The Tianlongshan Grottoes (天龙山石窟) are located in the suburbs of Taiyuan City, Shanxi Province. Carved initially during the Northern Wei Dynasty, they were further developed during the Eastern Wei, Northern Qi, Sui, and Tang Dynasties. The site currently features 25 caves with over 1,500 stone sculptures, 1,144 reliefs, and murals. The grottoes are situated between the eastern and western peaks of the mountain, making them one of the top ten grotto sites in Shanxi Province.
The grottoes are divided into four construction phases. The eastern peak has two layers: the upper layer contains four caves, while the lower layer has eight caves. The first cave on the eastern peak faces east. The western peak features thirteen caves, with caves 11 facing east and caves 19 and 20 facing west, while the remaining caves face south.
Notable for their advanced sculptural techniques, the Tianlongshan Grottoes blend the elegance and softness of Indian Buddhist statues with the fresh rhythms and lines typical of traditional Chinese sculpture. Their influence on Chinese Buddhist iconography has been profound and lasting.
Table of Contents
- Basic Information
- Location and Transportation
- Highlights of Tianlongshan Grottoes
- Vlog about Tianlongshan Grottoes
- History of Tianlongshan Grottoes
- Other Attractions in Taiyuan Suburbs
Basic Information
| Estimated Length of Tour | 2 hours |
| Ticket Price | 50 RMB |
| Opening Hours | 9.00 – 16.30 |
| Telephone Number | 0086-0351-6349668 |
Location and Transportation
The Tianlongshan Grottoes are located on the mountainside of Tianlong Mountain, approximately 40 kilometers southwest of Jinyuan District in Taiyuan, Shanxi Province.
To get there, take a minibus from Taiyuan to Qingxu. Alternatively, you can take Bus 8 to the Jinci stop, then walk around the back of Jinci Temple and ascend Tianlong Mountain via the winding mountain road. Follow the road to reach the grottoes.
Highlights of Tianlongshan Grottoes
Eastern Peak Cave 8
The Buddha statues in Cave 8 exhibit a slightly square facial feature with a refined and slender body. The garments are relatively short with simple pleats. The cave’s sculptures include three Buddha figures on three walls, and four Buddhas on four walls. The central figure is flanked by one Buddha, two disciples, and two bodhisattvas standing on a low platform. The facial features of the Buddha, bodhisattvas, and disciples are balanced and harmonious.
Eastern Peak Caves 2 and 3
The sculptures in these caves predominantly feature seated figures with slender faces and elongated bodies, reflecting a graceful and elegant style. Emphasis is placed on the dynamic and rhythmic lines. The Buddha statues in these caves have a slim visage and long, slender forms, dressed in broad-sleeved robes with straight, step-like patterns. The bodhisattvas are depicted with bare upper bodies and long, pleated skirts, adorned with sashes draped across their midsections or crossing below their abdomens.
The cave ceilings are adorned with lotus-shaped canopies, and each corner features flying celestial beings with double-knotted hairstyles. These figures are depicted with upright torsos and tight-fitting pants, set against a backdrop of swirling clouds. Many of these celestial figures have been damaged by theft, leaving visible tool marks. The secular male donors depicted wear cylindrical, gauze-like high crowns, broad-sleeved robes with crossed collars, and cloud-patterned shoes.
Eastern Peak Cave 1
The statues in Cave 1 are characterized by rounded facial features and robust, muscular bodies. The Buddha figures have flat, low hair knots and wear either double-collar, draping robes or right-baring robes. The robes are thin and fitted, with double lines of pleats visible on the legs. The statues in this cave exhibit a transition from the delicate, ethereal style of the Northern Wei and Eastern Wei periods to a more solid and muscular structure typical of the Northern Qi period. The front panel of the low platform features bas-reliefs of crouching lions, offering incense burners or deities, set in an arched shape. The cave includes a combination of three Buddhas on three walls, with the main figure often in a seated posture. The statues predominantly include a central Buddha with two standing bodhisattvas and two disciples, all featuring rounded faces and robust bodies.
Western Peak Caves 10 and 16
In these caves, the statues also display rounded faces and sturdy physiques. The Buddha figures have low, flat hair knots and wear either double-collar or right-baring robes with a thin, fitted appearance. The robes often show double lines of pleats. The sculptures reflect the Northern Qi style, which emphasizes strong and robust figures compared to the earlier, more delicate styles. The front bas-reliefs often depict crouching lions and divine figures. The cave’s statues include a central Buddha flanked by bodhisattvas and disciples, with the figures characterized by their robust forms and rounded features. Bodhisattvas in this period are adorned with floral crowns and sashes draped down the sides, with exposed upper bodies and short skirts, standing on lotus seats.
Western Peak Cave 9
Cave 9 features a large Maitreya Buddha in the upper section and an eleven-faced Avalokiteshvara in the lower section, flanked by Manjushri and Samantabhadra. The statues have full, rounded faces and well-proportioned bodies with smooth, rounded lines. The cave includes a combination of three Buddhas on three walls, with the left wall typically featuring seated Buddhas, while some caves depict three seated Buddhas. The figures often have water wave or spiral patterns on their hair knots and are dressed in monk’s robes with either right-baring garments or double-collar robes. Some statues wear shoulder-free robes with skirts that drape in an inverted “mountain” shape. The bodhisattvas have high hair knots and floral neck adornments, with gracefully draped sashes. The cave’s details include arched and pointed sections with harmonious proportions between the heads and bodies of the figures, and the bodhisattvas exhibit elegant, flowing drapery with fish-tail-shaped ends, twisting in an “S” shape.
Stele of Merit at Tianlongshan Grottoes
The Stele of Merit is located on the left side of the rock wall in front of the entrance to Cave 8 on the Eastern Peak of Tianlongshan. It measures 222 cm in height, 76 cm in width, and 30 cm in thickness. The top of the stele is carved with a dragon head, a common feature from the Sui and Tang dynasties. The main body of the stele is inscribed with text, featuring 20 lines of script, with approximately 35 characters per line. The base of the stele is damaged, and the tortoise-shaped pedestal is missing.
The inscription on the Stele of Merit can be divided into three main sections: Buddhist Doctrine and Development, Origins and Eulogies of the Statues, and List of Benefactors.
Vlog about Tianlongshan Grottoes
History of Tianlongshan Grottoes
The Tianlongshan Grottoes, located in the outskirts of Taiyuan, Shanxi Province, represent a significant chapter in China’s Buddhist art history. Their development spans several dynasties, reflecting shifts in artistic styles and political influences.
Early Construction (528–550 AD)
The initial phase of the Tianlongshan Grottoes began in the late Northern Wei and early Eastern Wei periods (528–546 AD). During this time, Caves 2 and 3 on the Eastern Peak were carved. The project continued under the Eastern Wei from 534 to 550 AD, a period marked by significant political activity. Grand Chancellor Gao Huan, who controlled Bingzhou (southwest of Taiyuan), used this site for constructing a summer palace and initiated further cave carving. By 547 AD, two caves had reached a considerable scale, showcasing the burgeoning artistic and architectural achievements of the time.
Northern Qi Development (550–577 AD)
The Northern Qi dynasty (550–577 AD) saw the second phase of construction. This phase included the carving of Caves 1 on the Eastern Peak and Caves 10 and 16 on the Western Peak. In 560 AD, Emperor Gao Yan of Northern Qi established Tianlong Temple at the site, reflecting the site’s growing importance and the consolidation of its religious and cultural significance.
Sui and Tang Dynasties (581–704 AD)
The Sui Dynasty (581–584 AD) contributed to the development of Cave 8 and commenced the third phase of construction. The artistic techniques evolved during this period, demonstrating advanced sculptural methods and aesthetic sensibilities.
The Tang Dynasty (673–704 AD) marked the fourth phase of construction, which resulted in the addition of fifteen more caves. This period is noted for its refinement and expansion of artistic styles, as well as increased religious and political patronage.
20th Century Challenges
The 20th century brought significant challenges to the Tianlongshan Grottoes. In 1923, under the influence of Japanese traders, large-scale looting began, causing severe damage. By 1924, many cave faces had been looted, with some statues entirely removed and smuggled abroad. The damage from human activities and wartime destruction left the grottoes in a dire state, with many sculptures and their surrounding environment severely degraded.
Conservation Efforts
From the late 1970s to the mid-1980s, under the leadership of the Taiyuan Cultural Relics Management Committee, conservationists faced numerous challenges, including extensive damage and poor conditions. They managed to repair access roads and trails leading to the grottoes, laying the groundwork for future preservation.
In 1985, the Taiyuan Tianlongshan Cultural Relics Preservation Office was established to manage and protect the grottoes. Between 1985 and 1987, the office restored the protective eaves of Cave 1, known as the “Manshan Pavilion,” after thorough investigation and planning.
From 1990 to 2003, further efforts were made to improve foundational conservation work and infrastructure. These measures included preserving the remaining sculptures and stabilizing the site.
Recent Developments
A significant milestone in the site’s history occurred on February 11, 2021, when the 100th piece of stolen cultural relics, a Buddha head, was returned, highlighting ongoing efforts to recover and protect China’s cultural heritage.
