Located near the ancient imperial capital of Luoyang, the Buddhist cave site of Longmen is composed of 2345 carved caves and niches hollowed out of steep limestone cliffs flanking the Lo River. Throughout early Chinese history, the site was known as Yique, or "Watchtowers on the Yi", a reference to the ancient lookouts on the steep rise of the cliffs over the river then known as Yi. The name Longmen, or "Dragon's Gate", came into use during the later sixth century in reference to the auspicious orientation of the imperial palace's southern gate to the site. Once carving began at Longmen in the mid-fifth century, the site would be a destination for Buddhist pilgrim's for almost half a millennium, with niches and caves being added through the early tenth century. Even after Longmen fell out of active religious use, the site continued to be visited right up until the early twentieth-century by scholars and connoisseurs fascinated by the thousands of carved inscriptions, many of which were seen as the only remaining sources of Chinese classical calligraphy.

Most scholars consider Guyang Cave to contain the oldest carved works to be found at Longmen. In this cave, one can see many inscriptions dated to the earliest period of activity at Longmen, including numerous niches dedicated to the Northern Wei imperial clan. The Northern Wei rulers had already successfully embarked on a large-scale Buddhist carving campaign at the northern cave site of Yungang, located near present-day Beijing. However, by 430 CE, these non-Chinese rulers had conquered the more centrally located Chinese plain, and in 493 CE, the emperor would designate Luoyang the new capital.

Stylistically, the images found from this early period of carving in Guyang Cave easily trace back to imagery found at Yungang, a trait most likely related to the Northern Wei relocation of artisans from the Yungang site down to Longmen. Thanks to the numerous extant inscriptions found at Longmen, scholars have been able to ascertain that the larger commissions at the site were imperially sanctioned, although a number of smaller works were also paid for by lay people and members of the Buddhist community. All of the works can be viewed as a means of acquiring merit, often on behalf of deceased ancestors.

Although the carvings found within Guyang Cave are among the oldest works at the site, the most spectacular carvings date to the later Chinese Tang dynasty. No visitor to Longmen today can ignore the impressive Fengxiansi grotto. Situated high above the riverbed, this array of seven colossal statues dominates the Longmen site. Flanked by two outward-looking, ferocious guardian figures, the Fengxiansi group further includes two bodhisattva figures and two of the Buddha's disciples standing to either side of the central seated Buddha. Archaeological evidence tells us that the grotto once had a roof, which gave way over the years, and eventually was replaced with a wooden facade. This facade has since been removed, and the visitor today must remember that the grotto was once guarded from outside view.

Evidence for patronage of this immense work can be found in a small inscription carved on the lotus base of the central Buddha figure. Not only does this inscription tell us that the central image is that of Vairochana, the Buddha from which all Buddhas emanate, but it also lists the date of construction - 676 CE - as well as the name of the artisans who constructed it and the name of the donor - Emperor Gaozong [r. 649-683 CE]. Even more interesting for some scholars is the fact that, according to the inscription, Emperor Gaozong's wife, the Empress Wu, aided in this endeavor. Empress Wu would later go on to become the only woman to lead China in her own right.

On whose behalf was this immense work undertaken? Scholars argue one of two possibilities, but both can be seen to relate to the name given to the temple once situated directly above the grotto, the Fengxiansi, or "Honoring Ancestors' Temple". This name has been traced back to the Shujing, a Confucian classical text, which states, "When honoring your ancestors, think of how you can prove your filial piety." Either Emperor Gaozong had the grotto carved to gain merit for his deceased father, or Empress Wu did so on behalf of her deceased mother. In both cases, concern for the welfare of the dead and a desire to share in the glory of such an impressive undertaking were certainly the primary motivating factors for the construction of Fengxiansi.

Most visitors to Longmen spend their time wandering through the numerous carved grottos on the western side of the river, never making it to the caves and temples to be found on its eastern shore. Fewer in number and less overtly spectacular, the works found in this area of the Longmen site attest to an active Buddhist monastic community, a community made up of virtually all Buddhist sects. While the western bank of grottos and niches was utilized largely in services to the deceased, the eastern caves and temples were home to thousands of monks. This is also the area where the monks themselves were interred.

The most impressive cave on this side of the water is Kanjingsi, or "Reading Sutras Temple", a cave that is largely empty except for a band of life-size relief figures of monks stretching along its three main walls. Above these figures, remnants of multiple small seated-Buddha images create a pattern reaching up to a lotus carved high above. Kanjingsi is the largest grotto on the east side - a cavern measuring approximately 11 meters square - yet lacking in a dominant Buddha grouping as is seen at most other caves at Longmen and elsewhere.

There is some disagreement over the original condition of the cave - was it always so empty, or was there originally a Buddha figure? This issue aside, the high quality of the life-size relief images of monks parading around the room makes the Kanjingsi cave one of the finest carved works to be found anywhere at Longmen. Displaying accurate movement and a wide range of emotions, the 29 carved monk images carry many of the implements textually noted as having been utilized within a religious context. Therefore, the Kanjingsi images provide strong evidence for the types of activities carried out by the monastic community during the Tang dynasty.

-- Karil J. Kucera

Bibliography:

Chen, Kenneth K.S. "The Role of Buddhist Monasteries in T'ang Society," History of Religions vol. 15 no. 3 (1976): 209-230.

McNair, Amy. "Early Tang Imperial Patronage at Longmen," Ars Orientalis vol. 24 (1994): 65-81.

Weinstein, Stanley. "Imperial Patronage in the Formation of T'ang Buddhism" in Perspectives on the T'ang, Arthur F. Wright and Denis Twitchett (eds.), 265-306. New Haven and London: Yale University Press, 1973.