learning objectives

be able to know the knowledge of Buddhism
be able to retell the history of Chinese grottoes and its development in china
know the major three great grottoes and their features
be able to interpret the Yungang Grottoes and its special art
know the relationship between the grottoes and Buddhism

Content of lecture

1. Introduction of Buddhism
2. Introduction of the Chinese grottoes
3. Brief introduction of Yungang Grottoes
4. History and features of Yungang Grottoes
5. Art of Yungang Grottoes
6. Traveling on Yungang grottoes

PART1 INTRODUCTION of buddhism

1.What’s the Buddhism?
Buddhism is a religion to about 300 million people around the world. The word comes from 'budi', 'to awaken'. It has its origins about 2,500 years ago when Siddhartha Go tama, known as the Buddha, was himself awakened (enlightened) at the age of 35.
佛教是一种约有三亿人信仰的世界性宗教。这个词来自于'菩堤'，意思是'觉悟' 。佛教大约起源于2500年前，是悉达多乔达摩(称为佛陀)在35岁时觉悟后所发起的.
To many, Buddhism goes beyond religion and is more of a philosophy or 'way of life'. It is a philosophy because philosophy 'means love of wisdom' and the Buddhist path can be summed up as:
(1) to lead a moral life,
(2) to be mindful and aware of thoughts and actions, and
(3) to develop wisdom and understanding.
对于许多人来说，佛教超越宗教，更象是一种哲学或'生活艺术' 。说它是一种哲学，因为哲学'意指热爱智慧'。佛教的修行路径可以概括为：
（ 1 ）引导人们过着高尚的道德生活(戒)，
（ 2 ）教人观察身心注意思想行为(定)，
（ 3 ）通过修行获得智慧(慧)。

2 Who Was the Buddha? 佛陀是谁？
Siddhartha Go tama was born into a royal family in Lumbini, now located in Nepal, in 563 BC. At 29, he realized that wealth and luxury did not guarantee happiness, so he explored the different teachings, religions and philosophies of the day, to find the key to human happiness. After six years of study and meditation he finally found 'the middle path' and was enlightened. After enlightenment, the Buddha spent the rest of his life teaching the principles of Buddhism — called the Dhamma, or Truth — until his death at the age of 80.
悉达多乔达摩是在公元前563年出生于在蓝毗尼的一个帝王家族，在现在的尼泊尔境内。在29岁时，他意识到荣华富贵并不能给予人真正的幸福，所以他学习了当时社会上流行的不同的宗教和哲学教义，希望能找到通往真正幸福之路(灭苦之路)。经过六年的学习和冥想(修行)，他终于找到了'中道'后获得了解脱。大彻大悟之后，佛陀终其一生传播佛法，直到他在8 0岁后去世为止
A statue of the Buddha with hands rested gently in its lap and a compassionate smile reminds us to strive to develop peace and love within ourselves. Bowing to the statue is an expression of gratitude for the teaching.
佛像中佛陀的两手轻轻地置于膝盖上以及面带慈祥的微笑提醒着我们要努力从自己的内心中寻求清静与慈爱。对佛像顶礼是表示对佛陀教化的感谢。
(1)迦毗罗卫国是古印度的一个国家，国王是净饭王。他和摩耶夫人，年近40岁未曾生育。膝下无子的国王非常寂寞，一天夜里，摩耶夫人梦见一位菩萨乘白象而来，后来怀了身孕。王纪有喜的消息传开，各国使臣纷纷前来祝贺。
Kapilacastu is one of the ancient India countries, whose king called Suddhodana. He and his wife had not birth a child nearly 40 years. The king was so lonely without one child. One night, the queen dreamed that a Buddha riding a white elephant came into, and then the queen was pregnant. The happy news were spread and other countries came to congratulate.
(2)按当地习俗，妇女应回娘家分娩。公元前454年，摩耶夫人带众人回娘家，在途径毗尼公园时休息。当夫人手攀无忧树时，太子从夫人右腋下降生，取名乔达摩•悉达多。太子出生，天空出现五彩样云。
According to local customs, women should be back home delivery. In the 454 BC, the Maya people back home and had a rest in a park. When the Queen stretched her hand to the Wuyou tree, the prince was born from the right armpit, with the sky appearing colorful clouds.
(3)太子降生时，向东西南北四方各行七步，出现步步生莲花的场面。太子一手指天，一手指地，如狮子般怒吼道：“天上地下，惟我独尊”
After the prince was born, he stepped seven-step to east, west, south and north four directions. Surprised, lotuses were appeared along with his every step. Then the prince fingered the sky and the earth, and roared like lion: “the heaven and the earth, I am the NO.1”
(4)天上九龙口吐圣水为太子洗澡，这天称为“浴佛节”。汉传佛教将农历四月初八定为释迦的生日。
The prince had a bath with nine dragons holy water. This day is called “Buddha Day”. In Chinese Buddhism the eighth of April lunar month is as the Buddha’s birthday.
(5)天人舞乐，大象眉飞色舞，大家迎接净饭王和太子还宫。
Everybody greet the Suddhodana and the prince back to the palace with dancing and playing music. Even the elephant enraptured.
(6)国王请仙人为太子看相，太子相貌出众，不同常人。仙人回票国王说：“太子乃大圣人降世，若留家中将继承王位，若离家则必成佛道”。
The king let a fortune teller to see the future of the prince. The prince looks outstanding, different from the ordinary people. So he said: “the prince is a great sage. He will inherit the throne if he stay at home, or be Buddha if leave home.”
(7)国王为太子建造豪华的三时殿，选来美女让太子享乐，欲使太子消除学佛之心。大家看太子却表现深思熟虑和感触人间烦恼的神情。
To eliminate the prince studying the Buddhism, the king built the great palace and chose the beautiful women for the prince pleasure. But we can see the prince was thoughtful about the world and was touched by the human pains.
(8)太子年满17岁，国王为他娶善觉国公主耶输陀罗为妻。按照风俗要试力定婚，太子一箭穿七面金鼓。
At the age of 17, the king arranged a marriage for his son. At the arranging ceremony, the prince shot across seven golden drum with one narrow.
(9)太子娶妻后，在宫中娱乐。
They are entertainment in the palace after the marriage.
(（10)娶妻生子后，太子向父王提出到宫外游玩要求。
The prince asked for his father to travel out of the palace after he had a child.
(11)一(14)太子乘车出游，分别遇到老人、病人、死人。在一位法相庄严的僧人引导下，研修解脱人生摆脱苦难之道。
During the trip, the prince was encountered in the elderly, the sick and dead. He started to study the way of eliminating the life pain under monk guidance.
（15)太子向父王请求出家修行，遭到父王的拒绝。
The prince requested for a monk to his father and was refused.
(16)太子乘马离宫，四天神托起太子的坐骑逾越城池而去。经过5年寻访，6年苦修，太子终于在菩提树下静坐思维，7天后悟道成佛。
Riding the horse and left the palace, the prince crossed the city away. After 6 years of practice, prince finally attained enlightenment under budi tree.
(17)太子成佛后，被誉为释迦牟尼，这是释迦族圣人的意思。太子本身故事中以“鹿野苑初转法轮图”雕刻精美传神而著称，图中释迦牟尼正在启齿讲经，佛身边的诸弟子面带敬意双手合十洗耳恭听，就连佛陀身边的两头小鹿也因闻佛法而面带微笑。
After the prince got enlightenment, he was known as Buddha, which means the saints Shakya clan.
.3• What did the Buddha Teach? 佛陀的教导是什么？
The Buddha taught many things, but the basic concepts in Buddhism can be summed up by the Four Noble Truths and the Noble Eightfold Path.
佛陀对人们有很多的教导，但基本的教义可以概括为四圣谛与八圣道。
• What is the First Noble Truth? 第一个圣谛(苦谛)是什么？
The first truth is that life is suffering i.e., life includes pain, getting old, disease, and ultimately death. We also endure psychological suffering like loneliness, frustration, fear, embarrassment, disappointment and anger. This is an irrefutable fact that cannot be denied. It is realistic rather than pessimistic because pessimism is expecting things to be bad. instead, Buddhism explains how suffering can be avoided and how we can be truly happy.
第一个圣谛是人生是有种种痛苦的，就是说人生之苦包括疼痛，老化，生病，以及最终死亡。我们还得忍受心理上的痛苦比如孤独，沮丧，恐惧，尴尬，失望和愤怒。这是一个无可辩驳的事实也是不能否认的。这是面对现实而不是悲观，因为悲观主义是预期一切都是不好的。但佛教解释了如何摆脱痛苦以及如何使我们获得真正的快乐。

• What is the Second Noble Truth? 第二个圣谛(集谛)是什么？
The second truth is that suffering is caused by craving and aversion. We will suffer if we expect other people to conform to our expectation, if we want others to like us, if we do not get something we want,etc. In other words, getting what you want does not guarantee happiness. Rather than constantly struggling to get what you want, try to modify your wanting. Wanting deprives us of contentment and happiness. A lifetime of wanting and craving and especially the craving to continue to exist, creates a powerful energy which causes the individual to be born. So craving leads to physical suffering because it causes us to be reborn.
第二个圣谛讲痛苦的原因是渴求和厌恶(贪与嗔)。如果我们期望别人顺从自己的意愿、如果我们希望别人喜欢我们、如果我们没有得到我们想要的东西，发生如此等等的事就会感到痛苦。换言之，得到你想要的并不能保证使你真正幸福。不断地挣扎得到你所希望的，不如尝试放下渴求。不停地渴求只会使我们失去知足与快乐。如果一辈子不停地渴求尤其是渴求继续存在，就会造成了强大的能量从而导致再生。所以渴求导致身心痛苦，因为它使我们转生。

• What is the Third Noble Truth? 第三个圣谛(灭谛)是什么？
The third truth is that suffering can be overcome and happiness can be attained; that true happiness and contentment are possible. lf we give up useless craving and learn to live each day at a time (not dwelling in the past or the imagined future) then we can become happy and free. We then have more time and energy to help others. This is Nirvana.
第三个圣谛是离苦得乐是可以实现的，真正的快乐和满足是可能获得的。假如我们放弃无用的渴求和学习每天生活在当下(而不是停留在过去的忆念中或对将来的想象中），那么我们就会感到快乐与自由。我们还会有更多的时间和精力来帮助别人。这就是涅槃(解脱)。

• What is the Fourth Noble Truth? 第四个圣谛(道谛)是什么？
The fourth truth is that the Noble 8-fold Path is the path which leads to the end of suffering.
第四个圣谛是八圣道可以使人彻底脱离痛苦。

• What is the Noble 8-Fold Path? 什么是八正道？
In summary, the Noble 8-fold Path is being moral (through what we say, do and our livelihood), focusing the mind on being fully aware of our thoughts and actions, and developing wisdom by understanding the Four Noble Truths and by developing compassion for others.
总的来说八正道就是在说话做事及工作谋生上注意守戒(端正品行) ，用心观察我们的思想及行动(修定)，并且从体悟四圣谛中获得智慧以及培养对人的慈悲心。
1.4 How Can Buddhism Help Me? 佛教对我能有什么帮助？
Buddhism explains a purpose to life, it explains apparent injustice and inequality around the world, and it provides a code of practice or way of life that leads to true happiness.
佛教解释了生命的真相，它对世上的种种不公正以及不平等现象(人生的痛苦)作出了解释，并提供了修行解脱的道路，使人走向真正的幸福

Why is Buddhism Becoming Popular? 为什么佛教越来越受人欢迎？
Buddhism is becoming popular in western countries for a number of reasons, The first good reason is Buddhism has answers to many of the problems in modern materialistic societies. It also includes (for those who are interested) a deep understanding of the human mind (and natural therapies) which prominent psychologists around the world are now discovering to be both very advanced and effective.

佛教在西方国家越来越流行有许多原因，首先一个原因是佛教解答了现代功利社会出现的许多问题。还有就是(对于那些有兴趣的人来说)佛教深刻剖析人的心灵，世界各地著名的心理学家都发现佛教对心灵的了解（和自然疗法）都是非常先进和有效的.

PART 2 CHINESE GROTTOES

Grottoes are caves of various kinds chiseled according to the physical features of the mountains. Having similar functions with the Buddhist temples, these caves house the sculptures or statures of Buddha and Buddhist figures in the convenience for Buddhist believers to pay their respects to Buddha and carry forward the Buddhist culture.
China boasts many grottoes in all parts but there is no exact figure about them. Rough estimation shows that they are in several hundred.
Everybody knows China has three great famous grottoes. They are the Yungang Grottoes in Datong, Longmen Grottoes in Luoyang and Mogao Grottoes in Dunhuang. Other believes the figure should be four including the Maijishan Grottoes in Tianshui or the Thousand of Buddha Cave in Kizil.
The building of grottoes began during the second and third centuries in China and some lasted for 1,000 years and went through a dozen dynasties. These grottoes are seldom in the world for their large scales, handwork in construction, the great amounts of intact stone statues, sculptures and murals, and rich contents. Some house only clay statues or colorful murals owing to the loose quality of cliffs. These grottoes provide valuable and rare culture gems for the entire mankind.(from Marve;s of China, 中国奇观，2007)
Features of three great grottoes:
Mogao Grottoes (pre-Qin-Yuan: 350-1368) with most murals in China
Majishan Grottoes (late Qin-Qing: 384-1911) the largest museum of sculpture in the east
Yungang Grottoes (Northen Wei: 386-534) –museum of the earliest stone carving in China
Longmen Grottoes (Northern Wei-tang: 386-907) with most statues in China
Here are the comments of World Heritage Committee: the Grottoes and Buddha niches in the Longmen area indicate the most outstanding ancient Chinese sculpture arts of the largest scale during the period ranging from the late Northern Wei Dynasty to the Tang Danasty( 493 AD-907AD). These art works of Buddhism describing religious subjects with details and accuracy represent the peak of Chinese artistic stone carving.世界文化遗产委员会评价：龙门地区的石窟和佛龛展现了中国北魏晚期至唐代期间，最具规模和最为优秀的造型艺术。这些翔实描述佛教中宗教题材的艺术作品，代表了中国石刻艺术的最高峰。

PART 3 brief introduction of Yungang GROTTOES

2001年12月云冈石窟被列入《世界遗产名录》。
The Yungang Grottoes is considered by the UNESCO a “masterpiece of early Chinese Buddhist cave art representing the successful fusion of Buddhist religious symbolic art from South and Central Asia with Chinese cultural traditions, starting in the 5^th century under imperial auspices.”

云冈石窟距今已有1,500多年的历史，始建于公元460年，由当时的佛教高僧昙曜奉旨开凿。现存的云岗石窟群，是1961年国务院公布的第一批全国重点文物保护单位之一。整个石窟分为东、中、西三部分，石窟内的佛龛，像蜂窝密布，大、中、小窟疏密有致地嵌贴在云冈半腰。东部的石窟多以造塔为主，故又称塔洞；中部石窟每个都分前后两室，主佛居中，洞壁及洞顶布满浮雕；西部石窟以中小窟和补刻的小龛为最多，修建的时代略晚，大多是北魏迁都洛阳后的作品。整座石窟气魄宏大，外观庄严，雕工细腻，主题突出。石窟雕塑的各种宗教人物形象神态各异。在雕造技法上，继承和发展了我国秦汉时期艺术的优良传统，又吸收了犍陀罗艺术的有益成分，创建出云冈独特的艺术风格，对研究雕刻、建筑、音乐及宗教都是极为珍贵的宝贵资料。

Yungang Grottoes were listed as world cultural heritage in December 2001.
Started in 460 by monk Tanyao in Northern Wei Dynasty, Yungang Grottoes now boast a history of 1,500 years. The current Yungang Grottoes are one of the first National key Cultural relic sites published by the State Council in 1961. Divided into the east, the middle and the west part, the Grottoes are a beehive of Buddhism niches. Pagodas dominated the eastern parts,; west grottoes are small and mid-sized with niches, which were built after the capital was moved to Luoyang in Northern Wei Dynasty. Grottoes in the middle are made up of front and back chambers with Buddha statues in the center. Embossing covers walls and ceilings. The grottoes as a whole appear magnificent in image, exquisite in carving and clear in theme. Various religious figures are carved into different expressions and look true-to-life. Absorbing Indian Gandhara Buddhism art, Yungang sculptures developed traditional Chinese are melded with social features of the time. The unique style of Yungang Grottoes provides priceless evidences for studies about carving, architecture, music and religions.

　石窟依山而凿，东西绵延约一公里，共有大小石窟53个，佛雕51000多尊，是我国最大的石窟之一，与敦煌千佛洞、洛阳龙门石窟并称为中国三大石窟艺术宝库。魏著名地理学家郦道元在《水经注》中，记录了当年云冈石窟的壮景：“凿石开山，因岩结构，真容巨壮，世法所希。山堂水殿，烟寺相望，林渊锦镜，缀目所眺”。

As one of the major cave clusters ( the other two are Dunhuang and Longmen) in China, the Grottoes punctuate the north cliff of Wuzhou Mountain, Datong. The area was excavated along the mountain, extending 1 km from east to west, revealing 53 grottoes and over 51,000 stone statues.
The famous geologist Li Daoyuan of the Northern Wei Dyansty had noted in his Shuijingzhu about the scenes of Yungang Grottoes: when the rocks were carved on the mountain, the magnificence of the sculpture was rare in the world. The palaces and temples on the mountain were shrouded in mist and, when one attempted to look further, he could see but an ocean of forests and glittering pools.

纵观群佛，在这绵延一公里的石雕群中，雕像大至十几米，小至几公分的石雕，巨石横亘，石雕满目，蔚为大观。他们的形态，神彩动人。有的居中正坐，栩栩如生，或击鼓或敲钟，或手捧短笛或载歌载舞，或怀抱琵琶，面向游人。这些佛像，飞天，供养人面目、身上、衣纹上，都留有古代劳动人民的智慧与艰辛。这些佛像与乐伎刻像，还明显地流露着波斯色彩。这是我国古代人民与其它国家友好往来的历史见证。云冈石窟，是在我国传统雕刻艺术的基础上，吸取和融合印度犍陀罗艺术及波斯艺术的精华所进行的创造性劳动的结晶。

Seen as a whole, the carving cluster lasts a kilometer, including a wide range of carving of different sizes. Here the visitor can feast his eyes with a profusion of stone carvings, but what impresses him must be their expression. Some figures sit dignified but lively, some beat a drum or strike a bell, some handle a piccolo or simple dance and sing, some hold a lute and face the visitors, and all these Buddhist or fairy figures are embodiments of the wisdom and hardships of ancient laborers. Moreover, these Buddhist and musician carvings are largely Persian-flavored, and this is a historic evidence of friendly exchange between China and other countries. Based on the traditional Chinese sculpture, Yungang Grottoes is highly innovative masterpiece which absorbed the essence of the India Gandhara Buddhist art and the Persian art.（from travel in China: an English reader, 谢先泽）

Useful words and expressions
Indian Gandhara Buddhist are 印度犍陀罗艺术
Niche 佛龛
Embossing 浮雕
True-to-life 逼真的
Shrouded in mist 雾霭笼罩
Piccolo 短笛Persian-flavored 波斯风情的
Carving cluster 雕刻群
Feast one’s eyes 大饱眼福
1. Yungang Grottoes is a treasure house of art as famous as the Ajanta Grottoes of India and the mammoth Buddha sculptures at Bamyan in Afghanistan. (云冈石窟是举世公认的与印度的阿旃陀石窟为代表的佛教艺术、阿富汗巴米扬石窟为代表的巴米扬佛教艺术齐名的东方艺术宝库。)
2. These caves include a variety of vivid religious figures, such as the Buddha, Bodhisattva, disciples and deities. There are also many different shaped wooden constructions done in simple styles, sculptures of the Buddhist story with prominent themes and exquisite decoration, vivid figures of Northern Wei Dynasty, and a large number of carvings of ancient musical instruments, such as Konghou, horizontal bamboo flute, vertical bamboo flute (Bili), Pipe, and others. 这些洞穴包括了各种生动的宗教人物，如佛，菩萨，弟子和神灵。也有许多不同形状的木质结构，在简单的款式，佛教故事的雕塑突出的主题和装饰精美，生动的人物北魏，和大量的古代乐器雕刻如箜篌，竹笛，洞箫（比例），乐管，和其他等。
3. Yungang Grottoes absorbed and incorporated the essence of foreign art in its sculptural techniques and played an important role in world art history. Its images offer valuable materials for the study of politics, economic life, culture, art, and religious belief in ancient Chinese society. It also provides illustrations that trace the communications of early Chinese-Western cultural contacts and friendly exchanges among the peoples of those times. 云冈石窟吸收和吸收外国艺术的雕塑手法，并在世界艺术史上发挥了重要作用。它提供了政治，经济生活，文化，艺术，宗教信仰在中国古代社会研究的宝贵材料。它还见证中国早期与西方文化的接触和那个时代的人民之间的友好交往沟通。
4. The art style of Yungang Grottoes both attracted the essence of overseas carving and developed the tradition of ancient China’s art, taking an important position in the art history of the whole world. The grottoes of the early times are simple and grand with its distinguished Ajanta style; the grottoes of the middle times are exquisite and beautiful for its clear influence from Han Nationality; the grottoes of the later times are completely showing the characteristics of Han Nationality. It is not only the important image materials for the study to ancient China’s politics, economy, culture, art and religion, but also the example of the friendship between China and the other countries.
云冈石窟的艺术风格，既吸收了国外雕刻的精髓又发展了传统中国古代艺术，在整个世界艺术史占有重要地位。早期石窟很简单，其杰出的阿旃陀风格的宏伟;中间时期的石窟是精致和美丽的，受到汉族明显的影响;稍后的时间石窟完全汉族的特点。它不仅为研究中国古代的政治，经济，文化，艺术和宗教提供重要资料，也是中国和其他国家之间的友谊见证。
5. Yungang Grottoes is a monument of artistic achievement and of the human legacy that brings together historic value, artistic value, and scientific value. It is known throughout the world as the soul of oriental stone sculptural art for its large scale, rich content, and exquisite carving. 云冈石窟的艺术成就和历史价值，艺术价值和科学价值是人类遗产的一个纪念碑。同时也是世规模大，内容丰富，精美的东方石雕艺术的灵魂

PART 4 TRAVELING on the Yungang GROTTOES

尊敬的女士们、先生们：
今天，我们将参观举世闻名的佛教艺术宝库——云冈石窟。云冈石窟位于塞外古都、煤海之乡的大同市西约16公里处，从酒店出发需要大约30分钟的时间。利用这暂短的时间，我向大家简单地介绍一下云冈石窟。
Ladies and gentlemen, today we will visit the world-famous treasure house of Buddhist art- Yungang grottoes. It is located 16 km of the west of Datong city, which will takes us about 30 minutes from our hotel. Now I give you a brief introduction of Yungang Grottoes.
云冈石窟是北魏王朝初期开凿的大型石窟，时间约在公元460年的北魏文成皇帝时期，迄今已有1540年的历史。它与甘肃敦煌的莫高窟、洛阳的龙门石窟，并称为中国三大石窟。云冈石窟的开凿比敦煌石窟晚94年，较龙门石窟早35年的时间。它以建筑规模之大、塑像形体之高、保存之完整，而闻名天下。又因对研究中国古代史、佛教史和艺术史有极高的价值，享誉国内外。1961年，国务院将云冈石窟列为全国重点文物保护单位。1973年，法国总统蓬皮杜访华，指名要求参观云冈石窟，9月15日，周恩来总理陪同蓬皮杜总统参观了云冈石窟。
Yungang Grottoes were hewn in the early Northern Wei dynasty, which has more than 1,500 years history. Yungang Grottoes, with Dunhuang Mogao Grottoes in Gansu Province and Longmen Grottoes in Henan Province are regarded as the Chinese three great Grottoes. As far as its construction, it is earlier 35 years then Longmen and later 94 years than Dunhuang Grottoes. As we know, It is noted for its large scale, high sculpture and integrity preservation, which plays an very important role in studying on the ancient Chinese history, Buddhism history and art history. In 1961, Yungang Grottoes were listed as the national key cultural relic protection units. In 1973, during French President Georges Pompidou’s visiting China, he visited the Yungang Grottoes on September 15, accompanied by Premier Zhou Enlai.
　　我们乘坐的汽车已驶入停车场，大家请按顺序下车，在云冈石窟门前集合。
女士们、先生们，大家现在看到的像蜂窝一样排列的许多洞窟，就是云冈石窟。石窟开凿在武周山的山崖上，武周山的最高处称云冈，故名云冈石窟，原名灵岩寺，亦称石佛寺。云冈石窟为什么开凿在武周山？这与武周山这块风水宝地密切相关。武周山坐北向南，武周川内山清水秀，可以说是“藏风得水”的好地方。武周山，又称武周塞，从北魏的旧都盛乐(内蒙古和林格尔西北)到达新都平城(大同市)均要经过这里。武周山位于内外长城之间，是北魏通向北方的咽喉要道，当时人马商队来往频繁，还驻扎了重要的军队，皇帝经常在这里议论国家大事。武周山成为北魏皇帝祈福的“神山”，他们在这里遥拜北方，祈求神灵保佑江山社稷。因此，北魏皇帝在“神山”开凿石窟，创建寺院，也在情理之中。
Now, we have been the parking lot. Please get off the car and take care of your belongings.
Ladies and gentlemen, In front of us, we can see so many caves just like honeycomb, that is, Yungang Grottoes. Yungang means the top of the mountain. The grottoes were hewn on the mountain top, so its name has came into been. In the ancient time, the emperor regarded here as the holy land and began to haw caves and built temples for the gods bless.
After the decline of the Jin Dynasty, the northern parts of China came under the control of the Northern Wei Dynasty, ruled by a proto-Mongolic tribe called Tuoba. They made the city of Pingcheng, now known as Datong, their capital. Due to its promotion, Pingcheng saw an increase in construction work. The Northern Wei early adopted Buddhism as their state religion. Buddhism arrived in this location via travel on the ancient Silk Road.
The work ob this first period of carving lasted until the year 465 AD, and the caves are now known as caves 16-20. Beginning around the year 471AD, in a second construction phase that lasted until 494 AD, the twin caves5/6, 7/8, 9/10 as well as 11, 12 and probably 13 were constructed under the supervision and support of the imperial court. The imperial patronage ended in 494 AD with the move of the Wei court to the new capital of Luoyang. All other caves emerged under private patronage in a third construction periods, lasting until 525 AD, when the construction came to a final halt due to uprisings in the area.

所谓“石窟”，就是在石壁山崖上开凿的洞窟，这里冬暖夏凉，幽静神秘。古印度佛教兴起后，佛教信徒、僧侣将石窟作为礼佛和修行的场所。因为，依山雕凿石窟、佛像，比用砖石筑建寺院经久耐用。佛教是汉代经著名的丝绸之路开始传入中国，石窟寺艺术的传人，大约在3世纪。我国新疆天山南麓的克孜尔千佛洞是最早的石窟，沿丝绸之路东行还有帕孜克里克千佛洞，进入河西走廊是著名的敦煌莫高窟，安西榆林窟、天水麦积山石窟，从甘肃继续东进则是宁夏须弥山石窟、大同云冈石窟、洛阳龙门石窟等。武周山的地层岩石属于株罗纪的长石石英砂岩，石质坚硬，结构紧密，有利于石窟和造像的雕凿。
The so-called cave is dug on the cliff face on the mountain. With the rise of Buddhism in ancient India, Buddhists, monks and Buddha chose the cave as their place for praying Buddhism and daily practice. Here, stone hard. Compact structure, is conductive to the caving caves and statues.
现在，大家已随我进入云冈石窟的山门，我身后的石窟参观示意图，大致告诉我们参观路线。云冈石窟依山开凿，东西绵延1公里，现存主要洞窟45个，分为东、中、西三区，东部4窟，中部9窟，西部32窟。此外还有许多小型洞窟。共计1100多龛，大小造像51000多躯。从云冈石窟西行约3公里，武周川北有吴官苍石窟。再溯河西行，距云冈15公里的高山镇，还有焦山石窟。这么多洞窟如果要细看的话，也许你一个星期的时间也看不完，目前开放有40多个洞窟，仔细观看需要2天的时间。按传统参观路线，如果大家时间充足，先从东部第1窟开始，直到第45窟结束。如果仅参观2个小时左右，则主要游览第5、6窟、五华洞、昙曜五窟。
Now, we have been into the great gate. From this tour route, Yungang grottoes, the existing 45 major caves, are divided into western, central and west areas, which will takes us 2 days to carefully watch them. So we visit only 2 hour or so, mainly NO.5, Wuhua Caves and Tanyao Five Caves.
云冈东部窟群，指云冈石窟东端1——4，均为塔洞。第1、2窟为同期开的一组，凿于孝文帝迁洛前，窟内中央雕造方形塔柱，四面开龛造像。第一窟主像是弥勒，塔南面下层雕释迦多宝像，上层雕释迦像。浮雕五层小塔，是研究北魏建筑的资料。第二窟是释迦像，塔南面下层雕释迦多宝像，上层雕三世佛。两窟南壁窟门两侧都雕有维摩、文殊。
第三窟为云冈石窟中规模最大的洞窟，前立壁高约25米，传为昙曜译经楼。窟分前后两室。前室上部左右各雕一塔，中雕方形窟室，主像为弥勒，壁面满雕千佛。后室南面两侧雕刻有面貌圆润、肌肉丰满、农纹流畅的一佛三菩萨。坐像高约10米，二菩萨立像高6.2米。从风格和雕刻手法上看，很可能是初唐时的作品。
第四窟风化水蚀严重，南壁窟门上方有北魏正光年间铭记，是云冈石窟现存最晚的铭记。云冈西部窟群包括云冈石窟西部第21至45窟，以及一些未编号的小窟小龛。大多属于北魏太和十八年（ 494）以后的作品。其特点是不成组的窟多，中小窟多，作为补刻的小龛多。造像多为瘦骨清相，衣纹下部褶纹重叠，神态文雅秀丽，藻井中飞天飘逸洒脱，具有浓厚的汉化风格，与“龙门期”雕刻十分接近。其中第38窟北壁“幢倒乐神”浮雕，是研究北魏杂伎的形象资料。
East portion of the grottoes
These are made up of grottoes NO.1-4 and are generally called the “tower” caves due to the carved tower or pagoda in the middle of each. All of these were carved during the Northern Wei period, and grottoes No.1 and 2 are best preserved. In the centre of each is a square tower and covering of is as well as all four walls are carved stories of the Buddha and Buddha in various structures. These provide important reference material in researching Northern Wei architecture. The tower in the NO.3 grotto was not completed before the Northern Wei moved their capital. Later one Buddha and two Bodissatva statues were added and seen from the looks of the carving technique and style these appear to be Tang Dynasty works. The No.4 grotto has severely deteriorated but on the southern wall is preserve an inscription from the year 520 of Northern Wei. This is the latest inscription still remaining from the Northern Wei period in the Yungang grottoes.

Cave 1 and Cave 2 from a pair of Buddhist cave temples. In the center of cave 1 is carved a square pillar in the shape of a two-storied pagoda. The main statue on is maitreya. On the upper sections of the east, west and south walls are statues of celestial musicians and a seated Buddha in meditation. On the middle section are carved a row of niches with statues. and at the north part of the lower section on the east wall are two relieves depicting syama jataka. On the two reveals of the southern entrance are statues of the bodhisattva vimalakirti and manjusri.
Cave 2（A.D.470-493）:The design and form of cave 2 are similar to those of cave 1. A pillar in the shape of a three-storeyed pagoda stands in the center. The caves are carved in between every two storeyes of the stone pagoda. The ridges of the roof, the rows of the tiles, the rafters and outer parts of the pagoda are the carvings to resemble the wooden buildings which afford valuable material for studying the pagodas of the Northern Wei Dynasty on the south part of the ceiling are the reliefs of lotus flowers and flying apsarases.
Cave 3: This is the largest of all the caves in YunGang, named LingYan temple in the past. The face of the cliff is about 25 meters high. The construction started in the Northern Wei Period, the whole cave hadn’t been completed before the capital was moved to LuoYang , except for the front chamber, the south part of the back chamber, the niche on the upper part of the front chamber and the two pagodas. The three Buddhist statues in the back chamber were carved afterwards in the Tang dynasty.
Cave 4(A.D.494-525): In the centre is a square pillar with niches cut on its four sides to house statues. Over the entrance, there is an inscription dating from the Zhengguang Period (A.D.520-525). This is the latest inscription in the Northern Wei Period found in the Yungang caves. The bottom of the entrance is 1.4 meter lower than the inside ground, which indicates that this cave was not completed in history. This has provided reliable material evidence for the study of carving methods and procedures.
云冈第五、六窟在云冈石窟群中部，为孝文帝迁洛前约465——494年开凿的一组双窟。庙前有清顺治八年（1651）建造的五间四层木楼阁，朱红柱栏，琉璃瓦顶，颇为壮观。
第5窟开作椭圆形草庐形式，分前后室。后室北壁本尊为释迦牟尼坐像，高17米，为云冈最大的佛像，外部经唐代泥塑重装。窟内满雕佛龛造像。窟西侧刻有两佛对坐在菩提树下，顶部浮雕飞天，线条优美。
第6窟平面近方形，中央是一个连接窟顶的二层方形塔往，高约14米，塔柱上雕有四方佛，上面四角各有一座九层出檐小塔，驮于象背上。窟四壁满雕佛、菩萨、罗汉、飞天等造像。窟顶有三十三诸天及各种骑乘，令人目不暇接。环绕塔柱四面和东南西三壁的中下部，刻有33幅描写释迦牟尼从诞生到成道的佛传故事浮雕，内容连贯，构图精巧。此窟规模宏伟，雕饰富丽，内容丰富，技法精炼，是云冈石窟中有代表性的一窟，也是中期造像艺术汇集的大检阅。
Grottoes NO.5 and 6 are close linked and are on a very grand scale: the central seated Buddha in No5 grotto stands 17 meters high, the tallest of statues at the Yungang Grottoes. In the No 6 grotto stand a 16-meter-high stupa, carving with Buddha statues on all sides. The carving in these two grottoes is much practiced and is considered to represent the pinnacle of the art at Yungang.

Cave 5 forms a pair with cave 6, and each has the front and back chambers. The main statues in the bank chamber of cave 5 show the thikala buddhas, the seated statue of Sakyamuni , 17 meters high in the middle of the wall is the largest Buddha in the YunGang caves. All over the inner surface of the cave are carved with niches and Buddhist statues. On both reveals of the arched doorway are two Buddha sitting face to face under a bodhi tree. In front of these two caves stands a four-storied wooden structure rebuilt in the 8^th year of ShunZhi’s reign at the beginning of the Qing dynasty(1651A.D.).
In the centre of the back chamber of Cave 6 stands a square pillar in the shape of a two-storied pagoda, which reaches up to the ceiling. At each corner of its top storey is a carved little pagoda. Niches are cut on the four sides of each storey to house statues. On both side of the niches and on the lower section of the pillar, on the east , south and west walls, as well as on the two reveals of the window are 33 relieves depicting stories of Sakyamuny’s life from his birth to his enlightenment. It is the most wonderful ,most magnificent and most typical one of Yungang Grottoes .
云冈第七、八窟位于云冈石窟的中部，为一组双窟，是云冈石窟第二期开凿较早的石窟。七窟前现存的木构建筑，是清顺治八年（1651）修建。七、八窟平面均为长方形，窟内布局上下分层，左右分段。七窟后室北壁上层天幕龛的中央，雕一交脚弥勒菩萨像，坐于狮子座上，左右备一倚坐佛像，边为二胁侍菩萨。内容仍为三世佛，且出现了造像组合。下龛为释迦、多宝二佛并坐像。壁与窟顶相接处雕一排伎乐人像，各执乐器演奏。东西两壁对称开凿，壁与顶部相接处雕一排千佛。下分四层雕有八个不同的佛龛。南壁凿有一门一窗，左右两侧各雕四个佛龛。门窗间有六个供养人和伎乐天人像。明窗内雕菩萨和禅定比丘。内拱内雕力上、护法天王和飞天。顶部分格雕平棋，中为团莲，周雕飞天，把整个窟顶装饰得花团锦簇。第七、八窟与前期窟群比，在形制、内容、造像构成、题材等方面出现了诸多变化，从中折射出北魏社会变革的洪流。
Cave 7 forms a pair with cave 8. In front of this cave is a three-storeyed wooden structure. Cave 7 has the front and back chambers. The main statues on the upper sections of the north wall in back chamber are the trikala Buddha, on the east, west and south walls are four rows of niches. The caisson ceiling is decorated on the top of the cave. The six celestial donors over the arch of the door in the south wall are exquisitely carved. The images of Sky Bhiksu in meditation on the two reveals of the window are the important historical material for studying Buddhist ideology in the northern Wei dynasty.
The design and form of Cave 8 are similar to those of cave 7. The celestial guardians are carved on the two reveals of the entrance. The east one is a statue of Siva (mahesvara) riding on a white bull, which has three heads and eight arms holding the sun, the moon, bows & arrows as well as grapes. The west one is a statue of Vishnu in appearance of a boy (Kumarkadeva) riding on a peacock with his hands holding chicken. Both statues are very skillfully shaped and engraved.
女士们、先生们，大家请随我参观云冈中部的“五华洞”。第9窟至第13窟，在清代晚期被施以彩绘，彩绘后的五个洞窟异常华丽，五彩斑斓，被人称为“五华洞”。 “五华洞”分为两组，分别为第9、10窟和第11、12、13窟。
第 9、10窟为一组前后室结构的双窟，建于北魏孝文帝太和八年（484），太和十三年竣工，辽代曾在此兴建崇福寺。两窟平面近方形。前定南壁凿成八角列柱，东西壁上部雕出三间访木构建筑的佛龛，余壁满雕佛像、飞天。后室窟门上雕有明窗，北壁主佛是释迦佛。第10窟主像是弥勒。后室门拱内外两面有精雕图案花纹，结构严谨，富于变化。
第11——13窟是一组，具有前后窟的第12窟为中心窟。
第11窟中立方塔柱，塔柱四面上下开龛造像，除南面上龛为弥勒外，均为释迦立像。东壁上部有北魏太和七年（483）造像题记，是研究云冈开凿史的重要资料。窟东北有太和二十年（496）铭龛和七佛立像。
第12窟前正室和东西壁上部均雕出三间仿木构建筑屋形佛龛，前列两柱，洞开三门，窟顶雕有伎乐天，手持排箫、琵琶、横笛、束腰鼓等乐器，是研究音乐史的重要资料。
第13窟本尊是交脚弥勒菩萨，高约13米，右臂下雕一力士托扛，既产生了力学作用，又兼具装饰效果。南壁上层的七佛立像和东壁下层的供养天人，皆为窟中精品。东壁佛龛形制各异。五华洞雕饰绮丽，丰富多彩，是研究北魏历史、艺术、音乐、舞蹈、书法和建筑的珍贵资料，为云冈石窟群的重要组成部分。
Cave 9 forms a pair with cave 10, and also consists of the front and back chambers. On the south wall of the front chamber are carved Octagonal pillars. On the east and west walls of the front chamber of Cave 9 are niches carved in the form of three-roomed house. The ceiling of the cave is decorated with flying celestials and lotus blossom. The main statue on the north wall in the back chamber is Sakyamuni Buddha and bodhisattvas are sculpted on the east and west sides. On the other walls are carved niches depicting the Jataka stories about the principal and subsidiary causes.
CAVE 10 (A.D.470-493): The lintel of the northern entrance of the front chamber is carved with designs of lotus flowers, interlocking acanthuses, human figures, birds and animals. At its upper part is mount sumeru with peaks in line on the top and two colling dragons in the middle of the mount. The trees and animals in the mount and the incarnated boys at the bottom of the mount are vividly carved. Flying apsarases on the ceiling are sculpted in lithe and graceful postures with ribbons flying around them. The main image on the north wall in the back chamber is maitreya.
CAVE 11(A.D.470-493): In the centre of this cave stands a square pagoda pillar with niches and statues on each of the four sides of both upper and lower sections. Apart from the image of maitreya in the upper niche on the south side, the others are all the statues of standing Sakyamuni judging by their style. The two bodhisattvas on both sides of the standing Buddha in the lower niches on the south side of the pagoda seem to be made in the Liao Dynasty. The upper section of the east wall bears an inscription dated from the 7^th year of TaiHe( A.D.483) of the Northern Wei Dynasty.
CAVE 12(A.D.470-493): This cave is devided into the front and back chambers. The outer wall surface of the front chamber is carved with wood-imitated roofs and eaves as well as four columns. Thus resembling a three-room hall. On the walls of the front chamber are carved various niches and buddhas. Its ceiling is decorated with caisson design. The top part of the north wall is decorated with a carved band of celestial musicians. And on the east ,south and west sides, there are eight images of yaksha, holding konghou, pipa and other musical instruments.
CAVE 13(A.D.470-493): The main image is a cross-legged maitreya, wearing a jeweled crown, a bracelet and a snake-shaped necklace. His right arm is supported from underneath by vajra. Above the entrance of the south wall are the sculptured figures of seven standing buddha, wearing loose gowns with wide ribbons. On each reveal of the window is a bodhisattva with a plump and strong body in exquisite craftsmanship.
各位，大家面前是西区第16、17、18、19、20号洞窟，这5个洞窟宏伟壮观，场面开阔，为北魏早期的石窟，由著名高僧昙曜负责开凿，习惯称：“昙曜五窟”，也是云冈石窟最引人注目的部分之一。据《魏书·释老志》载：“和平初，……昙曜白帝，于京城西武州塞，凿山石壁，开窟五所，镌建佛各一，高者七十尺，次六十尺，雕饰奇伟，冠于一世。”以道武、明元、太武、景穆、文成五帝为楷模，雕刻五尊大像。这五窟规模宏大，气魄雄伟。形制上共同特点是外壁满雕千佛，大体上都摹拟椭圆形的草庐形式，无后室。造像主要是三世佛（过去、未来、现在），主佛形体高大，占窟内主要位置。
第16窟本尊释迦立像高13.5米，而相清秀，英俊潇洒。
第17窟正中为菩萨装的交脚弥勒坐像，高15.6米，窟小像大，咄咄逼人。
第18窟本尊为身披千佛袈裟的释迦立像，高15.5米，气势磅礴；东壁上层的众弟子造像造型奇特，技法娴熟。第19窟本尊为释迦坐像，高16．8米，为云冈第二大造像。第20窟为露天造像，正中为释迦坐像，高13.75米，为云冈石窟的代表作，面都半圆，深目高鼻，眼大唇薄。大耳垂肩，两肩齐挺，造型雄伟，气势浑厚。
Cave 16 to 20 are the five earliest caves at Yungang grotto site, which constructed under the supervision of the head monk TanYao during the reign of HePing(A.D.460-465) of emperor Wen Cheng. They are now generally knows as the “Five caves of Tan Yao”. The main statue, 13.5 meters high, is a standing Skamania with curly hair, wearing a loose gown with wide ribbon tide up in front of his chest. His evenly-pleated gown is in the style of TaiHe’s reign after the reform.
CAVE 17(A.D.460-465):A cross-legged maitreya, 15.6 meters high, is carved on the north wall, a seated Buddha on the east wall, And a standing Buddha on the west wall, which are generally named “The trikala buddhas”. The offering celestial on the right side of the niche in the west wall is vividly sculpted and gracefully shaped, with a hair-bun on his head, A wide ribbon around his arms ,long skirt around his lower body and a lotus bud in his hands. A niche on the east reveal of the window was carved in the 13^th year of Tai He’s reign.
CAVE 18(A.D.460-465): The main images are the trikala buddhas. The Sakyamuni Buddha, 15.5 meters high on the north wall wears a kasaya with a design of thousand Buddha. His hand, exquisitely carved, holds a corner of his kasaya up to his chest. The upper section of the east wall is covered with a group of Buddhist disciples, one having deep eye sockets and a high nose with elderly appearance; one being radiant in smile with his mouth corners turning upwards; and other wearing a look of thorough understanding. The vivid expression of every disciple is absolutely wonderful.
CAVE 19 (A.D. 460-465): The main images are the trikala buddhas. The seated Skamania in the main cave is 16.8 meters high, the second largest in the Yungang caves. Wearing a well-decorated kasaya, he has a square-round face, broad shoulders and long earlobes down to his shoulders. On the east and west sides of the main cave are two adjacent chambers, each housing a seated Buddha. Such kind of display of the trikala Buddha is quite unique.
CAVE 20 (A.D.460-465): The statues are no longer roofed over due to the collapse of its front wall before the Liao Dynasty. The main images are the trikala buddhas. On the north wall is a statue of seated Sakyamuni, 13.7 metres high.This Buddha, with his plump face and broad shoulders, is a typical example of the sculpture art of the Yungang caves. A standing Buddha on the east side looks dignified in a kasaya. The other one on the west side was damaged long time ago.

Reference ：
     英语导游教程纪春裴松青旅游教育出版社 2007
     西安导游技巧与实践姚宝荣西安外语音像教材出版社1997
     英语导游必读朱歧新中国旅游出版社 2006

Homework:
prepare the traits of excellent tour guide(P141-156)