The Longmen Grottoes developed through periods including the Northern Wei and Tang dynasties. Their Buddha figures, clothing, and layouts reflect changes in artistic style and patronage.
Inscriptions record the dates and backgrounds of some images. Studying the sculptures together with their texts helps explain religious and social history.
Early history
The earliest history of the creation of Longmen Grottoes is traced to the reign of Emperor Xiaowen of Northern Wei dynasty when he shifted his capital to Luoyang from Datong; Luoyang's symbolic value is borne by the fact that it served as the historic capital for 13 dynasties. The grottoes were excavated and carved with Buddhist subjects over the period from 493 AD to 1127 AD, in four distinct phases. The first phase started with the Northern Wei dynasty (493–534). The second phase saw slow development of caves as there was interruption due to strife in the region, between 524 and 626, during the reign of the Sui dynasty (581–618) and the early part of the Tang dynasty (618–907).
The third phase, was during the reign of the Tang dynasty when Chinese Buddhism flourished and there was a proliferation of caves and carvings from 626 to the mid 8th century. The last phase, which was the fourth, was from the later part of the Tang dynastic rule extending to the Northern Song dynasty rule, which saw a decline in the creation of grottoes.
Guyang-dong or the Shiku Temple, credited to Emperor Xiaowen, was the first cave temple to be built at the center of the southern floor of the West Hill. Emperor Xuanwu of Northern Wei followed up this activity and excavated three more caves, two in memory of his father, Emperor Xiaowen, and one in memory of his mother; all three caves are grouped under the title of the "Three Binyang Caves" (Binyangsan-dong), which were built by the emperor over a 24-year period. Over 30% of the caves seen now were built during this period.
The Tang sculptures at Fengxian
Of the nine huge carved statues, the highly impressive image of Vairocana Buddha is sculpted on the back wall of the Fengxian. The image is 17.14m high and has 2 m long ears. And the statue is believed to have been modeled after Empress Wu Zetian. An inscription at the base of this figure gives 676 as the year of carving. The Bodhisattva on the left of the main image of Buddha is decorated with a crown and pearls. Also shown is a divine person trampling an evil spirit. The main Vairocana image's features are plumpish and of peaceful and natural expression. Each of the other large statues are carved with expressions matching their representative roles. These were carved at the orders of Empress Wu Zetian, and are considered uniquely representative of the Tang dynasty's "vigorous, elegant and realistic style." The huge Vairocana statue is considered as "the quintessence of Buddhist sculpture in China."
Fengxian
Fengxian, or Fengxian-si, or Li Zhi cave is the Ancestor Worshipping Cave, which is the largest of all caves carved on the west hill built between 672 and 676 through the support of Empress Wu Zetian. The carvings are claimed to be the ultimate in architectural perfection of the Tang dynasty. The shrine inside the cave measures 39 m x35m. It has the largest Buddha statue at the Longmen Grottoes. The Pure Land patriarch Shandao was the overseer of the project, a request he received by imperial decree.
The Vairocana statue also provides at its base the names of the artisans who worked here, the name of the Emperor Gaozong, who was the donor, and also honors Wu Zetian. It is said that Wu Zetian donated "twenty-thousand strings of her rouge and powder money" to complete this edifice. Hence, it is conjectured that the Vairocana Buddha was carved to resemble the Empress herself and termed a "Chinese Mona Lisa, Venus or as the Mother of China". All the images here, which remain undamaged, project character and animation. Statues of Kasyapa and Ananda, the two principal disciples of Vairocana, and of two Bodhisattvas with crowns flank the main statue, in addition to numerous images of "lokapalas (guardians or heavenly kings), dvarapalas (temple guards), flying devas and numerous other figures."