The Western Thousand Buddha Caves (西千佛洞), named for their location west of the Mogao Caves in Dunhuang, are carved into the steep cliffs along the Dang River. Spanning from the Northern Wei and Western Wei dynasties through to the Five Dynasties and Western Xia period, these caves are a crucial part of Dunhuang art. According to records housed in Paris regarding Dunhuang relics, the Western Thousand Buddha Caves were likely carved earlier than the Mogao Caves, possibly overlapping in time with them.
Due to erosion and collapse caused by river water over centuries, only 22 caves remain preserved today. Among them, Caves 1 to 3 are from the Tang dynasty, Caves 4 to 8 from the Northern Wei period, and Cave 16 from the late Tang dynasty. These nine caves are relatively well-preserved compared to the others, many of which have suffered collapses and erosion that obscure the murals, making it difficult to ascertain their exact historical period.
Within the better-preserved caves, most feature a central seat with surrounding niches containing Buddha statues. The walls are adorned with depictions of the Thousand Buddhas of the Noble Age, Buddha seated preaching, and Parinirvana scenes. Below the Buddha images on the central seat and surrounding walls, one can find depictions of bodhisattvas and warriors. Notably, a Northern Wei cave on the south wall’s western section depicts stories from the Sutra of Perfect Enlightenment, and the eastern section depicts the story of Sudhana and Manohara, which are unique to the Northern Wei caves at Mogao and hold distinctive historical value.
Table of Contents
- Basic Information
- Location and Transportation
- Highlights of Western Thousand-Buddha Caves
- Other Attractions in East Dunhuang
Basic Information
| Estimated Length of Tour | 1 – 2 hours |
| Ticket Price | Chinese Citizen: 30 RMB Foreinger: 40 RMB |
| Opening Hours | 8.30 – 17.00 (1st April – 30th November) 9.00 – 16.30 (1st December – 31st March) |
| Telephone Number | 0086-0937-8857158 |
Location and Transportation
The Western Thousand Buddha Caves are located 35 kilometers from Dunhuang City in Gansu Province, China. Currently, there is no public transportation available to this site. Visitors will need to take a taxi or hire a private car to reach the caves.
Highlights of Western Thousand-Buddha Caves
Cave 4 of the Western Thousand-Buddha Caves
Originally constructed during the Sui Dynasty, subsequent renovations during the Tang Dynasty and later periods are evident in the cave’s artwork and structural elements. The lower part of the front chamber has suffered from natural erosion and human activity over time. Notably, the upper part of the front chamber’s north wall features a vivid depiction of Buddha preaching from the prosperous Tang Dynasty. Here, Buddha is seated in meditation posture with a halo above his head, attended by disciples and bodhisattvas, reflecting the robust and full-bodied style typical of the prosperous Tang era.
One of the cave’s most remarkable features is its extensive collection of murals from the Uyghur Khaganate period (10th-early 12th century AD). These include depictions such as seated Buddhas, Bodhisattva transformations, Medicine Buddha scenes, and intricate patterns on the ceiling and walls of the main chamber. The murals from this period often feature sparse compositions with loosely structured figures, demonstrating a stylistic departure from earlier periods. Large-scale preaching scenes adorn the main walls (north and south), where figures are enlarged to fill the expansive mural space.
Of particular interest are the elaborate peony flower patterns that dominate the ceilings of various architectural structures within the cave. Unlike the murals depicting Buddhas and Bodhisattvas, these patterns exhibit a compact structure, vibrant colors, and meticulous detailing, underscoring the emphasis on decorative arts during this period.
The Uyghur Khaganate murals also highlight distinctive characteristics in figure modeling: robust physique, elongated facial features, plump cheeks, slender eyebrows, straight noses, and small mouths. These features emphasize the ethnic and cultural identity of the Uyghur people, showcasing a significant aspect of the Uyghur Buddhist art’s localization.
Cave 7 of Western Thousand Buddha Caves
Cave 7 of the Western Thousand Buddha Caves, dating back to the Northern Wei Dynasty, stands as one of the earliest and most significant caves in the complex. Its square-shaped layout resembles the central pillar caves of the Northern Wei period in the Mogao Caves, Dunhuang. Although the front part with its stepped gabled roof has collapsed over time, the rear section retains its central pillar that extends to the cave’s ceiling. This pillar creates a pathway for Buddhist devotees to circumambulate clockwise around it. Above, a flat chessboard-style ceiling crowns the central pillar, with niches carved into each of its four sides. The statues within and outside these niches mostly date from the Qing Dynasty’s restoration efforts, except for the damaged seated figure in the front niche, which represents an original Northern Wei sculpture.
Despite its damage, this seated Buddha retains a dignified posture, with rounded shoulders and a robe that adheres closely to the body yet flows naturally. The shallow incised patterns on the robe are executed in a slightly staggered, fluid manner, reflecting a transitional style between the early Northern Wei period’s “Cao Yi Chu Shui” style and the later “Xiu Gu Qiang” clear image and decorative broad band style. The representation of the statues combines elements from both Western and Central Plains art styles, making it a significant transitional work.
The cave’s mural layout follows the three-tiered structure typical of the Northern Wei caves at the Mogao Caves, with the upper section depicting lively celestial musicians dancing and playing instruments. The middle section is adorned with numerous Buddha images, while the lower part features robust Vajrapani figures in dynamic and exaggerated poses. These muscular figures exude power and strength, characteristic of the period’s artistic style.
The mural style mirrors contemporary works found in the Mogao Caves, with sturdy figures, well-proportioned anatomy, and attire reflecting Western influence. The artists employed Western techniques of raised and depressed brushstrokes to add depth to facial features and bodies. The color palette, dominated by shades of indigo, green, and earthy red, adds a solemn and warm atmosphere to the cave, enhancing its religious significance.
Cave 19 of Western Thousand Buddha Caves
Cave 19 of the Western Thousand Buddha Caves, constructed during the Five Dynasties period, stands out for its unique architectural and artistic features. The cave has a vertically oriented circular arch-shaped ceiling, which is quite distinctive among the caves in this complex.
The highlight of Cave 19 is its large central niche, where the main statue of a seated Buddha remains intact. This statue is considered one of the best-preserved polychrome sculptures from the Five Dynasties period in the Western Thousand Buddha Caves. The Buddha statue sits in a dignified posture, with a solemn expression and full, rounded features. The detailing of the robe is moderate yet elegant, and the color scheme is subtle and refined, reminiscent of Tang Dynasty sculpture styles.
Along the east and west walls of the cave, platforms were originally built to accommodate sixteen Arhats (disciples of the Buddha), although only thirteen statues remain today. This use of sculpture to depict the sixteen Arhats theme is relatively rare in Dunhuang cave art, highlighting the cave’s significance.
Historical records indicate that during the Southern Dynasties period, figures such as Zhang Sengyou and in the Tang Dynasty, Lu Lengqie and Wang Wei, painted images of the sixteen Arhats. However, it wasn’t until the Five Dynasties period that depictions of the sixteen Arhats began to gain popularity in the Central Plains region through both paintings and sculptures. The appearance of the sixteen Arhats in Cave 19 suggests a synchronous development of Buddhist art between Dunhuang and the Central Plains region.
The cave’s murals are all original works from the Five Dynasties period. The central niche on the front wall depicts ten major disciples of the Buddha, six Bodhisattvas, the Heavenly Kings (the Four Guardian Kings), and other divine beings. On the east and west walls, starting from the top and descending downwards, are the murals of the Arhats. The combination of painted and sculpted representations of so many Arhats within a single cave is quite uncommon in Dunhuang cave art, hence Cave 19 is often referred to as the “Hall of Arhats” by experts.
