Datong is an ancient city with a history of more than 2 ,400 years. The city is endowed with rich cultural relics, such as famous city, noted monasteries, well known pagodas, grottoes and illustrious frescoes as well.

The State Council listed Datong as one of the 24 historical and cultural cities in the first batch in 1982. It is also the famous tourism city in China. It administers 7 counties and 4 districts, with a total area of 14,176 square kilometres embracing a total population of 2.76 million, of whom 500,000 million people live in the city proper.

Huayan Temple

In the City of Datong, a secondary capital under both Liao (907-1125) and Jin (1115-1234) two important temples stand side by side: Lower Huayan Temple was completed in 1038 under the Liao and still virtually intact, and Upper Huayan Temple , rebuilt after a fire in 1140, although the five great Buddhas were remade in the Ming Dynasty (13681644) and the frescoes repainted late in the nineteenth century. At Lower Huayan Temple, not only is the sculpture original but also the walls retain the original sutra cases fashioned like scaled-down pavilions, their intricate carpentry providing a rare example of the style of the period. In this sumptuous shrine, architect and sculptor have combined their arts in the service of theology to create a fabulous Buddha world by which the worshipper, on entering the hall, is surrounded and enveloped. Buddhas, Bodhisttavas, guardians and arhats take their apportioned place in a gigantic three-dimensional mandala, the total effect of which is to saturate the eye, and the mind of the believer, with the manifold and all-embracing powers of God. One of the most impressive and deceptive examples of Liao- Jin sculpture is the set of pottery figures of luohan (arhats). The vigorous modelling, the dignity and realism, and above all the three-colour glaze, all suggested a Tang date at a time when the possibility of art of any quality being produced under the Liao and Jin was not seriously considered. But it is now known that North China at this time was the centre of a flourishing culture in which the traditions of Tang art were preserved, with subtle differences, not only in sculpture but also in ceramics, and there is no disgrace in assigning them to the Liao or Jin. These figures, and others executed in dry lacquer, are not so much portraits of individual monks, as expressions of a variety of spiritual states.

The Yungang (Caves) Grottoes

With the wide spread of Buddhism in China in the second century, grotto art was introduced to China from India, developing rapidly between the second and fourth centuries. Grottoes were carved in cliff faces in various places, particularly in North China. The best known among them are the Dunhuang Grottoes and Maijishan Grottoes in Gansu Province , the Longmen Grottoes in Henan Province and the Yungang Grottoes in Shanxi Province. These are the four major treasure troves of Buddhist art in China.

Located 16 kilometres west of Datong city, the Yungang Grottoes are hewn out of cliff-sides in a honeycomb pattern, stretching for 1,000 metres (one kilometre) from east to west. The Grottoes were built more than 1,500 years ago in the Northern Wei Dynasty. The hug~ project got underway around 460. Within four decades, a thousand grottoes and some one hundred thousand Buddhist statues were completed together with large numbers of niches and colourful decorations. Nowadays, more than 51,000 statues remain, the largest being 17 metres high and the smallest only few centimetres. Whether massive or tiny, all are meticulously carved. The Y ungang Grottoes is one of the largest group grottoes in China and also a worldfamous art treasure .

Apart from the Buddhist statues there are multiple niches on the wall of the stone chambers and these are embellished with sculpture of flying Apsaras lS :::;(, Buddhist episodes, edifices, flowers and other quaint designs. They benefit the study of ancient Chinese architecture, sculpture, costumes, art, painting, carving and musical instruments.

Of the existing 53 grottoes, 21 are spacious and divided into three distinct groups: the eastern, middle and western. The eastern group (Grottoes 1 to 4) contains mainly pillars and Buddhist statues; the middle group (Grottoes 5 to 13) and the western group (Grottoes 14 to 21) are the most splendid. Tourists usually begin their tour with the middle group. On entering the first cave tourists are greeted by the 17-metre-tall Buddha carved out of solid rock. The figure is seated in a dignified posture, its facial expression often startling viewers when it comes into view finally from the fourth level of the cave walkway, for its head nearly touches the ceiling. The ear measures 3.1 metres, the foot 4. 6 metres and the middle finger 2 . 3 metres. The walls and ceilings are filled with sculptured niches containing graceful small Buddha and flying Apsaras images. Grotto No 6 is the most magnificent. Also known as the "Grotto of Sakyamuni," it is dominated by a huge square pillar about 15 metres high. The statue was carved out of the rock in the period of 460- 493, when Yungang was the capital of the Northern Wei Dynasty. Yungang, among 52 other major Buddhist cave temples, ranks among the three best grottoes in China and is listed as one of the world's historical and cultural heritages. The walls of the grotto are covered with sculptures of Bodhisattvas, Buddhas and flying Apsaras. Especially attractive are the 20-odd carvings in relief on the four sides of the pillar, depicting scenes from the life of Sakyamuni (founder of Buddhism) from birth until his attainment of nirvana. One impressive sculpture describes Sakyamuni parting from his favourite horse when he left home. The atmosphere of Grotto No 12 is made lively by sculptures of fairies dancing on the ceiling and walls. Of these, the most captivating is a group carved on the northern wall. Some play flutes, while others beat drums. Then there are those playing the pipa, a 4-stringed lute. The conductor of this orchestra is depicted on the opposite wall. Each figure appears very alive and vigorous, all attention on the music. These sculptures shed much light on ancient Chinese musical instruments and their use. The western group of the caves consists of Grottoes No 16 to No 20. These are the earliest of Yungang's remaining grottoes. They are oval in shape and each contains a statue of Buddha 13 to 16 metres high. The most spectacular of the five is Grotto No 18. In its centre is a tall image of the Buddha with a round pillar-shaped body. The upper part of the Buddha is clothed in a stone robe on which the sculptor has carved 1,000 tiny Buddha images. The varied postures and facial expressions of these tiny sculptures are extremely exquisite.

Carved on the eastern wall of the grotto is a smiling goddess with a bottle in her hand. She is leaning slightly forward as though she is about to leave the wall and fly down to share her bottle with the mortals below.

For many centuries, nature and human have caused much damage to the Yungang Grottoes. According to the statistics, 1,400 Buddhist statues were stolen and shipped out of China by foreign plunderers. Quite a number of those remain are missing their heads and limbs.

Since the founding of the People's Republic of China, both the central government and local government have done much to renovate and protect the Yungang Grottoes. Cracked caves and statues have already been reinforced and chemical means have been tried out to deal with weathering. To further protect the Y ungang Grottoes, a new highway has been constructed to bypass the Grottoes.

UNESCO added the Yungang Grottoes in Datong, Shanxi Province to the list of World Heritage in December 2001.

A brief account of the major caves

Caves I - ? : These two caves are located at the eastern end. They were hollowed out at about the same time and planned in the same style, with nearly square ground plans and carved pagoda-pillars in the centre reaching straight to the ceilings. The Buddhas on the walls are mostly weatherworn, except for the J ataka story reliefs at the lower rear part of the east wall in Cave I, which are still relatively intact. Cave III: This is the largest of the Y ungang caves. The face of the cliff into which this cave was carved is about 25 metres high. On its central upper part are twelve rectangular holes, which lead tourists to think that there might have been some wooden structure outside the cave. The cave is divided into a front chamber and a rear chamber. There are now only one Buddha statue and two Bodhisattva statues in the west end of the rear chamber. The faces of these images are plump and smooth, the figures fullbodied. The sculptural style differs from that in all the other caves, being that of later artists of the Sui and Tang dynasties.

Cave]V : The floor plan is rectangular. In the centre stands a carved square pillar. The sculptured images on the pillar and the four walls are badly weatherworn. The only image, which is still well preserved, is that of a Maitreya Buddha sitting cross-ankled on the eastern wall of a small alcove to the west.

Cave V : In front of this cave stands a four-storey wooden hall of five bays (one bay is approximately 15 square metres). This was built in 1651. Rebuilt in 1955, it looks magnificent with its glazed-tile roof. The floor plan of this cave is oval. In the centre is the seated image of a 17-metre-tall Great Buddha, being one of the largest sculptured images in the Yungang caves. The entire surface of the statue was clay-plastered and repainted in the Tang Dynasty. The walls are filled with niches and images. On both reveals of the arched doorway are two Buddhas seated facing each other under a peepul or pipal (regarded as sacred by Buddhists). Above are flying Asparas in relief, with beautiful lines.

Cave ? : The ground plan is nearly square. In the centre stands a two-storey pagoda-pillar of about 15 metres, which reaches up to the ceiling. On the four sides of each storey are carved figures of the Buddha. The four corners of its top have each a carved little nine-storey pagoda borne on an elephant. The walls are full of carved images of Buddhas , Bodhisattvas , Arhats , and Flying Asparas . The ceiling is carved with the thirty-three devas in the Indra heaven (Trayastrimsas) and all kinds of mounts and carriages . Especially remarkable is the J atakas, or life story, of Sakyamuni Buddha, from his birth to his attainment of Buddhahood, carved on the middle and lower parts of the east, south, and west walls, as well as on the four sides of the pagoda-pillar. This cave, with its grand scale and sumptuous sculptures done in refined technique, represents the highest attainment of the art of the Yungang caves.

Cave ?: In front of this cave is a three-storey wooden awning. This cave consists of a front chamber and a rear chamber. In the centre of the main wall of the rear chamber is carved a Bodhisattva on a lion-seat. The other three walls are full of niches and images, among which the Six Worshipping Bodhisattvas carved above the south wall doorway arches are especially beautifuL The many flying Asparas carved on the ceiling, each soaring and wheeling round a lotus blossom, give a very vivid impression.

Cave ?: It is arranged almost in the same pattern as Cave VII. They are in fact twin caves hollowed out in the same period of time. The statues on the four walls here have been badly weatherworn. On the west reveal of the entrance is a statue of Vishnu (Kumarakadeva), with five heads and six arms and riding on a peacock. On the east reveal is a statue of Siva (Mahesvara), with three heads and eight arms and riding on a bull. These motifs are rather rare in the Yungang caves.

Cave ? : This cave consists also of a front chamber and a rear chamber. The pillars on both sides of the doorway of the front chamber are carved in an octagonal form. The upper parts of the east and west walls, as well as the space over the rear chamber doorway, are carved to resemble wooden houses. The other walls are full of niches with images of heavenly musicians (Gandharva Devas) and dancers and intertwining scroll-and-Ieaf designs.

Cave X: Hollowed out in the same period as Cave IX, this cave consists also of front and rear chambers. There are very fine carved patterns on the outside and inside of the doorway arch of the rear chamber. The design is meticulously executed and full of variety. The statue of Buddha in the centre is a very poor clay image made during the Qing Dynasty.

Cave ? : In the centre of this cave stands a square pagoda-pillar reaching up to the roof. On its four sides are carved images of Buddha. But the substitution of painted clay figures of later ages has practically obliterated the original appearance of these images. The two Bodhisattvas in the front part are wellpreserved. The outer walls are filled with niches and images of thousand Buddhas. On the upper part of the southern end of the east wall is carved an inscription giving the date of the statues-in 483.

Cave ? : This cave is also divided into two chambers. The east and west walls of the front chambers have each a niche in the form of a building with three bays in imitation of wooden houses. Within these niches are statues. The eaves-supporting brackets in the form of animal heads of the niches on the west wall have a special form, resembling those on Persian capitals. The top part of the main wall is decorated with a carved band of heavenly musicians (Gandharva Devas) holding different musical instruments. The statues in the rear chamber have mostly clay figures added or original images painted over in later ages.

Cave XIII: In the centre of this cave is a statue of Maitreya Buddha sitting crossankled. It is nearly 13 metres high. Between his right arm and leg stands a four-armed vajra, the sole example of this figure in Yungang. Above the doorway arch on the south wall are the sculptured figures of Seven Buddhas, very lively in expression. The shrine on the east wall is very finely carved and decorated.

Cave??: The front of this cave crumbled long ago, and most of the statues are badly weatherworn. Only on the upper part of the west wall there are still some images in relief. On the east side stands a square Buddhist pillar.

Cave XV: This cave is nearly square in plan. The front wall has niches and statues. On the other walls one finds more than ten thousand tiny seated Buddhas ,neatly arranged in rows, hence the name "the cave of ten thousand Buddhas. "

Cave X? : One of the "Five Caves of Tan Yao * " the earliest built caves. Its floor plan is oval. In the centre stands a giant Buddha on a lotus throne. On the walls above are sculptured a thousand Buddhas and niches.

Cave ??: The floor plan is oval. In the centre a cross-ankled Maitreya :Buddha:xJE ~ fJrtt redines- on a Sumeru-throne . There is a niche with a seated Buddha carved on the east wall, and another with a standing Buddha on the west.

Cave X?: The grand plan is also oval. In the centre stands a Buddha wearing a kasaya decorated with the images of a thousand Buddhas and baring his right arm. On the upper part of the east wall is a skillfully carved statue of a Bodhisattva (one who, out of compassion, forgoes Nirvana in order to save others) carrying a kundika (a vase containing holy water), which is a real masterpiece.

Cave ??r: In the centre of this cave sits 16.7 c metre-tall Sakyamuni statue, the second largest Buddha statue of Yungang. Outside there are two little adjunct caves hollowed out on the east and west sides.

Cave XX: The front wall has crumbled, and the statues are no longer roofed over. The central figure is still relatively well preserved from the bust up. The face is full and round, with an expression of health, firmness and vitality. It is a typical example of the sculptural art of the cave temples of Yungang. Datong also holds the Huayan Monastery, the Shanhua Monastery. The Huayan Monastery, divided into upper and lower parts, was built during the Liao Dynasty. The buildings, statues, frescoes, built-in bookcases and zaojing (a special ceiling structure of some ancient Chinese buildings) of the monastery are all well preserved. With unique style and high artistic level, the monastery is known as "the museum of art of Liao and Jin dynasties. "

China's largest steam locomotive museum is located in Datong Locomotive Plant, where tourists can see the earliest steam locomotive in China and the special railway carriage for Empress Dowager Cixi of the Qing Dynasty.

Datong has two sections of the Great Wall. The outer wall served as a dividing line between agricultural and nomadic life in the past. The inner wall was the second line of defense. Situated between the inner and outer Great Wall, Datong has been a witness to ancient wars waged between tribes on both sides of the wall.

In 2004, the province invested 100 million yuan (US $ 12.09 million) to improve infrastructure and the environment in the area of the Yungang Gottoes. The improvement project consisted of three stages: demolition and removal of buildings from scenic area and tree planting at the scenic site.

The Nine-Dragon Wall

The Nine-Dragon Wall in Datong city was erected in 1392 as a screen (or "Spirit Way" was erected inside the main gate of walled compounds to keep out evil spirits (which travelled exclusively in straight lines) as well as more innocent curiocity seekers) in front of the prince residence of the 13 th son Zhu Guidai of the first Ming emperor Zhu Yuanzhang in 1392 in the Ming Dynasty. The prince residence was destroyed by war in the end of the Ming Dynasty and only the Nine-Dragon Wall remains. The wall is 45.5 metres long, 8 metres high and 2.02 metres thick. There are four nine-dragon screens (walls) in China, two are in Beijing (the one, 25.84 metres long and 1 .42 metres 6.65 metres high, erected in 1602 in Beihai Park; the one, 31 metres long and 6 metres high, built in 1773 in the Forbidden City), and the fourth one, 75 metres long and 5 metres high, which is the largest one, was built in early March 2002·in Nanning, Guangxi Zhuang Autonomous Region. The Nine-Dragon Wall was used as a decoration and was supposed to exorcise evil spirits.