Yun-Kang Caves are located at the southern side of Wuzhou Mountain, 16 kilometers west of Datong City, Shanxi Province. It was formerly known as Wuzhou Mountain Caves (武州山石窟) or so called Lingyan Temple Caves (靈岩寺石窟). It was found in Wei Shu Shi Lao Zhi (魏書釋老志) that clearly recorded the time and reason of the excavation of these royal grottoes. The Five Caves of Tan-Yao were the first five large-scale caves excavated in Yun-Kang Caves, and it was such an important project done soon after Emperor Wencheng (文成帝) revived Buddhism. These five caves are located on the right side of the west end of the Yun-Kang Caves. From west to east, they are the 20th, 19th, 18th, 17th, and 16th caves. Except for the collapse of the front wall of Cave 20, the overall appearance of the cave is consistent, and inside the cave all has a large statue of more than ten meters high. Rich research results has been made in the archaeological report or on specific issue of Yun-Kang Caves. However, the author thinks that the discussion on the Five Caves of Tan-Yao is still insufficient. There are significant differences in the form of the caves and the style of statues between Five Caves of Tan-Yao and the second period of Yun-Kang Caves. Therefore what are the origins of these characteristics? Could it be possible that Five Caves of Tan-Yao has the consistency on style? These are the main focus of this article. This thesis analyzes the cave structures and styles of sculptures in the Five Caves of Tan-Yao thoroughly. The author believes that the five caves are closely related to the historical development of the Northern Wei Dynasty. Its style was expressed by absorbing the characteristics of Liangzhou, Hebei, and the Western Regions, and may refer to as far as some of the elements in Indian grottoes. All of the above have been transformed by its own to form the consistent and unique style and characteristics of the Five Caves of Tan Yao. Although the statues of the Tan-Yao caves combined several styles from different regions, these characteristics are well integrated, as shown on the statues of the five caves. Despite the fact that it has unique style , look through the Buddhist constructions over 470 to 490 of the Northern Wei Dynasty, it is difficult to see the style of the five caves been presented or recreated. It sure means that the first period of Yun-Kang Caves had limited impact on Buddhist art in the mid-Northern Wei Dynasty. In any case, there is no doubt that the uniqueness and originality of the Five Caves of Tan Yao can be seen in the form of grottoes and style of the sculpture. Thus, these characteristics can be summarized and known as "the first period of Yun-Kang elements."
