Longmen Grottoes, Luoyang, China

The Longmen Grottoes, located along the banks of the Yi River south of Luoyang in Henan Province, represent one of the finest examples of Chinese Buddhist rock-cut architecture.

Established primarily during the Northern Wei and Tang Dynasties between the 5th and 8th centuries, the site features an extraordinary collection of over 2,300 caves and niches carved directly into the limestone cliffs. These structures house tens of thousands of statues, ranging from just a few centimeters to over 17 meters in height, alongside numerous stone tablets and inscriptions that provide invaluable historical insights into the religious, political, and artistic developments of ancient China.

The artistic significance of the grottoes lies in their sophisticated blend of traditional Chinese aesthetics and influences imported via the Silk Road, marking a pinnacle of Buddhist stone carving. The most iconic section is the Fengxian Temple, which features a massive, serene statue of the Vairocana Buddha, flanked by disciples, bodhisattvas, and guardian kings. Recognized as a UNESCO World Heritage site, the Longmen Grottoes continue to serve as a vital cultural monument, showcasing the profound devotion and technical mastery of craftsmen who transformed the natural landscape into a monumental center of spiritual and imperial expression.

Longmen Grottoes Map

Longmen Grottoes Gate

Qianxisi Cave

The Qianxisi Cave

«Located at the north end of the West Hill of Longmen, the first large-scale cave was carved during the reign of Emperor Gaozong of the Tang Dynasty. The cave houses a collection of statues featuring one Buddha, two disciples, two Bodhisattvas, and two divine kings. The main statue, Amitabha Buddha, stands at 7.80 meters tall, with evenly proportioned body, a full and round face shape, peaceful facial expression, a slightly raised chest, and he is depicted wearing a kasaya robe with hands held in the gesture of Vitarka Mudra, seated cross-legged on a rectangular Sumeru seat with a wide hem of clothing covering the front. On either side, the Bodhisattvas exhibit dignified postures and are adorned in elaborate clothing. To the left of Amitabha Buddha, Bodhisattva is depicted with a standing Buddha atop her high bun, while to the right, Mahasthamaprapta Bodhisattva's high bun is adorned with a kalasa. Between the Buddha and Bodhisattvas, reverent disciples are portrayed. On the outer side of the Bodhisattvas, one can see the depiction of a brave and resolute god king stepping on a ghost.

Arranged on the main wall of Qianxi Temple, the Amitabha Buddha, Avalokitesvara Bodhisattva and Mahasthamaprapta Bodhisattva are celebrated as the "Three Saints of the West" and worshiped by the Pure Land school of Buddhism. These statues are carved in accordance with scriptures like the Amitabha Sutra, and they serve to impart the faith in the Western Pure Land, guiding people to practice in accordance with the teachings, with the hope of attaining a blissful existence in the Western Pure Land.»

Climbing to Qianxisi Cave

Qianxisi Cave Portico
The Qianxisi Cave, also known as the "Cave of the Hidden Stream," holds a distinguished place within the Longmen Grottoes as the earliest major cave created during the Tang Dynasty.

Located on the southern end of the Western Hill, it was commissioned by Gao Zong, the third emperor of the Tang Dynasty, and serves as a testament to the imperial patronage of the period. The interior features a central seated Buddha, flanked by two disciples and two bodhisattvas, displaying the elegant, rounded, and naturalistic style that became characteristic of Tang Buddhist sculpture.
A defining architectural feature of Qianxisi is the existence of a formal portico—a pillared porch or entrance structure—built in front of the cave entrance. While many of the earlier Northern Wei caves were carved directly into the cliff face with simpler apertures, the Tang period saw the introduction of more elaborate structural elements. This portico served both a functional and symbolic purpose, creating a transitional space that emphasized the sanctity of the interior and provided a grand, pavilion-like entry for worshippers, a feature that was later integrated into the design of several other prominent grottoes at the site.

Amitabha Buddha, two disciples, two Bodhisattvas, and two divine kings
The "Three Saints of the West," comprising Amitabha Buddha flanked by the bodhisattvas Avalokitesvara and Mahasthamaprapta, represent the core of Pure Land Buddhism, a tradition centered on the promise of salvation in the Western Paradise.

Amitabha is the central figure, symbolizing infinite light and life; he serves as the compassionate guide who vows to welcome all sentient beings into his realm, Sukhavati. In the iconography of the Qianxisi Cave, his presence conveys a message of universal accessibility to enlightenment, offering a spiritual refuge from the suffering of the mundane world through faith and the recitation of his name.
Avalokitesvara and Mahasthamaprapta serve as the essential conduits for this compassion and wisdom. Avalokitesvara represents supreme mercy, embodying the resolve to hear the cries of the world and assist those in need, while Mahasthamaprapta embodies the power of wisdom, using the "light of dharma" to awaken the spirits of practitioners. Together with Amitabha, they form a cohesive spiritual triad that balances compassion, intellect, and ultimate liberation. Their depiction in the Qianxisi Cave signifies the hope for transcendence, illustrating a divine hierarchy that promises a harmonious transition to a state of eternal peace for the faithful.

Three Binyang Caves

«These caves are the only royal-sponsored grotto project that is well documented in official documents as to the purpose, process and construction details. According to the history of the Wei Dynasty, two of them were commissioned by the Wei Dynasty Emperor Xuanwu to honor his parents, Emperor Xiaowen and Empress Wenzhao. Another one was built in the honor of the Emperor Xuanwu. However, only the Middle Bingyang Cave was completed during the Wei Dynasty and it took 24 years with the efforts of 802366 workers. The altars in the North and the South Bingyang Cave were completed in the early Tang Dynasty.»

The Three Binyang Caves
The Three Binyang Caves—comprising the Northern, Middle, and Southern Binyang caves—represent some of the most significant imperial commissions at the Longmen Grottoes, initiated during the Northern Wei Dynasty.

The Middle Binyang Cave, the most famous of the trio, was commissioned by Emperor Xuanwu in memory of his father, Emperor Xiaowen, and his mother. Construction of this central cave spanned over two decades, beginning in 500 AD, and it is renowned for its sophisticated bas-relief carvings, including the famous historical depictions of the Emperor and Empress presiding over religious processions, which offer a rare window into the ceremonial life and courtly fashions of the era.
While the Middle Binyang Cave is the crown jewel, the Northern and Southern Binyang caves were intended to follow suit but remained incomplete for many years. The Southern Binyang Cave was eventually finished during the early Tang Dynasty, resulting in a fascinating stylistic contrast where the interior features both the elongated, elegant Northern Wei aesthetic and the more robust, realistic proportions typical of later Tang sculpture. Collectively, the Three Binyang Caves serve as a monumental historical bridge, documenting the evolution of Buddhist iconography and the transition of political power through the enduring medium of stone.

The Middle Binyang Cave

«In the Middle Bingyang Cave, each wall features a set of sculptures: a Buddha and two disciples, as well as two Bodhisattvas on the main wall; one Buddha and two Bodhisattvas, namely the Buddhas of the Past, Present and Future, on both the north and south walls. The cave's front wall features three sets of large-scale relief sculptures arranged from top to bottom. The upper one is Vimalakirti and Manjusri seated facing each other; the middle one depicts two episodes of Jataka Stories; and the lower is a set of three relief sculptures depicting the Wei Dynasty Emperor Xiaowen and Empress Wenzhao paying homage to Buddha, two of which, regrettably, were lost by theft in the 1930s. The one with the Emperor Xiaowen paying homage to Buddha is collected in Metropolitan Museum of Art in New York, the one with the Empress is collected in Nelson-Atkins Museum of Art.

The cave's ceiling is carved in the form of a grand canopy, with a central lotus flower encircled by Flying Apsaras. The cave's floor is carved in the form of a lotus-shaped pool, featuring a central worship pathway with circular lotus flowers on either side, adorned with patterns of water vortices, birds, and children playing in the water. The walls of the cave's entrance and corridor on both sides feature carvings of Buddhist guardian deities. The layout and decoration of the statues in the Middle Binyang Cave are designed to highlight religious themes, compact and interconnected, creating a complementary effect. The overall design of the Middle Binyang Cave represents a significant example of early 6th-century Chinese Buddhist grotto style. The artistic features of the statues, characterized by slender body and delicate appearance with loose clothes and broad belts, became a model for the Central Plains style of royal grotto sculptures during the Northern Wei Dynasty, setting a trend for cave carving and statue styles in the northern regions of the Central Plains at that time.»

Door Guardian
Flanking the entrance to the Middle Binyang Cave are two formidable Vajrapani or "Dvarapala" (door guardians), carved in high relief to serve as the spiritual sentinels of the sanctuary.

These figures are depicted in a dynamic, muscular stance, embodying intense physical power and unwavering alertness. The guardian on the right side of the door is particularly noteworthy for its remarkable state of preservation, which allows viewers to clearly discern the intricate details of his fierce expression and his attire. Most prominently, the heavy, spiked mace held firmly in his left hand serves as a visual testament to his role as a weapon-wielding defender of the Buddhist faith.
Spiritually, these protectors function as an essential symbolic barrier, separating the mundane, chaotic outer world from the sacred, serene space of the cave interior. They represent the active, defensive aspect of the Buddha’s teachings, signifying that while the path to enlightenment is one of compassion, it also requires the resolute strength to overcome internal obstacles and external malevolence. By standing watch at the threshold, these guardians inspire reverence and caution in the approaching devotee, reinforcing the sanctity of the imperial-commissioned site and ensuring that only those with sincere intent may enter the presence of the divine.

Interior of the Middle Binyang Cave
The interior of the Middle Binyang Cave is dominated by a grand, central five-statue arrangement, which serves as the primary devotional focus.

At the heart sits a magnificent, larger-than-life-size Shakyamuni Buddha, seated with his right hand raised in the abhaya mudra (the gesture of fearlessness) and his left hand in the varada mudra (the gesture of gift-giving). He is flanked by two disciples, Mahakasyapa and Ananda, and two bodhisattvas. These figures, characterized by the "slender and elegant" style of the Northern Wei period, feature sharp, elongated facial features and intricate, flowing drapery known as "clothes-and-ribbon-style," which symbolize a departure from worldly concerns and an entry into a state of divine grace.
Spiritually, this ensemble represents the cosmic authority and protective presence of the Buddha within the imperial context. By commissioning this triad, the Northern Wei emperors sought to equate the Buddha's transcendental wisdom with their own earthly governance, effectively sanctifying the state. The surrounding bodhisattvas symbolize the compassionate bridge between the Buddha’s enlightened state and the spiritual needs of practitioners, while the presence of the disciples emphasizes the transmission of Buddhist teachings. Together, these statues function as a visual theology, designed to guide the viewer toward liberation while reinforcing the deep connection between piety, familial merit, and the legitimacy of imperial power.

The South Binyang Cave

«The South Binyang Cave was carved by the Northern Wei Dynasty Emperor Xuanwu as vow-giving for the Empress Wenzhao. However, this project was somehow paused after the construction of the external facade, the internal structure and the lotus carving on the ceiling. According to "Yique Buddhist Niche Stele" that is set beside the cave and introduces its background, the five Buddha statues were built in the Tang Dynasty, commissioned by the fourth son of Li Shimin, the Emperor Taizong of Tang, in honor of his late mother the Empress Zhangsun. The same year the construction of this cave was finished, the emperor came here for a tour of Longmen. This event was said to be relevant with the construction of the Binyang Cave.

The main Buddha statue on the central wall stands 8.60 meters tall, seated cross-legged on a rectangular Sumeru seat. Its facial feature, body form, and clothing style have differentiated from those of the Northern Wei Dynasty, i.e. slender body and delicate appearance with loose clothes and broad belts. This Buddha statue feature a round face, broad shoulders and chest, and the evolution of carving techniques of clothing wrinkles and folds is also visible. The main statue, along with those of two disciples and two Bodhisattvas on either side, exhibits a bulkier and livelier style of both body feature and clothing compared to that of the Buddha statues of the Northern Wei Dynasty. The south Binyang Cave houses over 350 small niches, among which 27 were carved from January 627 to December 649, and they are the largest collection of caved niches that dates back to this era. This cave stands as a representative example of early Tang Dynasty statue art and holds a crucial significance for the study of the artistic styles and forms during this period. A stele located north of the cave is the Stele for the Yique Buddha Niche by Chu Suiliang. It is also reputed as a masterpiece of the Standard script of the Tang Dynasty.»

Interior of the South Binyang Cave
The South Binyang Cave, while originally conceived during the Northern Wei Dynasty, showcases a unique transition in sculptural style due to its completion during the Tang Dynasty.

The central focus is a massive Maitreya Buddha, the Future Buddha, who is depicted seated with his legs pendant. This choice of iconography reflects the period's growing devotion to Maitreya, who represents the promise of future salvation and the coming of a new age of enlightenment. The statues in this cave exhibit the "full-bodied and realistic" aesthetic that replaced the slender, ethereal forms of earlier centuries, emphasizing a sense of physical presence and approachable divinity.
Symbolically and spiritually, these statues serve as a profound expression of hope and dynastic legitimacy. The shift toward more naturalistic, human-like proportions signifies a movement in Buddhist thought that sought to bring the divine closer to the realm of human experience, making the path to salvation feel more attainable for the layperson. By placing these figures in an imperial commission, the patrons intended to bridge the gap between earthly life and the transcendental future, asserting that the current reign was an extension of divine order. This combination of grand scale and refined detail invites worshippers to contemplate their own spiritual potential while acknowledging the monumental scale of cosmic history.

Interior of the North Binyang Cave
The statues inside the North Binyang Cave reflect a fascinating blend of artistic evolution, as the cave was initiated during the Northern Wei Dynasty but saw significant work continue into the early Tang period.

The central arrangement features an Amitabha Buddha triad, intended to represent the concept of the Western Pure Land. Unlike the slender, ethereal aesthetic typical of the earlier Northern Wei caves, these figures exhibit a more transitional style, beginning to show the rounded, fuller faces and more naturalistic body proportions that would define the height of Tang Dynasty sculpture. The central Buddha is depicted in a seated position, projecting a sense of stability and calm that distinguishes it from the more dramatic, angular forms found in the adjacent Middle Binyang Cave.
Spiritually, these statues symbolize the accessibility of salvation and the transformation of the practitioner's focus toward the afterlife. By centering the triad on Amitabha, the cave emphasizes the Buddhist doctrine of faith-based rebirth, offering a tangible vision of divine compassion to those seeking refuge from the turmoil of the historical period in which it was carved. The surrounding figures of bodhisattvas and disciples reinforce this message of unity and guidance, transforming the cave into a symbolic vessel for spiritual passage. Through this iconographic program, the North Binyang Cave serves as a testament to the shift in religious practice toward personal devotion and the promise of a harmonious existence beyond the constraints of the material world.

Small Side Cave

Wearing traditional Chinese clothing
The recent surge in popularity of wearing traditional Chinese clothing, known as hanfu, has transformed from a niche subculture into a vibrant mainstream phenomenon, particularly visible at historical sites across China.

This trend is driven by a growing sense of cultural confidence and a desire among younger generations to reconnect with their heritage. By donning these historically inspired garments—often characterized by flowing layers, intricate embroidery, and distinct silhouettes from various dynasties—visitors engage in a form of immersive cultural tourism. This practice allows them to feel a tangible, emotional connection to the past, turning a simple visit to a heritage site into a more personal and experiential narrative.
For children, wearing traditional clothing at these locations has become an increasingly popular way to cultivate an early appreciation for history and cultural aesthetics. This engagement is often supported by parents who view it as a meaningful, educational activity that brings the stories of ancient China to life in a way that resonates visually and creatively. Furthermore, the prevalence of this trend on social media platforms plays a significant role, as parents and children alike are inspired by shared imagery of traditional dress in scenic, historic settings. Consequently, this movement serves as both a fashionable expression of individuality and a way to actively participate in the preservation and celebration of Chinese cultural identity.

Ten-Thousand-Buddha Cave

«The cave was carved during the reign of Emperor Gaozong of the Tang Dynasty. Located on the middle section of the West Hill, the cave houses a collection of ten thousand and five hundred small Buddha sculptures, hence the name Ten-Thousand-Buddha Cave.

The cave features a design with front and rear chambers. On the main wall of the cave, there is a Buddha, two disciples, two Bodhisattvas, and two Dayakas. The main statue, Amitabha Buddha, stands 3.86 meters tall, seated on an octagonal pedestal adorned with an inverted lotus, with a domed ushnisha and decorated with water vortex patterns. His face is full and round, with a broad forehead and plump cheeks, and a slightly raised chest. He wears a double-collared, loose-fitting robe with hand held in the gesture of Vitarka Mudra. On the upper walls to the left and right of the main Buddha's halo, numerous small Bodhisattvas are carved in various postures, all seated on lotus pedestals with intertwined branches, constituting along with the main wall's large statue the theme of Amitabha Buddha and his fifty-two Bodhisattvas. The north and south walls of the cave are densely carved with 15,000 Buddhas. The wall bases are carved with two sets of 12 exquisite dancers and musicians. The dancers move gracefully, while the musicians hold various musical instruments such as cymbal, flute and panpipe. On either side of the front wall's cave entrance, a divine king is depicted in high relief.

According to a circular inscription surrounding the caisson ceiling with lotus motif and another one on the north side of the entrance, the construction of this cave was finished in 680 AD, during the reign of Empress Wu Zetian, and it was caved as vow-giving by two females, a court official and a senior Buddhist nun with the intention of praying for blessing for the imperial family.

On both sides of the cave entrance and in the middle of the back of the front room, there is a statue of a valiant and powerful warrior. Two lions were carved in high relief on the lower parts of the north and south walls of the front room, exquisite and powerful. Unfortunately, they were stolen in the 1930s. The north wall lion is currently collected in the Nelson Art Museum in Kansas, USA, while the south wall lion is currently housed in the Boston Museum of Fine Arts, USA.

On the upper west side of the south wall of the front chamber, located within an arched niche adjacent to the warrior sculpture, stands a statue of Bodhisattva, 85 centimeters tall with a damaged forehead. She poses barefoot on a circular lotus pedestal, with her left hand holding a kalasa at her side and her right hand holding a vyajana draping over her shoulder. Her body is slightly in the shape of an "s", in a beautiful and natural posture. This statue is reputed as the most beautiful Bodhisattva image of theTang Dynasty in the Longmen Grottoes.

In 1957, Mei Lanfang, a renowned master of Chinese Peking Opera, visited the Longmen Grottoes where he was deeply inspired by this Bodhisattva statue. He expressed this inspiration in his own Peking Opera performance art.

Ten-Thousand-Buddha Cave is strongly characterized by its rigorous and intricate design, exhibiting both the solemn sacredness and a sense of gentleness of the Pure Land World. The assembly of statues featuring the 52 Bodhisattvas of Amitabha with the 15,000 Buddhas, supervised by court official and Buddhist nun, represents a novel artistic style in the Tang Dynasty grotto art, reflecting the prevailing fashion of Buddhism belief within the royal court.»

Climbing up to the Ten-Thousand-Buddha Cave

Exterior of the Ten-Thousand-Buddha Cave

Door Guardians

Interior of the Ten-Thousand-Buddha Cave
The Ten-Thousand-Buddha Cave, or Wanfo Dong, is a masterpiece of the early Tang Dynasty, completed in 680 AD under the supervision of a monk named Zhiyün.

The interior is famously adorned with 15,000 miniature statues of Buddhas, densely carved along the side walls, which give the cave its name. At the center of the sanctuary sits a majestic, serene Amitabha Buddha, seated on an octagonal lotus pedestal and flanked by his two primary attendants, Avalokitesvara and Mahasthamaprapta. The walls also feature intricate relief carvings of musicians, dancers, and lotus flowers, creating an atmosphere that evokes the celestial joy of the Western Pure Land.
Symbolically, the cave represents the Buddhist concept of the "infinite Buddha-fields," suggesting that the reach of the Buddha's compassion extends to every corner of the universe. The sheer number of tiny figures serves a dual purpose: they function as a visual manifestation of the vow that all sentient beings may attain enlightenment, and they provide a meditative tool for devotees to contemplate the omnipresence of the divine. Spiritually, the Ten-Thousand-Buddha Cave is designed to transport the visitor from the mundane world into a realm of eternal light and tranquility, underscoring the Tang belief in the accessibility of salvation and the communal nature of Buddhist practice within a vast, cosmic framework.

Panorama of the interior of the Ten-Thousand-Buddha Cave

Amitabha Buddha
Amitabha Buddha, often referred to as the Buddha of Infinite Light and Life, is a foundational figure in Mahayana Buddhism, particularly within the Pure Land tradition.

He is revered for his supreme vow to save all sentient beings who call upon his name, promising them rebirth in his Western Paradise, known as Sukhavati. This realm is described as a land of unimaginable beauty and peace, free from the suffering of the material world. Symbolically, Amitabha represents the boundless compassion and wisdom necessary to guide souls toward ultimate liberation, serving as a beacon of hope for those seeking refuge from the cyclical nature of existence.
Inside the Ten-Thousand-Buddha Cave, the central Amitabha statue serves as the serene focal point of a cosmic assembly. Seated with poise and grace, the figure embodies the tranquility of the Pure Land, surrounded by the thousands of miniature Buddhas carved into the surrounding walls that emphasize his infinite presence throughout the universe. Spiritually, this specific placement is designed to facilitate a profound meditative experience; by looking upon the central Buddha, the devotee is encouraged to visualize themselves within the celestial gathering, fostering a deep sense of connection to the promise of salvation. The entire composition acts as a visual manifestation of a divine reality, reinforcing the belief that, through faith and contemplation, the practitioner may transcend earthly limitations and attain spiritual enlightenment.

Qingmingsi Cave

The Qingmingsi Cave
«It is a cave carved in the Tang Dynasty with front and back chambers, and an Amitabha and two Bodhisattvas are built on the main wall of the cave. The statues on the walls of the front and back chambers are notable, especially the Bodhisattva's graceful posture and diversified expressions. Many inscriptions inside and outside the cave reflect the historical fact of the great migration from the Guanzhong area (central part of Shaanxi Province) in the early years of the reign of Emperor Gaozong of the Tang Dynasty.»

Huijian Cave

The Huijian Cave
«Located in the middle section of the West Hill, it is a merit cave built by monk Hui Jian of the Fahai Temple in Chang'an for members of the royal family such as Emperor Gaozong and Empress Wu Zetian of the Tang Dynasty. It is a single-cave in structure with the main statue of Maitreya sitting with two legs crossed on the main wall and attendant disciples and Bodhisattvas on both sides. Because the main Buddha and disciple Ananda on the right look exactly like the main statue of Lusena Buddha and the disciple Ananda on the right, it is commonly known as the Little Fengxiansi Cave.»

Lotus Cave

The Lotus Cave Under Restoration

Interior of the Lotus Cave
The Lotus Cave, also known as Lianhua Dong, is one of the most celebrated shrines within the Longmen Grottoes, carved during the Northern Wei Dynasty.

The interior is defined by its breathtaking ceiling, which features a massive, intricate lotus flower relief carved directly into the rock. This centerpiece is surrounded by flying apsaras—celestial beings—that appear to dance amidst the petals, creating a sense of ethereal movement and grace. The walls are adorned with rows of smaller, delicately sculpted Buddha statues and attendant figures, showcasing the refined and slender artistic style characteristic of the period's imperial craftsmanship.
Dominating the back wall of the cave is a magnificent triad consisting of a central seated Buddha flanked by two disciples and two bodhisattvas. Despite the passage of centuries and some natural weathering, the statue's serene expression and the flowing, layered drapery of the garments remain clear indicators of the high level of technical mastery achieved by the artisans. The interplay of light filtering through the entrance highlights the rhythmic carvings and the spiritual atmosphere of the space, making the Lotus Cave a quintessential example of how ancient Buddhist iconography was masterfully integrated into the natural limestone landscape.

Laolong Cave

The Laolong Cave
«It is a cave carved out of natural caves in the Tang Dynasty with a plane of long horseshoe shape and a ceiling similar to a dome. The walls of the cave are densely populated with niches for statues of different sizes in an irregular way.»

Interior of the Laolong Cave
The Laolong Cave, or Old Dragon Cave, is a significant, albeit smaller, site within the Longmen Grottoes that reflects the evolution of Buddhist sculpture during the Tang Dynasty.

Unlike the expansive and ornate chambers found elsewhere in the complex, the interior of Laolong Cave is noted for its intimate scale and more focused devotional aesthetic. The walls feature a variety of niches housing seated and standing figures, which exhibit the more robust, rounded, and naturalistic physical proportions that became the hallmark of Tang-era craftsmanship, a distinct departure from the elongated, ethereal style of earlier Northern Wei carvings.
The interior space is characterized by its weathered limestone surfaces, which bear the marks of both historical devotion and natural erosion over the centuries. Despite the loss of some original clarity, the remaining iconography still provides insight into the private worship and merit-making practices of the era, as many of these smaller caves were commissioned by local officials or individual families. The simple, rugged architecture of the cave creates a quiet, contemplative environment, serving as a poignant contrast to the grander, imperial-sponsored grottoes nearby while remaining an integral part of the site’s comprehensive historical narrative.

Putai Cave

The Putai Cave
«It is a cave carved in the Northern Wei Dynasty. Its plane is horseshoe-shaped with a dome ceiling. There is an altar on the main wall with statues of a Buddha, two disciples and two Bodhisattvas on it. A large statue under a, canopy (resemble a Chinese ancient building roof with a plain in the top center and four slope roofs around it) is on each of the north and south walls. The lintels of the statues are engraved with stories such as the Past Activities of the Buddha and Vimalakirti Sutra transformations.»

Interior of the Putai Cave
The Putai Cave, also known as the Cave of the Cloth Bag Monk, stands out within the Longmen Grottoes for its unique thematic departure from traditional Buddha-centered iconography.

The interior is primarily defined by the image of the Maitreya Buddha in his manifestation as Putai, a jovial and rotund figure often associated with prosperity, contentment, and the future Buddha. The central sculpture is characterized by its accessible, humanized form, contrasting with the strictly formal and solemn depictions of the Buddha found in neighboring caves. This figure reflects the shift in religious expression towards more relatable, folk-inspired manifestations of divinity that gained popularity during the Tang Dynasty and later periods.
The interior space itself is relatively modest in size, designed to frame the central figure and invite a sense of warmth and inclusivity for the devotee. Carvings on the surrounding walls are sparse compared to the densely populated surfaces of earlier imperial grottoes, allowing the central Putai figure to serve as the undisputed focal point of the chamber. Over the centuries, the cave has served as a site for those seeking spiritual comfort and material well-being, its atmosphere defined by the enduring, cheerful expression of the main statue. The preservation of this space provides a fascinating glimpse into the diversity of Buddhist practice and the cultural integration of local legends into the established religious landscape of the Longmen site.

Zhao Keshi Cave

The Zhao Keshi Cave
«It was started in the Northern Wei Dynasty and continued to be completed in the Tang Dynasty. Its plane is horseshoe-shaped with a dome ceiling. There is an altar on the main wall with statues of a Buddha, two disciples and two Bodhisattvas on it and they were carved in the Tang Dynasty. Besides, there are statues of different sizes on the north and south walls.»

Interior of the Zhao Keshi Cave
The Zhao Keshi Cave, also known as the Cave of the Buddha of Medicine, is a smaller, lesser-known niche within the Longmen Grottoes that emphasizes the healing and protective functions of Buddhist practice.

Its interior is defined by a central niche housing a figure typically identified as Bhaisajyaguru, the Medicine Buddha, often accompanied by attendant figures. The carving style exhibits the sophisticated techniques of the mature Tang Dynasty, characterized by balanced proportions, fluid drapery, and a sense of gentle gravity that distinguishes it from the more rigid, linear styles of the earlier periods.
The layout of the interior is functional and devotional, focusing the viewer’s attention on the central deity whose presence was intended to offer solace and physical relief to the faithful. The stone surfaces within the cave, while subjected to the natural weathering of the Longmen limestone, still retain the subtle modeling of the statues' facial features and gestures. By providing a sanctuary dedicated to the Medicine Buddha, this cave exemplifies the diversity of spiritual needs addressed by the religious community at Longmen, offering a space where iconography served as a direct bridge between the hopes of the individual and the compassionate reach of Buddhist philosophy.

Po Cave

The Po Cave
«It is a cave carved in the Tang Dynasty. Its plane is oval-shaped with a dome ceiling. There are no regular floors and walls in the cave. Each wall is densely populated with Buddhist statues of different sizes in an irregular way. The niches for statues have various shapes and rich themes. A large number of statues were carved during the reign of Emperor Taizong of Tang Dynasty. Among them, the Maitreya statue that occupies the position on the west wall is the statue created by the imperial concubine Liu Jieyu for her son Li Yuanqing.»

Interior of the Po Cave
The Po Cave, designated as Cave 1069, is a distinctive Tang Dynasty chamber known for its unconventional interior architecture.

Unlike the rigidly structured grottoes found elsewhere in the Longmen complex, the interior features an oval-shaped floor plan and a vaulted dome ceiling, creating a more organic and enclosed space. The interior lacks traditional, clearly defined floors or flat, segmented walls; instead, it is characterized by its densely packed, irregular arrangement of Buddhist sculptures of varying sizes, which cover the walls in a highly organic, non-linear fashion.
The cave's artistic program is particularly noted for its rich diversity of themes and the high density of its niches, which were predominantly carved during the reign of Emperor Taizong. A significant focal point within this intimate space is located on the west wall, which houses a prominent Maitreya statue. This specific icon was commissioned by the imperial concubine Liu Jieyu, dedicated to her son, Li Yuanqing, illustrating the cave's role as a site for personal imperial devotion rather than just state-sponsored grandiosity. The overall effect is one of immersive, multi-layered spiritual narrative, distinguishing the Po Cave as a site of intimate, complex, and highly personal religious expression.

Weizi Cave

The Weizi Cave
«It is a cave carved in the Northern Wei Dynasty. It got its name because there are a large number of chronological inscriptions about the Dynasty in the cave. The plane is horseshoe-shaped with a nearly flat ceiling. There is an altar on the main wall with a Buddha, two disciples and two Bodhisattvas on it. Two large niches on the south and north walls are found, which constitutes the theme of the Buddha of Past, Present and Future. The ceiling of the cave is carved with lotuses and flying apsaras. The figures in the cave have slender body and delicate appearance with loose clothes and broad belts. The large niches on the two walls are regular in shape and gorgeously decorated. The Weizi Cave is a medium-sized cave that was designed uniformly during the Northern Wei Dynasty and completed at one time, and it has important historical and artistic value.»

Interior of the Weizi Cave
The Weizi Cave, also known as the Cave of the Venerable Weizi, is a notable, albeit smaller, chamber within the Longmen Grottoes that reflects the artistic transition occurring during the Tang Dynasty.

The interior is characterized by a relatively compact, rectangular layout, designed to foster an atmosphere of intimate devotion. The primary focus of the chamber is a central niche containing a triad—a seated Buddha accompanied by two flanking bodhisattvas—which displays the hallmarks of Tang-period sculptural refinement. These figures are celebrated for their naturalistic, humanized expressions, soft modeling of the facial features, and the graceful, flowing quality of their garments, which contrast sharply with the more static, formal stylings of earlier Northern Wei works.
The walls of the cave are further adorned with a variety of smaller, intricately carved relief figures and decorative motifs that demonstrate the high level of craftsmanship prevalent during the era. These supplemental carvings often include donors and attendant figures, providing historical context to the commissioning and usage of the space. Over time, the cave has retained a sense of quiet sanctity, with the interplay of light and shadow across the limestone surfaces enhancing the depth and detail of the carvings. This cave serves as a poignant example of the diverse, localized expressions of faith found at Longmen, where individual spiritual aspirations were immortalized through the enduring medium of stone.

Tangzi Cave

The Tangzi Cave
«It was started in the Northern Wei Dynasty and continued to be completed in the Tang Dynasty. Most of the statues in the cave were carved in the Tang Dynasty, hence the name-the Tangzi Cave The wooden-like eaves above the facade of the cave were carved in the Northern Wei Dynasty. One Buddha and two Bodhisattvas above the main wall of the cave are carved in the early Tang Dynasty. The rest of the walls are densely populated with statues from the late Northern Dynasty and Tang Dynasty. Among them, the statue of Asokan on the upper part of the main wall is rarely seen in the theme of sculpture.»

Interior of the Tangzi Cave
The Tangzi Cave, or the Cave of the Tang Son, is a small but historically significant chamber within the Longmen Grottoes that reflects the familial and political devotion characteristic of the Tang Dynasty.

The interior is relatively modest in scale, featuring an arched ceiling and a layout designed for concentrated, personal prayer. The walls are adorned with various niches containing smaller-scale Buddhist figures, which are noted for their gentle, rounded features and more naturalistic postures. These sculptures capture the shift away from the earlier, more abstract depictions toward a style that emphasized approachable, humanized figures, common in many of the later grotto additions at the site.
The central focus of the cave is typically dedicated to the merit-making of its benefactors, often associated with imperial family members or high-ranking officials who sought to build religious karma through the commissioning of these works. Despite significant damage and natural weathering over the centuries, the remnants of the interior carvings reveal a refined mastery of detail in the drapery and the serene expressions of the bodhisattvas. As a smaller, more intimate space, the Tangzi Cave provides a unique perspective on the quieter side of religious life at Longmen, contrasting with the monumental scale of the massive, state-sponsored statues found in the neighboring complexes.

Fengxian Cave

Climbing up to Fengxian Cave

Panorama of Fengxian Cave
The Fengxian Cave, or Ancestor Worship Cave, represents the absolute zenith of Tang Dynasty stone carving and serves as the most spectacular monument within the Longmen Grottoes.

The interior is not a cave in the traditional sense, but a vast, open-air niche carved into the cliff face, designed to host a massive, harmonious Buddhist triad. The centerpiece is the monumental Vairocana Buddha, standing over 17 meters tall, whose serene, majestic expression is said to have been modeled after Empress Wu Zetian herself. This central figure is flanked by an elaborate retinue of disciples, bodhisattvas, and guardian figures, each rendered with extraordinary anatomical precision, flowing drapery, and dynamic, lifelike posture that defines the height of high-Tang aesthetic achievement.
The architectural layout of this immense space is carefully engineered to create a powerful sense of awe and spiritual perspective for the viewer looking up from the lower terrace. The flanking figures—particularly the muscular, formidable Heavenly Kings and the fierce Vajrapani guardians—are masterpieces of high-relief sculpture that project a sense of power and protective energy. The strategic use of the natural limestone surface allowed the sculptors to integrate the statues into the mountainside, creating a cohesive environment that blends monumental religious art with the natural landscape. As the largest and most intricate site at Longmen, it stands as a testament to the supreme wealth and artistic sophistication of the imperial court during the 7th century.

Samantabhadra (left) and Ananda (right)
To the right of the central Vairocana Buddha in Fengxian Cave stand the figures of the bodhisattva Samantabhadra and the disciple Ananda, representing the perfect synthesis of wisdom, compassionate action, and devotion.

Samantabhadra is typically depicted as a figure of immense grace, embodying the practice of the vows and the active, expansive nature of Buddhist enlightenment. Symbolically, he represents the realization of the truth through conduct and the universal aspiration to alleviate the suffering of all sentient beings. His presence beside the cosmic Vairocana reinforces the idea that the supreme reality of the Buddha is perpetually manifested through active, compassionate engagement with the world.
Ananda, the primary attendant to the Buddha, stands as a testament to the importance of learning, memory, and spiritual dedication. As the disciple who memorized and preserved the teachings of the Buddha, he represents the intellectual tradition and the essential role of the practitioner as a vessel for the transmission of the Dharma. Together, Samantabhadra and Ananda bridge the gap between abstract cosmic truth and the practical, lived experience of the devotee. Their placement at the right hand of Vairocana emphasizes that spiritual attainment is not merely a meditative state but a lifelong commitment to study, profound recollection of the teachings, and the tireless practice of universal compassion.

Vairocana Buddha
The Vairocana Buddha is the monumental centerpiece of the Fengxian Cave and serves as the supreme embodiment of the cosmic Buddha in the Huayan school of Buddhism.

Standing over 17 meters tall, the figure is characterized by a serene, meditative expression, heavy-lidded eyes, and a gentle, enigmatic smile that suggests a state of profound inner peace and omniscience. Symbolically, Vairocana represents the "Dharmakaya"—the cosmic body of truth—which permeates the entire universe. As the center of the Buddhist cosmos, he is the source of all manifestations and the manifestation of all enlightened truths, embodying the concept that all phenomena are interconnected and emanate from a single, enlightened consciousness.
Spiritually, the statue functions as a visual manifestation of the supreme imperial power of the Tang Dynasty, particularly reflecting the era of Empress Wu Zetian, who is widely believed to have donated personal funds for its creation. Its massive scale and harmonious proportions serve to overwhelm the viewer, facilitating a spiritual experience of awe and humility before the infinite nature of the universe. The figure’s radiating presence, integrated seamlessly into the natural cliffside, acts as a bridge between the celestial realm and the terrestrial world, inviting devotees to transcend their individual concerns and align their consciousness with the eternal, unchanging reality that the Buddha represents.

The Inscription of Recording the Carving of the Lushena Buddha
«The inscription of recording the carving of Lushena Buddha is a written record of the construction of the Giant Lushena Statue Niche (commonly known as the Fengxiansi). It was first engraved on the southeast corner of the lotus base of the Lushena Buddha. After grinding the surface of the base to a polished one with a width of 130 cm and a height of 35 cm, on which it was carved from right to left. There are currently 25 lines left, with a full line of 10 characters. The title of the first line is 3 cm in diameter, and the main text is 2 cm in diameter. The content includes the name of the project, benefactors, subject matter, size, engineering personnel, the establishment of the Fengxiansi, etc. From this, it can be known that the Lushena Statue was built by imperial order of Emperor Gaozong of the Tang Dynasty, and that Empress Wu Zetian donated the project with her own money.»

Kashyapa (left) and Manjushri (right)
To the left of the central Vairocana Buddha in Fengxian Cave stand the figures of the disciple Kashyapa and the bodhisattva Manjushri, representing the essential balance between ascetic discipline and transcendent wisdom.

Kashyapa, depicted as an elderly, weathered figure, serves as the embodiment of traditional monastic rigor and the legacy of the historical lineage. His presence signifies the preservation of the Buddha's teachings through austere practice and dedication, grounding the cosmic nature of Vairocana in the lived reality of human discipline. By standing as a witness to the profound, he represents the bridge between the historical past and the eternal Dharma, highlighting the importance of moral steadfastness.
Manjushri, the bodhisattva of wisdom, stands as the intellectual counterpoint, representing the sharp, piercing insight required to cut through ignorance and realize the ultimate nature of reality. Symbolically, he embodies the profound wisdom that recognizes the emptiness and interconnectedness of all things, acting as the indispensable partner to the compassion represented on the opposite side of the cave. Together, Kashyapa and Manjushri illustrate the two pillars of the Buddhist path: the practical adherence to the monastic tradition and the cultivation of enlightened understanding. Their placement underscores that spiritual enlightenment is achieved through the harmonious integration of disciplined devotion and the piercing light of meditative wisdom.

Heavenly King (left) and Celestial Guardian (right)
The Heavenly Kings and Vajrapani guardians stationed at the periphery of the Fengxian Cave represent the formidable defensive perimeter of the Buddhist cosmos, tasked with protecting the Dharma and the sacred space from malevolent forces.

The Heavenly Kings, depicted with imposing, muscular physiques and intricate armor, are the protectors of the four cardinal directions, symbolizing the reach of Buddhist authority across all realms. Their aggressive postures, often featuring furrowed brows and dynamic stances, serve as a physical manifestation of the power of the enlightened mind to conquer internal delusion and external obstacles. By standing watch, they reassure the devotee that the sacred center remains inviolable, creating a secure environment for spiritual cultivation.
The Celestial Guardians, particularly the Vajrapani, add a layer of fierce, uncompromising energy to this protection, symbolizing the active, transformative power of the Buddha’s teachings. These figures are spiritually significant as they bridge the gap between the mundane, chaotic world and the serene, transcendent realm of the Vairocana Buddha; their presence reminds the practitioner that the path to enlightenment often requires strength, courage, and the shedding of one's ego. The artistic mastery displayed in the exaggerated musculature and flowing scarves conveys a sense of controlled, latent energy, suggesting that the power of the Dharma is always ready to manifest in defense of the truth. Together, these figures transform the cave from a simple worship space into a fortified spiritual fortress, emphasizing the dual nature of Buddhism as both a philosophy of profound inner peace and a dynamic, militant force against the forces of darkness.

Yaksa (Demon)
The Yaksha positioned beneath the feet of the Heavenly Kings in the Fengxian Cave serves as a profound symbolic representation of the subjugation of chaos, ignorance, and malevolence by the power of the Dharma.

Often depicted as a squirming, grotesque, or humiliated figure, the Yaksha embodies the negative forces—both internal passions and external obstructions—that the practitioner must overcome to achieve enlightenment. By placing this figure firmly under the foot of the warrior-like Heavenly King, the sculptors visually demonstrated the absolute authority of the enlightened order over the unruly and destructive impulses of the mundane world.
Spiritually, this motif reinforces the concept of protection and the active defense of the sacred center. The contrast between the imposing, triumphant stance of the Heavenly King and the prostrate, defeated form of the Yaksha emphasizes that true peace is not merely the absence of conflict, but the result of disciplined victory over one's own ego and base desires. This imagery serves as a cautionary yet empowering reminder to the devotee: that through steadfast adherence to Buddhist teachings, the unruly "demons" of greed, anger, and delusion can be rendered powerless, clearing the path toward the realization of the ultimate wisdom embodied by the central Vairocana Buddha.

Three Attendant Bodhisattvas
The Attendant Bodhisattvas flanking the central Vairocana Buddha in Fengxian Cave embody the ideal of compassionate service and the pursuit of enlightenment for the benefit of all beings.

These figures, characterized by their slender, elegant silhouettes, fluid posture, and ornate jewelry, represent the active manifestation of the Buddha’s wisdom in the phenomenal world. By positioning themselves as perpetual attendants, they symbolize the state of readiness and deep empathy required to assist other sentient beings on the path to salvation. Their graceful, swaying stances (known as tribhanga) not only showcase the peak of Tang sculptural beauty but also signify a bridge between the static, transcendent state of the Buddha and the dynamic, changing needs of the faithful.
Spiritually, these bodhisattvas serve as intercessors who bridge the distance between the infinite, cosmic nature of Vairocana and the individual devotee. They represent the cultivation of qualities such as infinite patience, boundless charity, and supreme awareness, providing a relatable model for human spiritual aspiration. In the grand iconographic program of the cave, their presence ensures that the central Buddha remains accessible; they are the vessels through which the Buddha's compassion is distributed throughout the universe. Their elegant, serene forms inspire the practitioner to emulate their spirit of selfless dedication, reminding those who enter the cave that the realization of truth is inextricably linked to the cultivation of an open and compassionate heart.

Fire-burned Cave

The Fire-burned Cave
«It was carved in the Northern Wei Dynasty. The Fire-burned Cave is the highest and largest one among the Northern Wei Dynasty caves in the Longmen Grottoes. The statues in the cave were severely damaged, for it is said to have been burned by fire. Only five large statues of a Buddha, two disciples and two Bodhisattvas remain in the back of the cave. The remaining walls have Buddhist statues of different sizes, one of which was carved as vow-giving by Hu Zhi, wife of King of Qinghe (Yuan Dan), and Yuan Shanjian, who later became Emperor Xiaojing of the Eastern Wei Dynasty. The images of King Father of the East and the Queen Mother of the West riding dragons and tigers symmetrically on the upper part of the cliff outside the cave present a special combination of images with the Buddha, disciples, Bodhisattvas, vajra warriors, and flying apsaras. The combination is only found in the Fire-burnt Cave, and also it is extremely rare among grottoes in China.»

Interior of the Fire-burned Cave
The Fire-burned Cave, located within the Longmen Grottoes complex, is a site defined by the visible remnants of historical damage, likely resulting from accidental fires or intentional vandalism over the centuries.

Its interior presents a stark contrast to the pristine, meticulously maintained shrines nearby, as the limestone walls exhibit significant thermal cracking, discoloration, and spalling. Despite this degradation, the cave remains historically significant as it retains traces of its original layout, which included a modest central altar and various niches designed to house small votive statues. The rough, scorched surfaces provide a haunting record of the site's vulnerability and the long, turbulent history that the Longmen carvings have endured.
Beyond its physical appearance, the Fire-burned Cave serves as a poignant testament to the resilience of Buddhist art. The surviving fragments of carvings, though obscured by soot and structural collapse, offer researchers valuable data on the decorative programs that once populated these smaller, less prominent shrines. The cave’s interior, characterized by its darkened, weathered limestone, creates a somber, reflective atmosphere that invites contemplation on the impermanence of material objects and the persistence of spiritual devotion. It stands as a unique, cautionary piece of the Longmen narrative, illustrating the fragility of cultural heritage in the face of time and environmental trauma.

Guyang Cave

The Guyang Cave

«Located in the southern section of the West Hill, it is the earliest cave carved with rich contents in the Longmen Grottoes. It was first carved around the time when Emperor Xiaowen of the Northern Wei Dynasty moved the capital to Luoyang in 493.

The cave is 11.20 meters high, 6.90 meters wide and 13.70 meters deep. The main wall of the cave is carved with three large statues of a seated Buddha, two standing Bodhisattvas, and the main Buddha, Sakyamuni, is sitting on a high platform with his two legs crossed. It stands 8.90 meters in height with a domed ushnisha. His face is delicate and graceful, and he wears wide robes over the shoulders with hands stacked to perform Dhyana-Mudra. On both sides of the main Buddha stand two attendant Bodhisattvas. They wear crowns gracefully with bare upper body and long skirts. The whole statues were carved by Emperor Xiaowen of the Northern Wei Dynasty to seek blessings for his ancestors with a typical royal style.at era of the Tang Dynasty and a model of Eastern Buddhism.

Neatly arranged large statues are carved in a planned manner on the north and south walls of the cave. Most of them were carved by a group of Northern Wei royal nobles, senior generals, local officials and senior monks who supported Emperor Xiaowen's reforms and followed him to move the capital to Luoyang. Statues of different sizes and shapes on the rest of the walls and even on the ceiling are densely populated, with a total of more than 1,000. The first row of large statues on the upper of the north wall of the Guyang Cave still retains the legacy of the early art of the Yungang Grottoes in Shanxi. The cross-legged Maitreya statue in the middle bears a style of slender body and delicate appearance. The architecture and sculpture art in the Guyang Cave have developed their own unique style due to the exchange, collision and integration of Eastern and Western civilizations and North and South cultures, featured by slender body and delicate appearance with loose clothes and broad belts in an unrestrained and elegant way. The Central Plains style of the royal cave sculpture art demonstrates the vigorous and enterprising spirit of the times during the Northern Wei Dynasty's implementation of Sinicization reforms and the promotion of national integration.

The decoration of the statues in the cave is highlighted. The lintel, backlight and headlight of the statue are intricately decorated with complicated patterns, smooth lines, exquisite carvings and great variety, reflecting the superb carving and painting skills of that time. And most of the statues are engraved with inscriptions with as many as 800 items, making it become a statue with most inscriptions preserved in Chinese grottoes. Nineteen inscribed tablets of the Twenty Gems of Longmen Calligraphy, which represents the essence of Wei epigraphic genre in the history of Chinese calligraphy art, are found in the cave,

The statues and inscriptions in the Guyang Cave provide us with precious historical information to study Buddhist architecture, sculpture art, ancient Chinese music, dance, costumes, surnames, place names, official positions, decorative patterns, Sino-Western transportation and cultural exchanges.»

Interior of the Guyang Cave
The Guyang Cave is recognized as the oldest and one of the most historically significant chambers within the Longmen Grottoes, serving as the foundational site for the complex's extensive epigraphic history.

Its interior features a traditional, deep, horseshoe-shaped layout with a vaulted ceiling, centered around a main triad consisting of a seated Buddha flanked by two bodhisattvas. Unlike the expansive, open-air scale of later additions like Fengxian Cave, the space inside Guyang Cave feels intimate and profound. The walls are densely populated with hundreds of small votive niches, intricate relief carvings, and the renowned "Longmen Twenty" calligraphic inscriptions, which provide an invaluable record of the religious and social motivations of the Northern Wei royalty and high-ranking officials who commissioned them.
The interior atmosphere is defined by a sense of scholarly and spiritual weight, as the abundance of calligraphy offers a direct, written connection to the prayers and merits of 5th and 6th-century donors. The sculptures within the cave exemplify the classic Northern Wei artistic style, characterized by elongated, slender bodies, ethereal facial features, and "style-of-the-lotus" drapery that cascades rhythmically across the limestone surfaces. These aesthetic choices provide a striking contrast to the robust, naturalistic proportions that would emerge in later centuries, capturing the early, transformative period when Indian Buddhist iconography was first being synthesized with Chinese artistic traditions to create a distinct, enduring cultural legacy.

The Twenty Gems of Longmen Calligraphy

«The Twenty Gems of Longmen Calligraphy is the collection of stone inscriptions as memorial texts selected from the existing statues of the Northern Wei Dynasty. They are treasures of the Wei epigraphic genre in the history of Chinese calligraphy art. Nineteen of them are found in the Guyang Cave, and another one is in the Cixiang Cave.

Huang Yi (also known as Xiaosong), a famous epigrapher, calligrapher and painter during the reign of Emperor Qianlong of the Qing Dynasty, was the first to raise the four gems of Longmen, namely: The Statue Inscription of Bhikkhu Huicheng for his Late Father Shi Pinggong, The Statue Inscription Of Sun Qiusheng, Liu Qizu and Other Two Hundred People, The Statue Inscription of Yang Dayan for Emperor Xiaowen and The Statue Inscripion of Wei Lingzang for Wealth and Rank. Later, the name Ten Inscriptions of Longmen emerged. The Twenty Gems of Longmen Calligraphy first appeared in Kang Youwei's and Fang Ruo's books on calligraphy in the late Qing Dynasty. After Kang Youwei's appreciation and evaluation, The Twenty Gems of Longmen Calligraphy was finalized and widely known.

Specifically, the Twenty Gems of Longmen Calligraphy is derived from the following inscriptions as memorial texts: the Statue Inscription of Yuchi for her Dead Son Niu Jue, the Statue Inscription of Yifu for her Dead Husband Zhang Yuanzu, the Statue Inscription of Bhikkhu Huicheng for his Late Father Shi Pinggong, the Statue Inscription of Yuan Xiang, the Statue Inscription of Xieboda, the Statue Inscription of Queen Dowager Gao for her Dead Grandson Yuan Bao, the Statue Inscription of Zheng Changyou for his Late Parents and others, the Statue Inscription Of Sun Qiusheng, Liu Qizu and Other Two Hundred People, the Statue Inscription of Gao Shu, the Statue Inscription of Bhikkhu Huigan for his Late Parents, the Statue Inscription of Queen Dowager Hou for Her Late Husband King Guangchuan He Lanhan, the Statue Inscription of Ma Zhenbai and other 34 people for Emperor Xuanwu, the Statue Inscription of Queen Dowager Hou for her Young Grandchildren, the Statue Inscription of Bhikkhu Fasheng for Emperor Xiaowen and Yuanxiang's Mother and Son, the Statue Inscription of Yang Dayan for Emperor Xiaowen, the Statue Inscription of Yuanxie for his Late Grandmother, Parents and Other Family Members, the Statue Inscription of Yuanyou, the Statue Inscription of Bhikkhu Daojiang for his Masters and Parents, the Statue Inscription of Wei Lingzang for Wealth and Rank, the Statue Inscription of Bhikkhu Cixiang. Among them, the Statue Inscription of Bhikkhu Huicheng for his Late Father Shi Pinggong on the north wall of the Guyang Cave near the entrance of the cave is the only statue inscriptions with positive engraving. The difficulty and exquisiteness of the carving are amazing. It is also very rear among ancient Chinese inscriptions.

Kang Youwei called Northern Wei statue inscriptions as the Longmen style. He spoke highly of it in his books. His words have become the most representative evaluation of the inscription calligraphy art of the Northern Wei Dynasty in modern times.»

Prescription Cave

The Prescription Cave

«It was first carved in the Northern Wei Dynasty and completed in the Northern Qi Dynasty, and continued in the Tang Dynasty. Because the cave is engraved with 140 kinds of medicinal prescriptions from the Tang Dynasty, hence the name. The cave has a structure of front and back chambers. There is a Buddha, two disciples and two Bodhisattvas on the main wall. Buddhist statues from the late Northern Wei Dynasty and the Tang Dynasty are found on both sides. The top of the cave is carved with a three-tiered lotus and a four flying apsaras. Large-scale stone prescriptions are carved on the lintel on both sides of the corridor and on the surface of the Vajra Warriors' pedestal outside the cave.

The prescriptions in this cave are the earliest existing ancient stone-carved prescriptions in China. They treat more than 70 kinds of diseases and they are precious relics of medicine and pharmacology in the early Tang Dynasty. Among them, dahuang decoction and bamboo juice are still widely used in clinical TCM and among the people, reflecting its great achievements and far-reaching influences in traditional Chinese medicine. Due to the unique value of these stone-carved medicinal prescriptions, Premier Zhou Enlai made important instructions to protect and study the medicinal prescription cave well when he inspected the Longmen Grottoes in 1973.»

Interior of the Prescription Cave
The Prescription Cave, or Yaofang Dong, is a small yet remarkably significant chamber situated on the southern cliff of the Longmen Grottoes, dating primarily to the transition between the Northern and Southern dynasties and the early Tang period.

Its interior is characterized by a central niche housing a triad of a seated Buddha and two bodhisattvas, typical of the devotional style of the era. What sets this cave apart, however, is the extensive collection of medical inscriptions carved directly into the stone on both sides of the entrance. These texts, which record over 140 medical prescriptions for various ailments—ranging from internal medicine to surgical treatments—transform the space from a purely religious site into a unique historical repository of ancient Chinese medical knowledge.
The interior layout remains functional and austere, designed to accommodate both the spiritual seeker and those looking to record or study these medicinal formulas. The weathered limestone walls, while displaying the natural signs of aging, serve as a durable manuscript for these ancient healing practices, bridging the gap between spiritual welfare and physical health. By incorporating these practical, life-saving recipes into the sacred environment of the cave, the donors sought to create a holistic space that offered both divine protection and tangible wisdom for the community. This synthesis of Buddhist piety and empirical medical science provides a fascinating look at the multifaceted daily life and priorities of the people living during the peak of the grottoes' development.

Panoramas of the Longmen Grottoes, seen from the east bank of the Yi River