Longmen Grottoes, located at12km south of Luoyang City, is one of the three largest grottoes in China, with the same name as Yungang Grottoes in Datong and Thousand Buddha Caves in Dunhuang.
Longmen is a place with beautiful scenery. The two green hills face each other, and Yishui slowly flows northward. Seen from a distance, it looks like a natural gate, so it was called "A Que" in ancient times. Now "One Que" has become the first landscape of Youlong Gate since ancient times. Bai Juyi, a poet in the Tang Dynasty, once said: "The scenery in the suburbs of Luoyang wins, and Longmen is the first."
Longmen Grottoes were dug around the time when Emperor Xiaowen of the Northern Wei Dynasty moved to Luoyang (AD 494), with a history of 1500 years. Later, after the Eastern and Western Wei Dynasties, the Northern Qi Dynasty, the Northern Zhou Dynasty, the Sui and Tang Dynasties and the Song Dynasty, it was continuously built on a large scale for more than 400 years. Densely distributed on the cliffs of the east and west mountains of Yishui, with a length of 1000 meters from north to south. There are more than 0/300 grottoes/kloc-,2,345 Buddhist caves and niches, more than 50 pagodas and more than 65,438+10,000 Buddha statues. The largest Buddha statue is as high as 17. 14 meter, and the smallest is only 2 cm. In addition, there are more than 3,600 statues and inscriptions in the past dynasties, reflecting the high artistic attainments of the working people in ancient China. Among them, Binyang Middle Cave
Fengxian Temple and Guyang Cave are the most representative.
Longmen Grottoes in Luoyang, Henan Province, located in the southeast of Luoyang, are distributed on the cliffs on both sides of Yishui River, with a length of 1km from north to south. Longmen Grottoes have been excavated since the Northern Wei Dynasty and have a history of more than 400 years. There are more than 2,300 caves and 65,438+10,000 statues, which is a model of ancient sculpture art in China.
Wei Dong-In 495 AD, Qiu Huicheng, the imperial clan of Wei State, began to dig Guyang Cave in Longmen Mountain. From 500 to 523, Emperor Wu and Emperor Di successively dug three large caves in the north, south and south of Binyang Cave. The construction of Shiyang Cave and Binyang Cave cost more than 800,000 people, and the Fangzi Cave and Lianhua Cave dug during the Eastern Wei Dynasty were also dug. Grottoes in the Northern Dynasties were all located in Longmen Mountain, and Guyang Cave was built for more than 50 years from the Hui Dynasty to the end of the Eastern Wei Dynasty, showing many China art forms, and the posture of the giant Buddha changed from the majestic Yungang Grottoes to the gentle and amiable Longmen Grottoes. The Buddha statue represented by the main Buddha in Binyang Middle Cave is smiling. Longmen Grottoes show more China art Buddha statues than Yungang Grottoes.
Tang grottoes-the most prosperous period is the Tang Dynasty, accounting for more than 60% of the total number of grottoes. During the reign of Wu Zetian, most of the grottoes in the Tang Dynasty were excavated, which was related to her long-term presence in Luoyang. Fengxian Temple is the most representative Tang grottoes, with two bodhisattvas 70 feet high, and Ye Jia, Ananda, King Kong and God King each 50 feet high (the length of the Tang Dynasty). The scale is the first in Longmen Grottoes. It took four years, and Wu Zetian paid 20,000 yuan herself.
Longmen 20 series products are precious calligraphy works of Wei Bei. Representing the stele style of Wei Dynasty, it is tall and straight, generous and powerful, and it is the font in the transition from official script to regular script, Guyangdong 19.
There are three caves in Binyang Cave, and the middle cave in Binyang is the masterpiece of Northern Wei Dynasty (386 ~ 5 12). It took 24 years before and after the cave was built, which was the longest excavation. There is 1 1 Buddha in the cave. The main statue of Sakyamuni is carved on the main wall of the cave, with disciples and bodhisattvas standing on the left and right sides. The faces of Buddha and Bodhisattva are thin, with large eyes and flat necks, and the brocade texture is exquisitely carved, which has obvious artistic traces of the western regions. The ceiling is carved with flying sky, which is quite healthy and elegant. It is said that there is also a relief "The Empress Dowager Cixi's Buddha Ceremony" on the two walls of the cave, which is unique in shape and exquisite in composition. Later, it was stolen and chiseled, and now it is placed in the new york Museum. The inscription of Chu Suiliang, the prime minister calligrapher of Tang Dynasty in Dongkou is worth reading.
Wanfo Cave is located in the south of Binyang Cave, and there are many statues in the cave. The north and south stone walls are covered with small Buddha statues, many of which are only one inch or a few centimeters high, and there are more than 1500 statues. The Buddha statue on the main wall sits on the octagonal lotus seat, waist. Four lux at the waist and lotus on the shoulder. There are 54 lotus flowers carved on the back wall, with a bodhisattva or benefactor sitting on each lotus, and musicians embossed on the top of the wall, all of which are elegant and lifelike. There is also a statue of Guanyin Bodhisattva on the south wall along the mouth, with a clean bottle and a dusty tail, which is round and plump, graceful and vivid.
Fengxian Temple is the largest grotto in Longmen in Tang Dynasty. According to the inscription, this grotto was dug in the period of Wu Zetian in Tang Dynasty, which lasted for three years. The Buddha statue in the cave clearly embodies the artistic characteristics of the Buddha statue in the Tang Dynasty, with a plump face and drooping ears, and a perfect, peaceful, warm and kind shape, which is extremely moving. The statue of Rushenafo in the middle of the grottoes is the largest Buddha statue in Longmen Grottoes, with a height of 17. 14m, a head height of 4m and an ear length of1.9m. It is full in shape, magnificent in momentum, smooth in dress lines and extremely artistic in appeal. There are two disciples Ye Jia and Ananda on both sides of the Buddha statue in Lushena. They are docile and pious, and the two bodhisattvas are kind and cheerful. The heavenly king looks strong with a pagoda in his hand. Legend has it that the face of Lushe Buddha was built according to the face of Wu Zetian.
The statue of King Kong Luxe is more moving than the statue of Luxe next to the Buddha statue in Lushena. It is a treasure in Longmen Grottoes. 1953 it was found near the south cave when cleaning up the accumulated soil in the cave. It was stolen and left behind. I saw that King Kong Lux's eyes suddenly exploded and glared at the front, making a second-hand fist, and the muscles in his chest, hands and legs bulged high. The whole statue is bold and unconstrained, powerful and magnificent.
Guyang Cave is the earliest and richest cave in Longmen Grottoes and another representative cave in the Northern Wei Dynasty. There are many statues of the Buddha's niche in Guyangdong, most of which have inscriptions, which record the names of the sculptors at that time, the age and reasons of the statues. These are precious materials for studying calligraphy and sculpture in the Northern Wei Dynasty. Most of the landmark works in the history of China's calligraphy, Longmen Twenty, are concentrated here. "Longmen Twenty Products" stands for Wei Bei, with correct and generous fonts and vigorous momentum. It is the essence of calligraphy art in Longmen Grottoes, and has always been respected by the world.
There is also a prescription cave with 140 prescriptions engraved in it, which reflects the achievements of ancient medicine in China. Carving some prescriptions on stone tablets or caves, which are also found in other places, is an important way to spread ancient medical achievements to future generations.
Longmen Grottoes also retain a large number of religious, artistic, calligraphy, music, clothing, medicine, architecture, Chinese and foreign transportation and other physical historical materials. Therefore, it is also a large stone carving art museum.
● Cultural heritage value: a "milestone" of China Grottoes.
Longmen Grottoes are large in scale, magnificent in momentum, exquisitely carved and rich in content and subject matter, and are regarded as one of the greatest treasures of world classical art.. With its own systematic and unique language of sculpture art, it reveals various laws and rules of sculpture art creation. Before it, the grotto art mostly retained the elements of Gandhara and Tuodala art, while Longmen Grottoes inherited the remote Indian grotto art, followed the style of Yungang Grottoes, and integrated the advanced and profound history and culture of Han nationality in Wei, Jin, Luoyang and Southern Dynasties. Therefore, from the very beginning, the sculpture art of Longmen Grottoes has been integrated with the understanding and strong pursuit of national aesthetic consciousness and form, which makes the grotto art show the trend of China and secularization, which can be called a "milestone" to show the transformation of China grotto art.
Royal Feng Fan
Longmen Grottoes is the most concentrated place where the royal nobles made wishes and statues in the Northern Wei Dynasty and the Tang Dynasty. Royal aristocrats have abundant manpower and material resources, and the grottoes they presided over must be huge and magnificent, bringing together the essence of grotto art at that time, so Longmen Grottoes are very representative. The excavation of these caves is the embodiment of the will and behavior of the royal family, which has a strong ethnic and religious color. Therefore, the rise and fall of Longmen Grottoes not only reflects the rise and fall of China royal family's worship of Buddhism from the 5th century to the10th century, but also reflects some political trends and the development of social and economic situation in the history of China. Its significance is unmatched by other grottoes.
Longmen ershipin
The title of "Longmen Twenty Sales" began in Qing Dynasty. The so-called "Longmen Twenty Pin" refers to the inscriptions of 20 statues selected from Longmen Grottoes in Central and Northern Wei Dynasty, of which 19 are in Guyang Cave and one is in Cixiang Cave. "Longmen Twenty Products" is the quintessence of calligraphy art in the Northern Wei Dynasty. The calligraphy art it represents evolved on the basis of the official script of Han and Jin Dynasties. The font is dignified and generous, rich and simple, with official script style and regular script factors. It is the representative of "Weibei" style and occupies a very high position in the history of calligraphy art development in China.
Located at the end of Xishan Scenic Area in Kunming, starting from Sanqing Pavilion in the north and Datian Pavilion in the south, it is the largest and most exquisite Taoist grottoes in Yunnan. "Longmen Scenic Area" is characterized by "strangeness, strangeness, danger and seclusion". It ranks first among many scenic spots in the western hills of Kunming and enjoys high popularity at home and abroad. Visitors to Kunming should go and see it. Therefore, there is a saying that "if you don't play Xishan, you won't be able to reach Kunming, and if you don't reach Longmen, you will just make a trip to Xishan in vain".
When you climb the stone steps behind Sanqing Pavilion and Xiaoniuquan, you will arrive at the "land of being suddenly enlightened", which is the so-called "Phoenix Cave". There are two stone chambers carved on Phoenix Rock, and there is a stone table in the stone chamber below. The front wall is embedded with six stone tablets, such as "Dianchi farewell map", engraved with Cai Feng prints, with auspicious clouds and Cai Feng dancing, exquisite workmanship and beautiful and vivid image. There are also cliff stone carvings and couplets such as "the sea of clouds", "the stone forest", "the land covered by the sea" and "red rain all the way, thousands of forests scattered in the shade" inside and outside the stone room. During the Qianlong period of the Qing Dynasty, in order to practice asceticism and facilitate all beings, Taoist Wu Qinglai spent 14 years digging two stone paths from Sanqing Pavilion to Shishi and from Shishi to Ciyun Cave. In the cave-digging room, the statues of Guanyin, incense burner, Buddha platform and riding a dragon and tiger are carved on the rocks. Some couplets say: "The stone is now Putuo, and the 500-mile Dianchi Lake is returned to the Buddha Sea; Help people climb the other shore, and I hope that thousands of saints will do their best. " "Laughter is five feet away from the sky, right in the middle of the water." "The cloud outside the cave expresses the cloud, and the sea comes every day."
About 40 meters south from Ciyun Cave along the cliff, you will reach the "Longmen" organized by Yang Rulan and Yang, which took 22 years to build. It is the essence of the whole Longmen Grottoes. There is a cylindrical stone square at the entrance, with the word "Longmen" written on it and "Yuanbao" engraved on it. It is said that it can bless people to get rich and lucky, so tourists like to touch it with their hands. There is a small semi-circular platform at the entrance, which is surrounded by stones. Standing on the platform, people can see the wind at the top and the cliff at the bottom. Five hundred miles of Dianchi Lake is full of smoke and mist. The lake is decorated with white sails and seagulls fly. In the distance, the green hills are like Dai, the white clouds are long, the trees are white, and the plains are picturesque, which is fascinating. Looking back at the stone room, the words "Datian Pavilion" are engraved on the top of the main entrance, and the words "Famous Mountain", "Stone Room" and "Tianlian Sea Mirror" are engraved on the top of the side doors on both sides. The central pillar is engraved with the words: it is difficult to move forward, and you must stand firm; In the middle of nowhere, you'd better keep calm.
There is a censer carved at the entrance of the stone chamber and a Kuixing carved in the middle, which is regarded by Taoism as the god who dominates the article, also known as Wenquxing; North carving Wenchang emperor, the god who dominates fame and status; Guan Yu, the Southern Carver Guan Shengdi, is the master of Wu Shen. Under the two walls, there is a picture of a galloping god, and on the ceiling, there is a picture of Qi Fei, an auspicious cloud crane. A flat peach with green leaves and red fruits is lifelike. The whole project of Longmen is carved on a natural rock, with ingenious conception and exquisite craftsmanship, which is amazing. But as long as you look closely, you will find that the nib in Kuixing's hand is installed separately. According to legend, a master participated in the stone carving project, but his marriage was unfortunate. Later, I participated in the Longmen sculpture and worked hard with my partners for more than ten years. When he finally carved the calligraphy in Kuixing's hand, he accidentally cut off the nib, leaving a flaw in a perfect work of art. He was so sad that he jumped off the dragon gate. The touching story of his dedication to art will remain immortal with the grottoes and be praised by future generations.
Yungang Grottoes are located at the southern foot of Wuzhou Mountain, which is 16 km west of Datong City, Shanxi Province, in northern China. 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 grottoes are carved on the mountain, stretching about 1 km from east to west, with magnificent momentum and rich content. There are 45 main caves, 252 caves and niches, and 565,438+0,000 stone carvings, the largest reaching 65,438+07 meters, and the smallest only a few centimeters. 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. There are 45 main caves with more than 5 1 000 statues, which is one of the largest ancient caves in China. 196 1 was listed as a national key cultural relic protection unit by the State Council, and 200 1 was listed as a world cultural heritage. On May 8, 2007, Yungang Grottoes in Datong City was officially approved by the National Tourism Administration as a national 5A-level tourist attraction.
Yungang Grottoes are magnificent and rich in content. It is the crown of stone carving art in China in the 5th century A.D., and is known as the treasure house of ancient carving art in China. 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 scale of the grottoes in the later period is small, the figures are slender and handsome, and the proportion is moderate. It is a model of grottoes art in northern China and the origin of "skinny and picturesque". 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 carvings in Yungang Grottoes in the middle period and the Chinese-style Buddhist niches developed on this basis have been 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.
Grottoes history
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 the beneficial elements of Kendra art, and created works of art with unique style, which left an important page in the history of sculpture in China. 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-for 0/500 years, Yungang Grottoes have been severely damaged by weathering, water erosion and earthquakes, and were also damaged by man-made before liberation. According to incomplete statistics, 1400-odd Buddha statues with heads of Buddha were stolen overseas, and the axe chisel marks still exist.
Since the founding of New China, with the care of the Party and the government, Yungang Grottoes have been maintained on a large scale for many times, which has properly protected this ancient art treasure house.
Nowadays, Yungang Grottoes have 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 envy and yearn for.
● Introduction to Grottoes
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 Buddha. 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 Buddha III as the main statue and Maitreya in the middle, is 15 high. 6 meters. 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.
Cave 19, the main statue is the statue of the third generation, and the sitting statue of Sakyamuni in the cave is 16. 8 meters, it is 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 statue has a full face, broad shoulders, magnificent shape and vigorous spirit. It is a masterpiece of carving art in Yungang Grottoes.
● Summary
Look at the Buddha statues again. In this 1000-meter-long stone carving group, the statues are as big as 10 meters and as small as a few centimeters, and there are huge stones and stone carvings everywhere, which is a great sight. Their shape and spirit are touching. Some sit in the middle, lifelike, or drum or bell, or holding piccolo or singing and dancing, or holding pipa, facing tourists. These Buddha statues flying in the sky support people's faces, bodies and clothes, leaving behind the wisdom and hardships of ancient working people. These Buddha statues and musicians' statues also clearly show Persian colors. This is a historical testimony of the friendly exchanges between the people of ancient China and other countries. On the basis of traditional sculpture art in China, Yungang Grottoes absorbed and integrated the essence of Indian Gandhara art and Persian art, which is the crystallization of creative labor.