dense undergrowth of pine and cypress trees encircles the shrine.
Tomb of Bai Juyi
The famous Tang dynasty poet Bai Juyi, who spent his final years in Luoyang, is buried in the Tomb of Bai Juyi on the east bank. Situated atop the hill sits the tomb. After over the Yi River bridge, it is reached from the west side. The tomb consists of a 52-meter-circumference, 4-meter-tall earthen mound. The poet Bai Juyi’s name is engraved on the 2.80-meter-tall monument.
Maintaining and repairing
One of the most significant steps in this direction has been the designation of the Longmen Grottoes as a heritage monument by UNESCO, which came about after a thorough assessment over an extended period of time and its inclusion on the World Heritage List.
The following criteria serve as the foundation for the recognition: “Criterion (i), the sculptures of the Longmen Grottoes are an outstanding manifestation of human artistic creativity; Criterion (ii) the Longmen Grottoes illustrate the perfection of a long-established art form which was to play a highly significant role in the cultural evolution of this region of Asia; and Criterion (iii), the high cultural level and sophisticated society of Tang dynasty China is encapsulated in the exceptional stone carvings of the Longmen Grottoes.”
This also requires the Chinese government to perform the necessary actions, in accordance with instructions periodically released following regular site inspections, to maintain the monument in its historic status.
Since 1951, there have been several coordinated attempts to locate, demarcate, organize, and carry out restoration projects at the Longmen Grottoes. Initially, a weather monitoring station was set up close to the grottoes to evaluate local environmental conditions and schedule necessary restoration activities.
Extensive repair work ensued, first consisting of fortifying the rock foundations to prevent water seepage from the grottoes’ roofs and sides. The overgrown, root-bound vegetation was removed. Newly constructed pathways with stairs, footpaths, and railings provide access to the caverns.
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