The Mogao Grottoes aspire to be more than mere tourist attractions

In fact, it has yet to be rated because it is considered an endeavor in scientific education, falling under the purview of the Cultural Relics Bureau rather than the Tourism Bureau. The Tourism Bureau has granted the Forbidden City the highest rating and naturally desires to do the same for Dunhuang. However, the Mogao Grottoes have not acquiesced.

In former days, the Taoist king had already cast out all the gold, and the resplendent treasures rode makeshift cattle carts, wandering into foreign lands. The sedimented history pays no heed to transient hustle and bustle, while the British Museum, destined for daily foot traffic, bustles incessantly. History chuckles. Faced with vast, magnificent toys, infants find themselves bewildered. Yet, the entirety of culpability does not solely rest upon the Taoist king—Dunhuang was not unearthed in an auspicious era, and even today, I cannot easily sketch the contours of ancients. Thus, here, cultural heritage preservation and dissemination intertwine.

To behold Dunhuang is to encounter Dunhuang yet not entirely Dunhuang.

This journey has also lifted the veil of mystery in my mind. The image of Dunhuang, akin to the temples of the Maya, has dissolved. The Mogao Grottoes are neither a testament to the grandeur of a mysterious dynasty nor a site of blessings for unknown merchants. The “donors” are part of the Mogao Grottoes culture. In other words—who carved which caves. Everything is recorded plainly! After all, without leaving names, how would the deities receive their “payments”? Dunhuang lacks the unsolved mysteries of the Maya, but conversely, beneath the Maya civilization, there is no deeply sedimented loess land.

The establishment of the grottoes spans from the Southern and Northern Dynasties to the Yuan Dynasty, and the marginal expansion of its scale reflects the prosperity and decline of the Silk Road. From the Li family of the Tang Dynasty to nameless merchants, if you dare to dig, you can dig. There are thousands of caves, each unique. Setting aside wealth, these grottoes embrace the “donors” who come and go, regardless of status, place of origin, or time.

Relying solely on “flying apsaras” cannot uphold the phrase “Chinese treasure.” The most precious aspect of Dunhuang lies in the flowing years and its unique cultural temperament. History flows over these precipitous cliffs, time flips upside down, and finally condenses at the depths of the caves. From the tiles of the Southern and Northern Dynasties to the Yuan Dynasty, patterns evolve from simple geometric shapes to rounded lotuses. Whether angry or smiling, sharp or gentle, the myriad heavenly deities and Buddhas respond to the times.

The multitude of cave entrances symbolizes the interaction of communities. In the long river of history filled with wars, there indeed exists such a solid port of ethnic integration. Inside the caves, there is no strong light; instead, the mineral pigments from the Tang Dynasty cover every surface, creating a faint fluorescent effect. Most of the sculptures I observed were of figures like Shakyamuni Buddha and Guanyin. Simply speaking of the sculptures, I did not perceive any advanced craftsmanship or exquisite expressions. According to the introduction, the internal craftsmanship mainly involves unique filling methods, often utilizing local materials, with a deeper cultural significance such as the reclining Buddha in Nirvana.

Observing the seated Buddha indoors is quite marvelous. Unlike viewing the Leshan Giant Buddha under the bright sunlight, leaving nothing unseen, looking up at the seated Buddha inside the cave is different. The shadows above exude a profound sense of emptiness, making the Buddha statue appear enigmatic and compelling one to kneel in reverence.

The murals of Dunhuang, illuminated by the dim light within the caves, leave one spellbound. The array of divine and mythical figures or allegorical scenes in the entire cave complex are each unique, forming a celestial net while basking in the Buddha’s radiance.

Despite the erosion over time, the pigments remain vividly visible. Blue-skinned demons, haloed deities, red-painted tiles, and blackened roofs are all distinct, with the mottled history juxtaposed against the loess walls. Certain elements like the swirling flying apsaras, seen only once on an exterior wall, may appear somewhat blurry, yet one can still perceive their graceful, moonlit leaps, reminiscent of dew-kissed tendrils.

Upon completion of the tour, this is the general impression left behind.

Buddhism brought seeds to the Mogao Grottoes, but it was the exchanges and trade routes among ethnic groups that nurtured these seeds to germinate. Long-standing incense offerings will eventually return to dust. So, why does Mogao endure? The answer does not lie in religion.

The gold that was cast away is difficult to reclaim, but the existence of the site has transcended its physical presence. As times change, the lines of tourists grow longer, yet the Mogao Grottoes never attain the status of a 5 A tourist attraction, confirming its role as a scientific and educational endeavor.