Mogao Grottoes in Dunhuang

Mogao Grottoes in Dunhuang

Attractions Overview: Buddhist Palace in the world
Attraction Type: Cultural; World Cultural Heritage
Chinese Name: 莫高窟
English Name: Mogao Grottoes
Best Time to Visit: All Year Round
Recommended Visiting Time: 1 Day
Open Hours:c May to October: 08:15-18:00; November to April : 09:15-17:30
Admission Fee: 180 RMB / Person
Address in English: Dunhuang City, Gansu Province
Address in Chinese: 甘肃省敦煌

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The Mogao Grottoes (莫高窟), located at the western end of the Hexi Corridor (河西走廊) in Dunhuang (敦煌), have been carved over a period of approximately 1,000 years, from the Sixteen Kingdoms Period to the Yuan Dynasty (元代). This makes them unique among China’s cave complexes. The Mogao Grottoes are a dazzling repository of ancient Chinese civilization, as well as an important symbol of cultural exchange along the Silk Road (丝绸之路), where different civilizations once interacted.

The grottoes house 735 caves, covering over 45,000 square meters of murals, more than 2,400 clay sculptures, and five wooden eaves from the Tang (唐) and Song (宋) dynasties. As a key representation of Chinese Buddhist art, the site holds an esteemed position in the history of Chinese cave art. The caves were created for Buddhist monks to meditate, worship, and view Buddhist iconography. The Dunhuang Caves (敦煌石窟) are known for their remarkable combination of architecture, sculpture, and murals.

The caves are divided into two sections:

Southern Section: 492 caves that primarily served as places for Buddhist worship.
Northern Section: 243 caves, which were inhabited by monks and craftsmen, containing living quarters and workspaces but lacking murals and sculptures.

Where is Mogao Grottoes?

The Mogao Grottoes, also known as Thousand-Buddha Caves, are located on the eastern foothills of the Mingsha Mountain, 25 kilometers southeast of Dunhuang City.

Historical Background

Dunhuang is located in Gansu Province (甘肃省) at the western end of the Hexi Corridor, historically a strategic crossroads connecting Central China and Western Regions (西域). Since the Han Dynasty (汉代), Dunhuang has been a crucial hub for the Silk Road, facilitating cultural, religious, and economic exchanges between the East and the West. In 111 BCE, during the reign of Emperor Wu of Han (汉武帝), Dunhuang County (敦煌郡) was established as a military outpost to defend against the Xiongnu (匈奴). After the opening of the Silk Road, Dunhuang became a major trading center and a site where different cultures and religions, including Buddhism, converged.

Origins of the Grottoes

The construction of the Mogao Grottoes is believed to have begun in the Sixteen Kingdoms Period around 366 CE. The first cave was carved by the monk Lezan (乐僔), and subsequent constructions were overseen by other monks, including Faliang (法良). During the Northern Liang (北凉) period, the area developed into a small monastic community. Initially, the caves were used for meditation and spiritual practices by solitary monks. Over time, they expanded to serve the needs of the growing religious institutions in the region.

The Growth of Mogao Grottoes

The development of the Mogao Grottoes was greatly influenced by the rise of Buddhism during the Northern Wei (北魏), Sui (隋), and Tang (唐) dynasties. During these periods, Dunhuang became a central point for Buddhist pilgrimage, trade, and cultural exchange. Many caves were sponsored by monks, local elites, and rulers, while others were funded by travelers, merchants, and local residents.

After the An Lushan Rebellion (安史之乱) in the 8th century, Tibetan forces took control of Dunhuang. Under the protection of the Tibetan Empire (吐蕃), the Mogao Grottoes continued to flourish. During the Tang Dynasty, the region became an important religious and cultural center, attracting Buddhist monks and scholars from both China and abroad.

Decline and Revival

Following the Tang Dynasty, Dunhuang and its Buddhist legacy began to experience decline due to the loss of significance in the Silk Road trade and internal instability. In the Yuan Dynasty (元代), the construction of new caves stopped. However, the Mogao Grottoes continued to be an important religious site, albeit in a reduced form.

In the Song Dynasty (宋代) and later, the site fell into disrepair due to political turmoil and the decline of the Silk Road’s economic importance. Despite this, significant restoration and renovation efforts were made during the Qing Dynasty (清代) and continued into modern times.

The Mogao Grottoes were recognized as a National Key Cultural Relic (全国重点文物保护单位) by the State Council (国务院) in 1961, and they were included in the World Heritage List (世界遗产名录) by UNESCO in 1987.

Discovery and Protection

Mogao Grottoes were abandoned during the Ming Dynasty and were largely forgotten.

Qing Dynasty (1644-1911)

During the Qing Dynasty, officials exiled to the western regions of China contributed continuous records of the area’s languages, ethnicities, and geography, including present-day Xinjiang Uygur Autonomous Region and Gansu Province. This tradition of compiling local records has persisted across various dynasties in China. Since the Book of Han (汉书), all official historical records have included a section on the Western Regions (Xiyu Zhuan 西域传). In the early 19th century, Governor Song Jun (松筠) of Ili ordered the creation of local records for Xinjiang, leading to an investigation of the region by Xu Song (徐松) in 1815-1816. He visited Dunhuang and recorded inscriptions on the grottoes of Mogao, noting additional ancient sites. Xu Song later published several works, including Supplementary Notes to the Western Regions of the Book of Han (汉书西域传补注) and Records of Waterways in the Western Regions (西域水道记).

Xu Song also published a collection of poems on Xinjiang, Poems on Xinjiang (新疆赋), another cultural tradition among exiled Chinese intellectuals. Scholars such as Ji Yun (纪昀), who was exiled in 1768, and Hong Liangji (洪亮吉), exiled in 1799, left invaluable first-hand accounts in their poetry and diaries. Xu Naiyu (许乃谷), who served as the magistrate of Dunhuang from 1831 to 1834, continued this tradition and wrote Ode to the Thousand Buddha Caves (千佛洞赋).

Early 20th Century

The early 20th century marked the beginning of systematic archaeological studies of the Mogao Grottoes, coinciding with the discovery of the Dunhuang Manuscripts. Wang Yuanlu (王圆箓), a wandering Taoist priest, arrived in Dunhuang around 1890 and became a local guardian of the grottoes. He raised funds to repair the temples and, in 1900, while cleaning Cave 16, a worker discovered a hidden door leading to a small chamber filled with ancient texts and paintings from the 4th to the 11th centuries. This cave became known as Cave 17, the Library Cave (藏经洞), which contained thousands of manuscripts and paintings.

Following the discovery of the Library Cave, foreign explorers such as M.A. Stein (Marc Aurel Stein, 1862–1943), Paul Pelliot (伯希和), and Japanese explorers including Tachibana Mizutaro (橘瑞超) and Kichikawa Koichiro (吉川小一郎) began removing significant portions of the relics, including scrolls, paintings, and murals. These looting and damage caused significant loss to Dunhuang’s cultural heritage. At the same time, archaeological methods were introduced to catalog and document the cave systems, leading to the publication of early photographs and records of the Mogao Grottoes.

Stein visited Mogao twice, in 1907 and 1914. During his first visit, he purchased manuscripts and silk paintings from Wang Yuanlu and conducted an investigation of the grottoes’ architecture, sculpture, and murals, numbering 20 caves. His publications in 1921, such as Archaeological Notes on the Western Regions (西域考古图记) and The Thousand Buddha Caves (千佛洞), documented his findings. In 2012, scholars like Chandra and others published a compilation of Buddhist paintings from Dunhuang held by the National Museum of India.

Pelliot visited in 1908, purchasing additional manuscripts from the Library Cave and producing the first detailed descriptions, photographs, and cave numbering system for the site. He published a catalog of the caves, Dunhuang Grottoes Catalogue (敦煌石窟图录), between 1920 and 1924. His efforts were instrumental in the early scholarly exploration of Dunhuang, especially in the 1909 presentation of materials from the Library Cave, which led to further study by Chinese scholars like Dong Kang (董康), Luo Zhenyu (罗振玉), and others.

Early 20th Century Discoveries

In 1900, when the Mogao Grottoes were rediscovered, much of the material had already been removed by foreign explorers. Notably, in 1907, Stein acquired significant volumes of texts and artwork, while Pelliot and others continued their research and looting.

In 1924-1925, American archaeologist L. Warner led an expedition to the Northwestern China and conducted an archaeological survey, stealing murals and statues from Cave 328 and performing studies of murals at the Yulin Grottoes (榆林窟).

Meanwhile, Japanese scholar Matsumoto Eiichi (松本荣一) published his monumental Study of Dunhuang Paintings (敦煌画的研究) in 1937, which became a significant reference in the field of Dunhuang art, although it also had limitations in contextualizing the paintings within Chinese history and Buddhist art development.

20th Century Developments in Dunhuang Research

By the 1940s, the Dunhuang Academy (敦煌艺术研究所) was established to focus on the preservation and study of the Mogao Grottoes, under the leadership of Chang Shuhong (常书鸿). The Academy’s mission was to safeguard the caves and their murals, some of which were reproduced by artists like Zhang Daqian (张大千), who visited the site in the early 1940s and produced numerous copies of the frescoes.

In 1944, the Chinese National Dunhuang Art Institute (国立敦煌艺术研究所) was formally established, marking the beginning of systematic conservation work. Over the next decades, archaeological teams continued to document and preserve the site, publishing reports on cave content, inscriptions, and murals. In 1987, UNESCO listed the Mogao Grottoes as a World Heritage site, ensuring international cooperation for the site’s protection.

Modern Archaeological Work and Preservation Efforts

Since the establishment of the Dunhuang Academy and its ongoing research initiatives, the site has undergone extensive conservation efforts. The 1980s and 1990s saw the development of comprehensive plans for site management and preservation in collaboration with international organizations such as the Getty Conservation Institute. Since then, the Mogao Grottoes have been at the center of global efforts to protect and study ancient cave temples.

Key Milestones in Preservation:

1983: The Dunhuang-Turpan Society (敦煌吐鲁番学会) was founded.
1984: The Dunhuang Institute was renamed the Dunhuang Research Academy (敦煌研究院).
1987: The Mogao Grottoes were added to the UNESCO World Heritage List.
2001: The Dunhuang Institute collaborated with Lanzhou University to create China’s first Ph.D. program in Dunhuang studies.
2008: A major conservation project began, with a total investment of 261 million yuan, marking the most comprehensive effort to date.

Three-Story Building (三层楼)

The Three-Story Building refers to Cave 16 and 17, also known as the “Wu Monk’s Cave” (吴和尚窟). This cave, constructed between the 5th and 8th years of the Dazhong era (851–867 AD), was originally the meditation cave of the monk Hong Yu (洪䛒), the abbot of the Hexi Buddhist Circuit (河西都僧统). The structure consists of three caves built into the cliff, with Cave 16 being the largest and the main space featuring murals and sculptures, including a central Buddhist altar. The murals are primarily from the Western Xia period (西夏), with a strong green background and repetitive Buddha figures.

The cave is also a rare example of a cave-within-a-cave, making it unique. The Three-Story Building also contains the famous Hidden Scriptures Cave (藏经洞), which was discovered in 1900. During the Qing Dynasty, when the monk Wang Yuanshu (王圆箓) cleared sand from the cave’s passage, he found a small hidden chamber that contained thousands of ancient Buddhist texts, social documents, and artworks, leading to its fame as the “Cave of Hidden Scriptures.”

Hidden Scriptures Cave (藏经洞)

Cave 17, also known as the Hidden Scriptures Cave or the “Mingsha Stone Chamber” (鸣沙石室), was located on the northern wall of the passageway in Cave 16. It was built between the 5th and 8th years of the Dazhong era (851–862 AD) and originally served as a meditation cave for the monk Hong Yu (洪䛒), the abbot of the Hexi Buddhist Circuit (河西都僧统). After Hong Yu’s death, the cave was converted into a memorial hall by his disciples or relatives.

The cave is nearly square, with a dome-shaped ceiling. It contains a mud sculpture of Hong Yu seated in meditation, along with murals on the north wall showing two Bodhi trees, symbolizing his practice under the Bodhi tree. The murals also depict a female monk holding a phoenix fan and a young woman holding a towel and a staff. In the Western Xia period, gold and plaster were used for the ceiling, with elaborate floral patterns and dragon motifs.

The cave became famous in 1900 when thousands of ancient Buddhist manuscripts, paintings, and other cultural artifacts were discovered. These items spanned from the 4th to the 11th centuries and included texts in various languages, such as Chinese, Tibetan, Uighur, and Sanskrit. The manuscripts were believed to have been hidden due to the threat of invasions during the Western Xia period (西夏) or possibly for protection against Islamic threats during the Tangut Empire’s (西夏) military campaigns.

The discovery of the Hidden Scriptures Cave in 1900 led to the dispersal of these valuable texts and artifacts around the world. The collection included over 50,000 pieces of ancient texts, 5,000–6,000 different types, with around 90% being Buddhist texts and the rest including government documents, religious books, and literary works. The writings also included non-Buddhist materials, such as social, legal, and economic documents, many written in various Central Asian scripts.

The reasons for the cave’s closure have been widely debated. Some scholars suggest it was sealed to protect the texts during the invasions of the Western Xia, while others propose it was sealed due to the abandonment of Buddhist practices and a lack of use for the scriptures after the Tangut forces conquered Dunhuang. The most accepted theory is that the scriptures were hidden during a time of political instability, with the local monks fearing the threat of destruction to their sacred texts.

Art Categories

Murals (壁画)

The murals in the Mogao Grottoes are one of the key aspects of the grotto’s art. The Mogao Grottoes represent a combination of architecture, sculpture, and murals, creating a unique form of three-dimensional art. Murals in the grottoes are painted on the walls, ceilings, and passageways, depicting various Buddhist themes. The cliffs in the area belong to the Jiuquan formation of gravel rock layers, which are difficult to carve but suitable for painting. After the caves were excavated, the walls were coated with plaster, smoothed, and then painted. This technique was less labor-intensive than sculpture, allowing for more detailed depictions of Buddhist scriptures and social life.

There are over 50,000 square meters of murals in the Mogao Grottoes, with the largest single mural spanning more than 40 square meters. These murals cover a wide range of subjects and have been continuously painted from the late Sixteen Kingdoms period through the Yuan Dynasty, reflecting the evolution of Buddhist art over the centuries.

The content of the murals can be divided into several categories:

Iconographic Paintings (尊像画): These depict various Buddhas and Bodhisattvas, such as Shakyamuni (释迦牟尼佛), Maitreya (弥勒佛), Amitabha (阿弥陀佛), and Guanyin (观音菩萨), along with other figures like the Four Heavenly Kings (天王) and various celestial beings. These images are abundant in the Mogao Grottoes and illustrate the key Buddhist deities and figures in rich detail.
Buddha’s Life Story Paintings (佛传故事画): These murals narrate the life of Shakyamuni Buddha, from his birth, enlightenment, and demon-slaying to his attainment of Nirvana. These scenes are often depicted as a series of paintings that illustrate the Buddha’s life in a comic strip format.
Jataka Tales (本生故事画): These murals portray the previous lives of Shakyamuni Buddha, showcasing his acts of self-sacrifice and moral virtues, such as the “Prince Sattva Feeding the Tiger” (萨埵太子舍身饲虎) and “King Sibi Offering His Flesh” (尸毗王割肉贸鸽).
Causes and Conditions (因缘故事画): These paintings depict stories of how Shakyamuni Buddha helped individuals achieve enlightenment, such as the story of “The Monk Who Committed Suicide to Keep His Vows” (沙弥守戒自杀缘) and other stories of miraculous transformations and conversions.
Chinese Mythological Themes (汉族神话题材图画): These murals depict Chinese gods and mythological beings, including the Queen Mother of the West (西王母), the Jade Emperor (玉皇大帝), and the Four Sacred Creatures (青龙, 白虎, 朱雀, 玄武), alongside other deities and supernatural beings.
Buddhist Historical Events (佛教史迹画): These murals illustrate important events in the spread of Buddhism, including the travels of Zhang Qian to the Western Regions (张骞出使西域) and significant miracles and religious stories related to the Buddha’s life and teachings.
Scriptural Transformations (经变画): This category of paintings is devoted to illustrating Buddhist scriptures, with detailed depictions of sutras such as the Lotus Sutra (法华经变) and Amitabha Sutra (阿弥陀经变), representing the various teachings of Buddha.
Donor and Pilgrim Paintings (供养画): These murals depict the donors who sponsored the creation of the caves and paintings, as well as pilgrim scenes, showcasing people of all ranks, from kings to common folk, contributing to the construction of the grottoes.
Decorative Patterns (装饰图案画): These include geometric and natural motifs, such as flowers, dragons, birds, and other decorative elements, often seen on the ceilings, niches, and around Buddha figures. These patterns are vibrant and intricate, showcasing the artistic diversity of the period.

Painted Sculptures (彩塑)

The painted sculptures in the Mogao Grottoes are another essential aspect of its art, combining sculpture, architecture, and painting. The sculptures in the caves were primarily made using a wooden frame structure, with the final figures being coated in clay, painted, and decorated with bright colors. This method allowed for a variety of sculptures, from large standing Buddhas to smaller, finely detailed figures.

The Mogao Grottoes’ painted sculptures span a period of over a thousand years, from the Sixteen Kingdoms period to the Qing Dynasty. Over 3,000 sculptures have been preserved, with more than 2,000 being full-round sculptures and over 1,000 as bas-reliefs. These sculptures are some of the best-preserved ancient painted sculptures in China and are a rare example of this art form worldwide.

The development of painted sculpture in the Mogao Grottoes can be divided into three periods:

Early Period – Development (早期——发展期): This period includes the Sixteen Kingdoms, Northern Wei, Western Wei, and Northern Zhou Dynasties, spanning 180 years. Early sculptures were mainly centered around Maitreya (弥勒佛) and Shakyamuni Buddha (释迦牟尼佛), reflecting the Buddhist beliefs that were transmitted from Central Asia.
Middle Period – Flourishing (中期——极盛期): During the Sui and Tang Dynasties, over a period of 300 years, the number of sculptures increased significantly. The majority of caves from this period followed the rectangular hall design, with a central altar and multiple figures arranged around the Buddha. The Tang Dynasty, in particular, was a golden age for Mogao sculpture, with large and small Buddhas as well as attendant Bodhisattvas, disciples, and kings depicted in highly elaborate and detailed compositions.
Late Period – Decline (晚期——衰落期): The period from the Five Dynasties to the Yuan Dynasty saw a decline in the production of new sculptures, though many of the earlier designs were maintained and replicated. Sculptures from this period, though still valuable, exhibit a loss of the intricate artistry found in earlier periods, and were often less vivid in color.

Artistic Significance

The murals and painted sculptures in the Mogao Grottoes are of immense historical and artistic value, not only as religious artifacts but also as representations of the society, culture, and artistic trends of the time. They offer a unique window into the history of Buddhist art and provide insight into the evolution of religious, social, and political life in ancient China and Central Asia.

The Mogao Grottoes continue to be a vital source for the study of Chinese art, history, and Buddhism, offering a vast collection of ancient paintings, sculptures, and artifacts that span over a millennium.

Architecture

The architectural styles of the Mogao Grottoes are highly regulated and specific. Most of the names of the grotto types, aside from a few (such as the Large Buddha Cave), do not appear in historical texts or oral traditions. The naming and classification of the grottoes are modern developments based on their features, rather than ancient terms or systems.

The various architectural forms of the Mogao Grottoes evolved according to religious rituals, secular beliefs, ethnic aesthetics, and the local geology, adapting to the available materials and cultural influences. Over time, these styles became standardized and widely recognized. The classification of the grotto types is as follows:

1. Central Pillar Caves (中心塔柱窟)

These caves are characterized by a central square pillar that supports the ceiling. The pillar is positioned towards the back half of the cave, with niches carved into four walls (some caves have one or three walls with niches). The front half of the cave is topped with a gabled roof. This form was influenced by the Indian and Xinjiang stupas, combined with the Han-style gabled roofs, and is associated with practices such as meditation, circumambulation, and visual contemplation. This type of cave was common during the Northern Dynasties, with notable examples including Cave 254 and Cave 248 of the Northern Wei (北魏) and Cave 428 of the Northern Zhou (北周).

2. Inverted Bowl-Shaped Caves (覆(倒)斗顶形窟)

These caves are named after their ceiling shape, which resembles an inverted bowl. The cave’s floor plan is typically square, and the walls often feature a niche, generally on the western wall (though occasionally on the southern, western, or northern walls, or even none at all). This cave form, which was influenced by Han tomb structures, is the most common and spans all periods, with particular prominence during the Sui and Tang Dynasties. Typical examples include Cave 249 of the Western Wei (西魏), Cave 296 of the Northern Zhou, Cave 420 of the Sui Dynasty, and Caves 220 and 323 from the early Tang Dynasty (初唐), as well as Caves 328 and 45 from the flourishing Tang period (盛唐).

3. Hall Caves (殿堂窟)

Similar to the inverted bowl-shaped caves, the hall caves include a central Buddha altar, with a statue on the altar and steps leading up to it. There is often a rear screen that extends directly to the ceiling (though some caves lack this feature). These caves were designed for worshipers to circumambulate the altar in a clockwise direction. Hall caves are often large and were primarily constructed during the late Tang and Five Dynasties. Notable examples include late Tang Caves 85 and 196, Five Dynasties Caves 98 and 146, and Cave 25 at Yulin Grottoes (榆林窟).

4. Large Buddha Caves (大像窟)

These caves house monumental Buddha statues, such as the “Northern Buddha” in Cave 96 from the early Tang Dynasty (初唐) and the “Southern Buddha” in Cave 130 from the prosperous Tang period (盛唐). Another famous example is Cave 6 at Yulin Grottoes, which features a large Buddha statue.

5. Nirvana Caves and Seven Buddha Caves (涅槃窟、七佛窟)

These caves are typically rectangular with a vaulted ceiling. The western wall often features a Buddha bed, with a statue of the Buddha in Nirvana (such as in Caves 158 and 148 from the middle and late Tang periods). The Seven Buddha Caves feature seven seated Buddhas, such as those in Cave 365 from the middle Tang period (中唐). These caves were originally called “Nirvana Caves” or “Seven Buddha Caves” and continue to be referred to by these traditional names.

6. Meditation Caves (禅窟)

These caves, typically small, were designed for meditation and contemplation. They feature niches on the left and right walls for meditation practitioners, and were specifically created for monks to engage in Buddhist meditation practices. Examples include Cave 267-271 of the Northern Liang (北凉) and Cave 285 of the Western Wei (西魏).

7. Monk’s Living Quarters (僧房窟)

These caves were used by monks for their daily life and meditation. They do not follow a fixed form and are now largely abandoned.

8. Shadow Caves (影窟)

These caves were built to honor high-ranking monks and feature sculpted figures of these monks along with paintings of attendants. In some cases, these caves were originally used for meditation by the monks during their lifetime. A notable example is Cave 17 from the late Tang period (晚唐).

9. Tomb Caves (瘗窟)

These caves were designed as burial sites for monks’ remains. There is no fixed architectural form for these caves, and they are mostly found in the northern part of the Mogao Grottoes.

The architectural diversity of the Mogao Grottoes reflects a blend of religious and cultural influences over a period of more than a thousand years, making it a unique site for the study of ancient Chinese architecture and Buddhist art.

Historical Value

The Mogao Grottoes offer a rich historical record of ancient Dunhuang and its connections with neighboring regions. The murals and inscriptions in the caves depict the roles of influential families and the activities of ethnic groups like the Tuoba Xianbei, Tibetans, Uighurs, and Mongols in the area. These artworks help us understand the cultural, political, and religious history of the region, including the spread of Buddhism and the role of trade along the Silk Road.

The murals also provide insights into ancient life, showing scenes of agriculture, crafts, and commerce. These include depictions of farming, pottery-making, livestock care, and trade activities, offering a vivid picture of life in ancient Dunhuang. Additionally, the murals highlight sports, such as horseback archery, wrestling, and martial arts.

Dunhuang, as a key stop on the Silk Road, is also depicted in the murals. They show the interactions of merchants from China and the Western Regions, and the challenges of trade, such as encounters with bandits. Emissaries and famous monks, such as Zhang Qian (张骞) and Xuanzang (玄奘), are also depicted, reflecting the cultural and diplomatic exchanges of the time.

Artistic Value

The Mogao Grottoes are a treasure trove of Chinese art, blending local traditions with influences from India, Central Asia, and the Western Regions. The murals showcase a wide range of artistic styles, including figure painting, landscapes, animal depictions, and decorative patterns. These artworks offer a unique insight into the development of Chinese art and Buddhist thought.

Particularly noteworthy are the murals depicting musical and dance scenes, which offer a glimpse into the cultural life of the time. The caves also preserve images of buildings, including temples, palaces, and houses, providing valuable insights into ancient Chinese architecture.

The Mogao Grottoes’ artistic legacy is essential for understanding the development of Chinese art and its cultural exchanges with other regions.

Technological Value

The murals provide valuable information on ancient agriculture, showing farming tools and techniques from the Northern Zhou (北周) to Western Xia (西夏) periods. They depict farming activities such as plowing, harvesting, and threshing, offering a glimpse into the agricultural practices of the time.

Dunhuang also highlights transportation methods, with murals showing ox carts, camel carts, and donkey carts, as well as China’s contributions to transportation innovations, such as the wheelbarrow.

The caves also feature depictions of military armor, particularly horse armor, which reflect China’s military advancements. The discovery of the Dunhuang manuscripts in 1900, which included Buddhist texts and social documents, has provided invaluable material for the study of ancient history, geography, and culture.

Dunhuang’s art and manuscripts continue to attract global attention, making it an important subject of international scholarly research.

How to Get to Mogao Grottoes?

Travel with China Dragon Tours (top recommended)

If you want to get rid of hustle of transportation and troublesome navigation, you can book a private tour package which covers visiting, dining and transfer from us. Our local tour guide and driver will escort you to Mogao Grottoes with speed and convenience, and take care of all the details. You just need to focus on travel.

Independent Travel

For independent travelers you can

For independent travelers, you can take public bus from Dunhuang Hotel which departs every half hour and charges 8 RMB. Taxi is also available, and may charges about 40 RMB.

Main Attractions in Mogao Grottoes

Cave No. 96

No. 96 – this is the symbolic cave of Mogao Caves. Exterior is the famous 9-storey tower, while inside the cave is the highest Buddha of Mogao Caves which is 33 meters high and expresses the beauty standard of Tang Dynasty – chubbiness and elegance.

Cangjin Cave

Cangjin Cave, or the The Dunhuang Library Cave, is famoous for bamboo Slips, Writ and Coins Unearthed in Tunhuang Brilliant, magnificent, colorful and gorgeous, such are the features that make the Dunhuang frescoes aesthetically peerless in the world. The Dunhuang Library Cave saved a large number of Social and historical documents, especially civil society, it is particularly interesting.

Dunhuang Mogao Grottoes Mural Painting

Dunhuang Mogao grottoes mural painting history of China is a shining pearl, one of the most representative of the Tang dynasty is the mural,The overall number, art level of high and wide distribution types in the murals in the mogao grottoes has advantage position. Desks and Sitting Position of the Dunhuang People in the Tang and Five Dynasties Seen in the Dunhuang Paintings

Useful Travel Tips

Ticket:
– April to October: CNY180 (sale of tickets stops at 16:30);
– November to March: CNY120 (sale of tickets stops at 16:00).
Daily allowed visitors are limited (6,000), so it is required to make the reservation at least 7 days in advance.