The caves at Yungang in phase II, include Caves 1 and 2, Caves 5 and 6, Caves 7 and 8, Caves 9 and 10, forming
four pairs, as well as Caves 11, 12 and 13. As compared with the Five Caves of Tan Yao in phase I , the later types
were far more Chinese in concept, feeling and execution. The motif of the sculpture is varied, from reliefs depicting
the life-story of Sakyamuni Buddha and Jataka tales to statues of Maitreya, Prabhutaratna and Manjusry inspired by
the Saddharma Pundarika Sutra. It was during this period that carvings of secular worshippers appeared first in
Cave 5 at Yungang and then in cave construction throughout China.
The plan of the caves in Phase II appears square. Most of them have an antechamber and back chamber. The ceilings
are carved with checkered patterns. Some have a pagoda-pillar carved in the centre of the caves. In some of the
main chambers, there is a large central Buddha at the back wall with a tunnel dug into the stone behind this image,
which allows the faithful to walk around the image in procession, a rite of worship called circumambulation. These
caves differ significantly from the five early ones, displaying wide variations in architectural features, sculptural
styles and iconographic types. The simplicity and monastic austerity of the earliest shrines was replaced by complex
refinement and exuberant elaboration. The use of traditional Chinese architectural forms also increased remarkably,
and small niches, carved on the walls of the caves, emerged. The layout of the sculptural walls emphasized the
division of upper layer and lower layer, left part and right part. The colossi disappear in favour of smaller
figures more lovingly carved, the faces of the Buddhas and Budhisattvas, are softer and more gentle, and a
heavy dress falls symmetrically over both shoulders. The bodies are swathed in voluminous robes
which completely hide the body and emphasize plane rather than volume. Rhythmically arranged skirts drape
symmetrically over the bases. The previously rounded folds of drapery of the sculpture in phase I are replaced
by symmetrical ridged pleats.
Lu-style niche with a bound curtain embellishment houses a Buddha in
meditation. This sculpture is on the west wall of the back chamber of Cave 7.
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A Siva image on the east reveal of the arched entrance to the back chamber
8. Siva has three heads and eight arms. The figure is seated on a while bull.
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The remarkable evolution of the sculpture here, as compared to that of the first phase, consists of an increase of
inscriptions on the walls of the caves and in the use of traditional Chinese architectural styles and designs.
The repetitious construction of caves in pairs in phase II probably concerns the popularity at that time of Emperor
Xiao Wen and Empress Dowager Feng, who were both respected as "two sages". Caves 7 and 8 are the earliest in phase
II . In these two caves a remarkable harmony was established between the native and the imported styles. The main
images in the back rooms depict the three generations of Buddha. The main figures in the lower niche of Cave 7
represent Sakyamuni and Prabhutaratna seated side by side. The walls of the upper level and the lower level are
covered with bas-reliefs depicting Jataka stories and the life stories of Buddha. The cross-legged Maitreya
Buddha and the guardian and pilgrim images first emerged in these two caves. On the archway of Cave 8 are
images of Vishnu and Siva. These divinities with their many heads and arms are of Indian origin and originally
were not even Buddhist. The six worshippers in the niches above the arch-way of Cave 7 were sculptured elegantly.
They are known as the "six beauties".
A chinese-style roof is depicted over the entrance
to the main chamber from an antechamber in cave 9.
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The flying angel depected on the ceiling of antechamber Cave 9.
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Painted in the Qing Dynasty, the magnificent Caves 9, 10, 11,12 and 13 are commonly called "Wu Hua Dong" the five
exuberant caves. They show the highest sculptural art and are a great help in studying ancient Chinese architecture,
sculpture, costume and musical instruments.
Cave 10.
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Cave 10: A large lotus medaillon with eight flying celestials
whirling around. This carving is on the top of the window.
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Cave 11
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Caves 9 and 10 form a symmetrical pair and have connecting pillared
porches across the front entrances with a typical Chinese roof. The main statue in Cave 9 is Sakyamuni Buddha
while the main image in Cave 10 is Maitreya. There is a new form of sculptural art displayed in the phase II, marking
a new stage of the construction of the Yungang Caves. Every inch of the walls, ceilings and niches teems with
sculptural reliefs, spiritual symbols and celestial beings absorbed into the growing Buddhist pantheon from
diverse sources. These images include brightly colored plump caryatids, flying celestial beings with the swastika
symbol, flowering vines and animal motif.
The characters of the dedication inscriptions on the upper part of the eastern wall of Cave 11, which date back
to 483 A. D, are good examples of Wei style calligraphy.
Cave 12
The atmosphere of Cave 12 is made lively by sculptures of flying celestial beings dancing on the ceiling and
walls. Of these, the most captivating is a group carved on the northern wall. Some play flutes, others beat
drums, and some are shown playing the pipa, a four-stringed lute. Every figure appears alive and vigorous,
with all their attention on the music. These sculptures shed much light on ancient Chinese musical instruments
and their use.
Cave 13: : the colossus of Maitreya
The colossus in Cave 13 is Maitreya. The tiny four-armed guard supporting the right arm of the Buddha is a
new idea in design.
Cave 5
Caves 5 and 6 share the wooden temple structures which were erected in 1651. In these two caves the main
images all depict the three generations of Buddhas, but the bodies of the Buddha are swathed in voluminous
robes which completely hide the body and emphasize plane rather than volume. A heavy dress falls symmetrically
over both shoulders and the sculptors have concentrated on its rhythms and folds. It must be remembered that
in 486 A. D the Emperor decreed that the court should wear Chinese rather than nomadic dress, and this further
step in the sinicization of the northern tribes was rapidly reflected in the sculptures of Yungang. The
attendant figures with their sweeping robes and crossed sashes low on the body, are typically Chinese.
The main figure in Cave 5 is a 17-metre-tall Buddha, the largest statue at Yungang. On the east side of
the northern wall in the front room of this cave is a statue of Buddha with lowered head, long eye-brows,
protruding nose and thin lips.
Cave 6
Cave 6
Cave 6 is dominated by a two-storey square pagoda-pillar some 14 metres high. On the upper part of the
pagoda-pillar against each side are four big niches filled with standing Buddhas. Near the ceiling on the
four comers of this pagodapillar, four elephants are shown, and on their backs are four tiny nine-storeyed
pagodas. The walls of the cave are covered with sculptures of Buddhisattvas, Buddhas, flying apasaras and
so on. Especially attractive are the 39 carvings in relief on the four sides of the pillar, showing scenes
from the life of Sakyamuni from birth until his attainment of nirvana, all depicted with never-failing
vigour. These carvings utilise many different techniques around a central motif and are unique, representing
the Chinese characteristic. In many of the tiny figures high relief was skillfully employed to express
draperies. The sculptural style, iconographic programs, and the whole layout reflect the creation and
evolution of grotto art, based on the tranditional Chinese sculptural arts and a combination of the
northern and southern sculpture styles, directly inherited from the Liangzhou model. So Cave 6 was probably
completed just before the Emperor Xiao Wen moved the capital to Louyang.
The first shrines, namely the Five Tan Yao Caves, present mainly foreign sculptural art styles while the
later Caves 1 through 12, differ significantly from the five early ones, displaying the evolution of the
Chinese style through complex refinement and exuberant elaboration of sculptural art. The art work of these
latter 12 caves inherited the cream of our ancient sculptural art and absorbed and integrated the skill of
foreign art styles. The craftsmen at that time created this special Wei sculpture style, a gem of sculptural
art in the world and laid the foundation for the development of Sui and Tang sculptural art.
Cave 15
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