The execution of the caves at Yungang in the first phase,

The main images in these five caves are huge figures of Buddha, each dominating the whole cave. These five caves might be divided into two groups according to their layout and main statues. Caves 18,19 and 20 form one group, each containing three generations of images of Buddha.

Cave 18, figure of Sayamuni	Cave 18, left hand of the main image of Cave 18 firmly holds the front of the robe	Cave 18, the left attendant Bodhisattva

Cave 16, Sakyamuni Buddha	Cave 16, lintel of the niche on the west side of the south wall, celestal musicians appearing alive and vigorous with all their attention on the music	Worshipper's images on the exterior wall of auxillary Cave 1 of Cave 16

Cave 17, A worshipper's image carved inside a niche on the west wall	Cave 17, east side.

It seems certain that the five statues of the Buddha were made for the benefit of the reigning emperor and his four predecessors. The Sakyamuni Buddha statue in Cave 16 represents Emperor Wen Cheng, the reigning emperor. The cross-legged Maitreya Buddha of Cave 17 represents the crown prince Jing Mu who died before ascending the throne. The main images of Buddha in Caves 18,19 and 20 represent Emperor tai Wu, Emperor Ming Yuan and Emperor Dao Wu. The depiction of the three generations of the Buddha was not only for the benefit of the imperial family but also for the purpose of expressing the long history of Buddhism, stretching into the past and into the future. Civil and religious interests seem to have been reconciled, after the persecutions of Buddhists by Emperor Tai Wu, under the terms of mutual benefit and, respect.
The style of the Five Caves of Tan Yao can be traced to the votive art at Liangzhou. It not only features the typical sculptural style of Liangzhou, but also created a new style. These caves have oval floors and dome-shaped roofs, an imitation of Indian thatched huts, with the main figures standing over 10 metres in height. A tunnel, dug into the stone behind the main statue of Cave 20, was obviously inspired by the method of carving colossi caves at Liangzhou and Kucha.

Cave 20, Originally the huge figure was not exposed but concealed behind a front wall which probably collapsed before the Liao Dynasty. The main figure is 14 metres high and seated in the dhyana, a meditating position. The proportions of the figure are exaggerated, with broad shoulders. The eyes are most gracefully proportioned and unusually shown wide open. The clean-cut lines of the contours and the simplicity of carving give the figure great strength and calmness. The manner of representing the folds of the garment are like cords attached to the body alternating with incised lines. This is a representative work of the early Yungang style.

The Buddhist statues in these Five Caves all have the following attributes: a protuberance on the head, slender brows, chubby cheeks, broad shoulders, a strong torso and a straight nose. Some of the Buddha statues are clad in cassocks falling over both shoulders, while others expose their right shoulders, wearing their Sankaksika inside and their collars laced. The heads of the Bodhisattvas are adorned with ornate crowns, modelled on prototypes developed in Central Asia. Small figures of meditating Buddha are seated in the central disc. Tassels hanging from the other discs suggest that the crown was attached to the hair by a large pin. A closely clinging monastic robe covers the body. The clean-cut lines of the contours of the main figure in Cave 20 and the simplicity of the carving give the figure great strength and calmness. The manner of representing the folds of the clothing is like cords attached to the body alternating with incised lines. The zigzag lines on the robes are reminiscent of the styles of Gandhara whereas the body of the main image in Cave 18 which is carved wearing a closely clinging monastic robe, shows the marked individuality of features inspired by Mathura. Although they have such features, they are not simple copies but assimilate foreign art with traditional Chinese art. The construction of the Five Caves of Tan Yao adopted the method of "looking up at a mountain"-an artistic expression which compels a man to look up at the colossi, because the front wall of the caves are so close to the main Buddhas that the observer cannot stand back and look from a distance.

The sculpture of these caves, at the same time, exhibits the method of indicating draperies and jewellery by tense incised lines, typical of Chinese art from the Han Dynasty onwards. Here, a remarkable harmony was established between the native and the imported styles. The muscles of the statues express all the sense of movement and vitality which are the essence of Chinese art. As a representative of the sculptures at Yungang, the main statue of Cave 20 shows the highest attainment of stone carving art of the Northern Wei Dynasty.