【国内文旅卷】世界文化遗产之云冈石窟（中英双语）
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“位于山西省大同市的云冈石窟，有窟龛252个，造像51000余尊，代表了公元5世纪至6世纪时中国杰出的佛教石窟艺术。其中的昙曜五窟，布局设计严谨统一，是中国佛教艺术第一个巅峰时期的经典杰作。”这是2001年联合国教科文组织将云冈石窟列入世界文化遗产时对其作出的评价。
"The Yungang Grottoes, in Datong city, Shanxi Province, with their 252 caves and 51,000 statues, represents the outstanding achievement of Buddhist cave art in China in the 5th and 6th centuries. The Five Caves created by Tan Yao, with their strict unity of layout and design, constitute a classical masterpiece of the first peak of Chinese Buddhist art." It is the comment of UNESCO regarding the Yungang Grottoes when the element was enlisted in the list of world cultural heritage in 2001.
东汉分三国，东西晋后为南北朝，一直烽火连天战乱不断。北魏是南北朝时期一个由外来民族建立的政权。这个名为鲜卑的民族不仅全盘接纳了汉文化，还大力发扬着传自西域的佛教信仰，这令那个饱受战争的动乱时代的人民有了肉体外的寄托，于是，高僧昙曜奏请北魏文成帝在当时京城西郊武周山开凿五所石窟，窟内大像以北魏五位皇祖为原型，正式拉开了这座延存至今的云冈石窟的舞台帷幕，也将佛教信仰与政治紧紧地联系在了一起。
From the Eastern Han Dynasty, the Three Kingdoms Period, the Western Jin and Eastern Jin Dynasties, to the Southern and Northern Dynasties, China had suffered from continual turbulences and wars. The Northern Wei, at the period of the Southern and Northern Dynasties, was a dynasty founded by an ethnic minority called Xianbei. The ethnic group of Xianbei not only accepted the culture of Han nationality, but they also promoted the religious belief of Buddhism which was introduced from the Western Regions. Buddhism brought spiritual sustenance to the people in the war-torn country during troubled times. At that time, Tan Yao, an eminent monk, petitioned Emperor Wencheng of the Northern Wei Dynasty to excavate five caves with the statues of five imperial ancestors of the Northern Wei Dynasty at the base of the Wuzhou Shan Mountains in the west suburb of the capital city. While formally unveiling the Yungang Grottoes, which last to current days, the action established close ties between Buddhist beliefs and politics.
直到站在云冈石窟前的那刻，你才真正感受到北魏人对佛教那种发自内心的信仰与膜拜。这东西绵延一公里的几万尊大大小小的石佛，无不经历了岁月的洗染，且依然散发出神秘的微笑。云冈石窟大部分作品完成于北魏孝文帝迁都洛阳以前，特别有代表性的当属早期的“昙曜五窟”，五窟气势磅礴，保留了后世少有的浑厚雄伟、纯朴大气的西域风格。中期石窟多为已渐成熟的北魏艺术风格，华丽复杂，精致多彩，以精雕细琢的风格旗帜鲜明地出现在山崖间。西部诸窟为云冈晚期石窟，为北魏迁都后的民间开凿，但却标志着中国佛教造像艺术全面进入中国化与世俗化时代。
At the moment you stand in front of the Yungang Grottoes, you can truly feel the belief and worship of Buddhism that the people in the Northern Wei Dynasty felt from the depth of their hearts. In different caves stretching for one kilometer, there are tens of thousands of stone Buddha statues and statuettes. Despite the weathering throughout history, they still show an enigmatic smile on their faces. Most of the works in the Yungang Grottoes had been completed before Emperor Xiaowen of the Northern Wei Dynasty moved the capital to Luoyang. The “Five Caves of Tan Yao” that was completed in the early period is the most representative among them. Mighty and magnificent, these caves preserve the simplicity and grandeur of the Western Regions works that are rarely found nowadays. The completed grottoes in the second construction period show the mature artistic style of the Northern Wei Dynasty. Gorgeous, complicated, elaborate, and colorful, the caves from this period represent the glaring style of fine craftsmanship between the cliffs. The grottoes on the west were excavated during the third period by the local people after the Northern Wei Dynasty moved its capital to Luoyang, yet it marked the era for the popularization and secularization of Buddhism statuary art in China.
云冈石窟的造像艺术直接吸取了印度键陀罗艺术的精华，却又不可避免地继承并发展了中原秦汉传统雕刻艺术，此外还明显流露出中亚波斯艺术的色彩。总之，云冈石窟展现出中国的造像艺术逐渐中国化、世俗化的过程，有着承上启下的意义。由此形成的“云冈模式”，成为了中国佛教艺术发展的转折点。
Absorbing the essence of Gandharva art of India, the statuary art of the Yungang Grottoes inevitably inherited and developed the traditional sculpture art in central China during the Qin and Han Dynasties. Moreover, it also shows the distinctive features of Persian art from central Asia. In conclusion, presenting the process of the popularization and secularization of statuary art in China, the Yungang Grottoes have a transitional significance in the history. The resulting “Yungang Pattern” has become a turning point in the development of Buddhism art in China.