Datong Awaits: Step Into China’s Timeless Treasures
Datong stands out as one of China’s most historically influential cities — a meeting point of Mongolian and Han cultures, a cradle of world‑class Buddhist art, and home to some of the country’s most dramatic architectural achievements, from cliffside temples to remote stretches of the Great Wall. Few places bring together early dynastic power, Silk Road exchange, and monumental religious creativity as vividly as Datong.
Datong isn’t a “universal crowd‑pleaser” like Xi’an or Guilin. It’s a destination that rewards people who enjoy art, archaeology, history, and photography — people who want to understand why these masterpieces were created, not just check them off a list. Many visitors get overwhelmed by temples and sculpture; we call this being “templed out.” Our guide helps you see Datong with fresh eyes, so you can appreciate what makes it one of China’s most extraordinary cultural landscapes.
Table of Contents
This multi-day itinerary for Datong includes:
Author Notes
The Irony of History
Northern Wei Dynasty
Buddhism
Datong Itinerary
Yungang Grottoes
Ancient Datong
Great Wall Excursions
Pingyao
Final Comments
Trip Planning – How many days do you need for Datong?
Author & Photographer: George Mitchell

George’s Bio
Our advice is not influenced by affiliate links — we have none. Our itineraries, photos, and advice come from three years of travelling around the world, including three months in Japan. We are avid hikers, nature lovers, and photographers. We are students of art and architecture, culture and cuisine.
All the sights of this itinerary are found on our custom China Datong Map. The points of interest are appended with their Google Maps Ratings, which range from G0 to G5.
Mandarin words to help you understand
To make Chinese place names more meaningful, we have created a table of common morphemes or word parts. See “Place Names – Demystifying the Chinese Language” post.
As veteran, round-the-world travellers, we highly recommend that you use the Pinyin (phonetic Mandarin) names for the sights. Do not expect the locals to know the English names of the places. Do not expect to find Anglicized names in map or search apps.
The Irony of History
Xianbei Warriors (George & Corinne) at The Great Wall
What most people never learn about the Great Wall is that it was not designed to stop massive invading armies. It certainly didn’t prevent foreign‑led dynasties from ruling China — the Mongolian Yuan and the Manchurian Qing both became fully recognized Chinese dynasties, embraced by Han and non‑Han alike.
For centuries, the Wall’s real purpose was to defend against fast, devastating raids from the Xiongnu of the Eastern Eurasian Steppe. When the Xiongnu declined, the Xianbei took their place between the 1st and 3rd centuries CE — another powerful, horse‑based society from Inner Mongolia.
Here lies the irony: although the Xianbei conquered large parts of northern China, they gradually adopted Chinese customs, became state builders, and emerged as major patrons of Buddhism. Their legacy helped shape the cultural and ethnic blending that defines China’s history.
China has always been a multi‑ethnic civilization. Regions like Inner Mongolia, Xinjiang and Tibet became connected to Chinese states at different times through trade, diplomacy, migration, and empire‑building — especially during the Tang Dynasty, when the Silk Trade Routes flourished. Modern China is the product of many peoples, not only the Han.
Northern Wei Dynasty
https://commons.wikimedia.org/w/index.php?curid=126395848" title="Northern Wei Dynasty Map, China By SS - This image has been extracted from another file, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=126395848" class="has-alt-description">Northern Wei Dynasty Map, CC BY-SA (Wikimedia) Edited
The Xianbei ended the fragmentation and warfare of the Sixteen Kingdoms period that followed the fall of the Han Dynasty in 220 CE. In 386 CE, they founded the Northern Wei Dynasty (386–534 CE), creating the first stable empire in northern China. Their realm stretched from Dunhuang in the west to Luoyang in the south, and to the borders of Manchuria and Goryeo in the east. As a capital, Datong drew artisans, merchants, monks, and scholars — a cosmopolitan energy still visible today in the Yungang Grottoes.
The Northern Wei did far more than unify the north. They reshaped Chinese history in political, cultural, religious, and demographic ways, making their era one of the most transformative periods in Ancient China. Their reforms and cultural synthesis set the stage for the later Tang Dynasty (618–907 CE), which would reunify the entire country and become the driving force of the Silk Trade Routes.
The Xianbei blended steppe political traditions with Chinese bureaucratic structures, creating a hybrid state that influenced later dynasties. They adopted Chinese surnames, clothing, and court language, and the government encouraged intermarriage between Xianbei elites and Han Chinese families. Over time, the Xianbei became deeply integrated into Chinese society, and the Northern Wei drew many frontier peoples into the Chinese state, accelerating the long‑term formation of a multi‑ethnic China.
Buddhism
Dayanta Pagoda, Xi’an
Buddhism arrived in China along the Silk Road and flourished from the 1st to the 8th centuries. The Northern Wei Dynasty championed Buddhism as a unifying cultural force, helping transform it from a foreign faith into a central part of Chinese civilization. Today, it may seem less visible, but that impression is misleading. Two Chinese Buddhist traditions — Chan (Zen) and Pure Land — profoundly shaped the philosophy, aesthetics, and religious life of China and Japan. Under Northern Wei patronage, the Shaolin Monastery emerged as an important Chan center and later became famous for its martial arts tradition. Buddhism is woven deeply into Chinese culture, even if formal religious practice appears limited today.
Pagoda Towers, Hanuman Dhoka Palace, Kathmandu
Every Buddhist community required a stupa, a hemispherical mound for relics or revered monks. When Buddhism reached China during the Han Dynasty (1st–2nd century CE), local builders were far more familiar with timber watchtowers and multilevel pavilions. At the same time, the pagoda form of Newar Architecture from Nepal was spreading along the Silk Road. Chinese architects blended these influences, transforming the stupa into the pagoda, which later became a signature feature of temples, palaces, and classical gardens. This architectural evolution is just one example of Buddhism’s enormous impact on Chinese and Japanese culture.
China never had a single dominant religion. Instead, people practiced a flexible blend of Buddhism, Daoism, and Confucianism, enriched by local folk beliefs. Deities, demons, and protective spirits from folk religion were absorbed into Buddhist practice, creating a uniquely Chinese religious landscape — pluralistic, adaptive, and deeply syncretic.
Datong Itinerary
Datong sits in northern Shanxi, close to the Great Wall and the Inner Mongolian steppe. For centuries, it was a frontier city shaped by trade, migration, and empire — and during the Northern Wei period, it became the capital known as Pingcheng. That legacy still defines the sites you’ll visit today.
We arrived from Beijing on an overnight sleeper after failing to get tickets to Xi’an during the July travel rush — a lucky twist, as Datong turned out to be one of the highlights of our trip. After a quick breakfast of excellent jiaozi (ground meat dumpling), we headed straight to the Yungang Grottoes, the city’s unmissable masterpiece.
Yungang Grottoes
| Fee | Adults CNY 120 (USD 17); Seniors free |
| Hrs | 08:30 to 17:30 |
| Bus | 603 / 601: from Train Station to Yungang |
| Bus | Cost: CNY 3; Time: 45-60 mins |
https://commons.wikimedia.org/w/index.php?curid=1111130" title="Buddhist Paintings, Yungang Cave6?, Datong, China By Felix Andrews (Floybix) - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=1111130" class="has-alt-description">Paintings, Yungang Cave 6? Datong,
CC BY-SA (Wikimedia) Edited
Yúngāng Shíkū (云冈石窟), known in English as the Yungang Grottoes (G4.7), lies 16 km west of Datong. What makes Yungang extraordinary is that it captures the exact moment when Buddhism, Central Asian aesthetics, and early Chinese imperial ambition fused into a new artistic language — expressed across 51,000 carved figures.
Yungang is one of the world’s great Buddhist cave complexes, unmatched for its scale and cultural synthesis. Many of its early statues show clear influences from the Greco‑Buddhist art of Gandhara: flowing drapery, naturalistic bodies, and serene facial expressions. When the Northern Wei established their capital at Pingcheng, they brought artisans from Dunhuang and other Silk Road centers to carve these cliffs, blending Indian, Central Asian, and emerging Chinese styles.
The sandstone of the Wuzhou Mountains was ideal for carving — soft enough to sculpt, yet stable enough to support colossal Buddhas. For the Northern Wei rulers, especially Emperor Wencheng, Yungang was more than a religious site. It was a political statement: a monumental, immovable cliff‑temple proclaiming the dynasty’s legitimacy and the permanence of its rule.
Why Carving in Stone?
Ajanta Caves Overview, India
Monumental stone carving in the Buddhist world began at sites like the Ajanta Caves in India (2nd century BC). These were not decorative spaces but functioning monasteries (viharas), where sculpture served devotion, teaching, and meditation. In an age before printed books, carved friezes illustrated the life of the Buddha and the Jataka tales, turning the cave itself into a three‑dimensional scripture.
As Buddhism spread along the Silk Trade Routes, monks carried texts and ideas, while artisans transmitted techniques and styles. The sculptural traditions of Gandhāra, Bamiyan, and Gupta India travelled with them. When these influences reached northern China, local craftsmen learned directly from Central Asian painters and sculptors, adapting their methods to Chinese materials and aesthetics.
Gandhara Influence
Gandhara Buddha Statue, National Museum, Bangkok
The Buddha was a historical figure — Siddhartha Gautama of the Shakya clan (traditionally dated to the 6th–5th century BC). He taught a path to liberation and discouraged his followers from making images of him, insisting that his teachings, not his appearance, were what mattered.
Western Influence
So why are there so many Buddha statues today? Blame it on the Greeks!
Alexander the Great changed the course of Asian history. In 325 BC, his army swept across Western Asia and reached the frontiers of India. True to his ego, Alexander renamed cities after himself and travelled with sculptors who immortalized him in stone wherever he went.
His easternmost conquest was Gandhāra — then both a kingdom and a city — known today as Kandahar in Afghanistan. Gandhāra would become one of the great centres of Buddhism.
But here’s the twist: the first Buddha statues didn’t appear until the 1st century CE, long after Alexander.
It was the Indo‑Greek descendants of those Hellenistic sculptors who created the earliest images of the Buddha — complete with flowing Greek chitons (togas) and classical artistic proportions. The result was the first human images of the Buddha. These Greco‑Buddhist forms travelled east along the Silk Road.
The Vedas are the oldest scriptures of Hinduism, dating back to 1500–1200 BC. The Vedas were part of the religious beliefs of the Proto-Indo-European (PIE) tribes (formerly called the Aryans). They were written in Sanskrit, a language no longer spoken by the common people. Sanskrit is an ancestral language that is the root of many Indian and European languages. The Vedas are a major part of both Hinduism and Buddhism.
Yungang Cave 5 – The Golden Buddha
The Golden Buddha, Yungang Cave 5, Datong
Cave 5 is one of Yungang’s most impressive chambers, dominated by a towering 17‑metre Buddha that rises almost straight up from the cave floor. The statue’s calm expression and hands in the Dhyāna mudra (the gesture of meditation) create a powerful sense of stillness despite its monumental scale.
The surrounding walls are alive with [strong]apsaras[/strong], guardian figures, and decorative reliefs, while a carved bodhi tree (the tree where Buddha attained enlightenment) arches above the Buddha like a celestial canopy. Higher up, a second‑story arch hints at an upper gallery that is no longer accessible, adding to the sense of mystery and vertical grandeur.
Cave 6 – Buddha Life Stories
Procession, Yungang Cave 6, Datong
Cave 6 was also excellent. The centrepiece has a Buddha facing in each direction. The cave was elaborately carved all over, most depicting the life of the Buddha. This scene is when the young Prince Siddhartha meets a sick man. In his sheltered life in the palace, he never experienced sickness. The composition—horizontal registers, crowded scenes, rhythmic repetition—echoes Ajanta and Gandharan reliefs.
Samantabhadra on Elephant, Yungang Cave 6, Datong
Symbolism is important to understanding what you are seeing. You would be incorrect to think that this is Buddha riding an elephant. The Buddha is never depicted riding an elephant. Could it be the Hindu god Indra? No, it is almost certainly Samantabhadra (Puxian), the bodhisattva of practice and virtue. How do we know? He is wearing a crown and princely clothes, sitting on a caparisoned elephant (richly decorated with ornamental cloth). Elephants were powerful symbols of royalty, strength, and wisdom.
Cave 5 and 6 still have their glazed tile four-storey temple – very picturesque.
Cave 7 — The Bodhisattva
Bodhisattva & Dancers, Yungang Cave 7, Datong
The large seated figure in Cave 7 is a Bodhisattva, identifiable by the crown, the ornamented jewelry, and the relaxed lalitāsana mudra (one leg pendant, one leg raised). The elongated proportions and elegant lines are classic Northern Wei style. This is likely Avalokiteśvara (Guanyin), the Bodhisattva of Compassion — male in India, but later venerated as female in China and Japan.
Above the figure, apsaras (celestial beings) glide through the air with long scarves streaming behind them, symbols of divine presence and joy. Smaller attendant figures kneel or stand nearby, forming a devotional retinue. The lively dancer poses — raised arms, bent knees, rhythmic movement — are characteristic of early Yungang carvings and reflect ritual dance traditions that travelled along the Silk Road.
Cave 8 — Hindu Carvings
Cave 8 contains a remarkable set of later bas‑reliefs, likely from the late 5th century, showing how Hindu imagery entered the artistic vocabulary of the Northern Wei period. In Hindu tradition, gods are associated with vāhanas — animal mounts that express their power, personality, and cosmic role in beautifully symbolic ways.
Vishnu on Peacock, Yungang Cave 8, Datong
At the doorway stands a five‑headed, six‑armed [strong]Vishnu[/strong], the Preserver, shown with his mount [strong]Garuda[/strong], symbol of speed, protection, and the ability to move between realms. On the right is the eight‑armed Shiva, the Destroyer, riding Nandi the bull, whose strength and steadiness represent dharma and cosmic order.
Cave 8 is also known for its celestial musicians and [strong]apsaras[/strong] carved in high relief. Derived from Hindu mythology, apsaras are graceful female spirits of clouds and water, embodiments of beauty, movement, and divine joy.
Together, these carvings show a shift from the monumental early Yungang style to a more decorative, narrative‑rich approach — evidence of the cultural blending that shaped the art of the Northern Wei.
Why are there Demons and Deities in Buddhism?
Kannon Statue, Todai-ji, Nara, Japan,
CC BY-SA Wikipedia Edited
The original people of Asia believed in animism, worshipping nature gods and spirits. Powerful, capricious spirits must be placated. Buddhism is an amalgam of animism, Hinduism and non-theistic Buddhism. Demons, gods, goddesses, spirits and superstitions were just too popular to stop. It was easier to convince people to convert to Buddhism by recasting spirits and demons as part of Buddhism.
Long before Buddhism spread across Asia, most communities practiced animism — the belief that mountains, rivers, trees, storms, and animals were inhabited by powerful spirits. These beings could be protective or dangerous, and people developed rituals to honour or appease them.
When Buddhism moved across India, Central Asia, and China, it encountered these deeply rooted traditions. Rather than trying to eliminate local gods and spirits — which would have made conversion nearly impossible — Buddhism absorbed them. Many deities, demons, and protective spirits were reinterpreted as guardians of the Dharma, heavenly beings, or symbolic forces within the Buddhist cosmos.
Over time, the result was a richly layered religious world filled with gods, goddesses, demons, yakshas, apsaras, and other supernatural beings — not as rivals to Buddhism, but as part of its visual and narrative language.
This blending made Buddhism easier to adopt across cultures. Instead of asking people to abandon their beliefs, Buddhism recast spirits and demons within its own framework, creating the diverse and imaginative pantheon seen in cave temples like Yungang.
Cave 9 – The View
View of Yungang from Cave 9, Datong
The cliffside location creates a powerful sense of scale and atmosphere. The landscape looks surprisingly arid today, even though the caves lie beside a river — the region was heavily deforested centuries ago.
The late 5th-century Cave 9 is one of the most visited at Yungang, and it’s easy to see why. The walls, ceilings, and octagonal pillars are covered in intricate carvings. Although the ceiling appears freshly painted, the colours are original. The surface is carved with floral motifs, lotus rosettes, and geometric borders that have survived for over 1,500 years.
Carved Wall, Yungang Cave 9, Datong
The three larger figures on the main wall form a [strong]Buddha Triad[/strong], representing the Buddha’s three aspects: the Past Buddha (wisdom), the Present/Historical Buddha, and the Future Buddha (compassion). They are surrounded by [strong]Bodhisattvas[/strong], disciples, and smaller devotional figures that create a dense spiritual tableau.
Stylistically, Cave 9 marks a transition. You can still see traces of Central Asian influence, but the carving is moving toward a more recognizably Chinese aesthetic — more decorative, more narrative, and more focused on surface detail than the monumental early caves.
Apsara Dancers, Yungang Cave 9, Datong
Cave 9 is one of the most exuberant caves. The niches in this photo belong to a repeating band of dancing apsaras (celestial beings) carved into the walls. Dynamic dance postures are shown by raised arms, bent knees, twisting torsos, and one foot lifted as if mid‑step. The lotus rosettes above each arch signal a celestial or sacred context, not earthly performers.
Cave 13 — The Thousand Buddhas
Visual Overload Wall, Yungang Cave 13, Datong
Cave 13 is one of the most visually overwhelming spaces in the entire Yungang complex. Its defining feature is the dense grid of tiny seated Buddhas covering the walls — a classic Thousand‑Buddha motif symbolizing the infinite Buddhas of past, present, and future. Cave 13 contains some of the richest and most tightly packed miniature‑Buddha fields anywhere on the site.
Around these niches swirl colourful patterns of flying [strong]apsaras[/strong], cloud scrolls, lotus rosettes, and floral motifs. Cave 13 preserves more original pigment than many of the earlier caves, so the colours you see today are authentic to its later Northern Wei phase. The repetition of miniature Buddhas creates a devotional, almost meditative visual rhythm that draws the eye across the walls in every direction.
The Tan Yao Caves
Caves 16–20 were carved under the direction of the monk‑architect Tan Yao between 460 and 465 CE. These are the earliest and most iconic caves at Yungang, famous for their colossal open‑air Buddha statues. Together, the Five Caves of Tan Yao form a unified architectural and artistic program — something exceptionally rare in cave‑temple complexes, which usually evolve over centuries in a piecemeal way.
The Tan Yao caves were designed as a single monumental statement of Northern Wei power and Buddhist devotion. Each grotto holds a massive Buddha representing one of the Five Buddhas associated with cosmic order and imperial legitimacy. Their scale, symmetry, and stylistic coherence make them one of the masterpieces of early Buddhist art.
Cave 18 – Buddha in a Window
Buddha in the Window, Yungang Cave 18, Datong
Cave 18 frames its central Buddha like a figure seen through a stone “window,” creating a striking sense of intimacy within the vast cliff face. The Buddha raises his right hand in the [strong]Abhaya Mudra[/strong], the gesture of reassurance and fearlessness, offering protection to all who enter.
The face is serene and contemplative, encircled by a carved mandorla and a broad halo that emphasizes the figure’s spiritual radiance. The drapery falls in chiton‑style folds, a clear echo of Central Asian and Gandharan sculptural traditions that travelled along the Silk Road and shaped the early Northern Wei aesthetic.
Bodhisattva, Yungang Cave 18, Datong
On either side of the Buddha are bodhisattvas and attendants, identifiable by crowns, jewelry, and elegant drapery.
Cave 19 – Buddha in a Niche
Open-air Buddha, Yungang Cave 19-20, Datong
Cave 19 features a monumental open‑air Buddha carved into a deep niche in the cliff face. To someone unfamiliar with Buddhist symbolism, many statues may appear similar — but each detail carries meaning.
The Buddha’s tightly curled hair recalls the moment Prince Siddhartha cut off his topknot to renounce royal life. The body is intentionally soft and non‑muscular, emphasizing spiritual transcendence rather than physical strength. The raised hand is the Abhaya mudra, a gesture of calm and fearlessness.
Early Buddhist imagery drew heavily from Hindu divine iconography. You can see this clearly at Yungang:
- Deep-set, non‑East‑Asian eyes, inherited from Indian prototypes;
- Heavy, cascading drapery folds influenced by Gandhāran sculpture;
- Mudras (poses), which originated in Indian ritual traditions.
At Yungang, these features stay close to their Indian and Central Asian sources, making Cave 19 an excellent example of the early, cross‑cultural phase of Northern Wei Buddhist art.
Cave 20 – Two Buddhas in a Niche
Open-air Buddha, Yungang Cave 20, Datong
Cave 20 contains two monumental open‑air Buddhas carved directly into the cliff. The main seated figure, rising 14 metres high, is one of the most celebrated sculptures in all of Chinese art. The face is serene yet distinctly non‑Chinese in its features — a clear echo of Gandharan influence that travelled along the Silk Road and shaped the earliest phase of Northern Wei Buddhist imagery.
The drapery is especially striking. While inspired by the heavy, cascading folds of Gandhāran sculpture, the carving here is more refined and elegant, showing how Chinese artisans adapted foreign models into their own emerging aesthetic. The long earlobes recall the heavy jewelry worn by Prince Siddhartha before his renunciation. The [strong]ushnisha[/strong] — the bump on the top of the head — began as a topknot but later came to symbolize the Buddha’s spiritual power and enlightenment.
Originally, the seated Buddha was flanked by two standing Buddhas; only one survives today. Square holes cut into the back wall reveal where a wooden façade once protected the sculptures from the elements, hinting at how the cave would have appeared in its original, fully enclosed form.
Ancient Datong
Your second day in Datong can be spent exploring the old city. Some visitors feel the reconstructed old town looks too new, too empty, or a bit theme‑park‑like. If you expect Suzhou‑style authenticity, you may be disappointed. Datong is not conventionally beautiful. It sits in a region rich in coal and iron ore. It’s a coal capital with wide roads, heavy industry, and a utilitarian atmosphere.
Air quality is another factor to keep in mind. Datong often experiences high pollution levels in winter, with an Air Quality Index (AQI) commonly in the 115–150 range (unhealthy). Summer and early autumn (June–September) tend to be much clearer across northern China, since coal‑fired winter heating is not in use and temperature inversions are less frequent.
Ancient City Wall
Ancient City Wall, Datong,
CC BY-SA (Wikimedia) Edited
The rebuilt Ancient City Wall (G4.7) dates to the Ming Dynasty, but the current structure is a modern reconstruction. It’s impressive in scale, yet it looks unmistakably new — the stonework is clean, the lines are sharp, and the surfaces lack the weathering you’d expect from a centuries‑old fortification. Visitors hoping for the patina of age may find it a little too pristine, but it does give a sense of Datong’s former strategic importance on the northern frontier.
Huayan Temple
| Fee | Adults CNY 80; USD 11.60 Seniors free |
| Hrs | 08:30 to 17:30 |
| Addr | No. 1 Binxi Road, Pingcheng District |
Pagoda, Huayan Temple, Datong,
CC BY-SA (Wikimedia) Edited
We walked to the southwest corner of the Walled City and arrived at Huayan Temple, one of the largest surviving Buddhist complexes of the Liao Dynasty. The temple was first built in 1038 and reconstructed in 1140, and it remains one of the finest examples of Khitan Buddhist architecture in northern China.
In the Lower Huayan Temple, we found a series of graceful, beautifully sculpted female figures and the striking Huayan Pagoda. As we wandered through the courtyards, we met an English‑speaking visitor from Tianjin who joined us for part of the walk — a small but memorable encounter that added to the experience.
Dragon Head, Huayan Temple, Datong
The Upper Huayan Temple preserves some remarkable architectural details. One of the most striking is a dragon‑head beam‑end (dougong) with bulging eyes, curled horns, a ring piercing its nose, and heavy layers of polychrome paint. These features are characteristic of Liao–Jin and Yuan‑period temple architecture, where structural elements were also canvases for expressive, almost theatrical ornamentation.
Nine‑Dragon Screen
| Fee | unknown |
| Hrs | 09:00 to 16:50 |
| Addr | 18 Dadong Street |
https://commons.wikimedia.org/w/index.php?curid=4793187 " title="Nine‑Dragon Screen, Datong, China By Gisling - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=4793187 " class="has-alt-description">Nine‑Dragon Screen, Datong, CC BY-SA (Wikimedia) Edited
The Nine‑Dragon Screen is one of China’s finest glazed‑tile dragon walls. Built in 1392, it is both the oldest and the largest surviving dragon screen in the country, stretching 45.5 m in length and 8 m in height. The entire wall is constructed from brilliantly coloured glazed tiles — yellow, green, blue, purple, black, and white — showcasing a level of craftsmanship considered a high point of Ming decorative art. The dragons coil and twist through clouds with extraordinary energy, each one rendered with dynamic movement and exquisite detail.
But wait, aren’t dragons only reserved for the emperor? Yes, and that’s precisely what makes this screen interesting. It was built for Zhu Gui, the 13th son of the Ming founder Zhu Yuanzhang. As an imperial prince, he was permitted to use dragon imagery, though typically with slight variations from the emperor’s own symbols. In Chinese culture, dragons — especially nine of them — represent imperial authority, cosmic order, and auspicious power. This screen was both a show of status and a statement of legitimacy
Shanhua Monastery
After passing the Drum Tower, we reached Shanhua Temple (G4.7), a remarkably intact wooden temple complex tucked inside the old city. It was a bit of a walk, and we could easily have gotten lost, but fortunately, our companion from Tianjin — a student of scientific English — guided us through the maze of streets.
Shanhua is historically important: much of the complex dates to the Liao and Jin Dynasties, making it one of the best‑preserved medieval wooden temples in northern China. Architecturally, it’s a valuable survivor. But as a visitor experience, it felt fairly quiet and understated. Compared with the drama of Yungang or the colour of Huayan Temple, Shanhua is simpler and more subdued — interesting from an architectural perspective, though not the most exciting stop on the itinerary.
Lingyan Temple
https://commons.wikimedia.org/w/index.php?curid=18492782" title="Pagoda, Lingyan Temple, Datong, China By JP Bennett from Yamato, Japan - IMG_5796, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=18492782" class="has-alt-description">Pagoda, Lingyan Temple, Datong, CC BY-SA (Wikimedia) Edited
Lingyan Temple (灵岩寺) is a lesser-known Buddhist temple west of the walled city. So little visited that, in fact, we missed it. But this rare five‑story, stone pagoda looks so beautiful, I have included it.
Xuankong Si Temple
| Fee | Adults CNY 125; Seniors? |
| Hrs | 08:00 to 18:00 |
| Bus | CNY 65 1:30 hrs + walk 13 mins. |
https://commons.wikimedia.org/w/index.php?curid=2575758" title="The Hanging Temple, Xuankong Si, Datong, China By BRUNNER Emmanuel (Manu25) - Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=2575758" class="has-alt-description">The Hanging Temple, Xuankong Si, Datong,
CC BY-SA (Wikimedia) Edited
Xuankong Si (悬空寺), known in English as the Hanging Temple (G4.6), clings to the cliffs of Mount Hengshan just south of Datong. s gravity‑defying wooden complex is built directly into a sheer rock face, its halls suspended on thin stilts and tucked beneath a natural overhang. It is one of the most extraordinary architectural achievements in China, and the only major temple constructed entirely on a vertical cliff.
The Hanging Temple is also remarkable for its religious inclusiveness. It is one of the very few sites where Buddhism, Taoism, and Confucianism coexist within a single architectural complex, reflecting the syncretic spirit of northern China during the Northern Wei and later dynasties.
The Hanging Temple, Xuankong Si, Datong
The temple is famous for its precarious beauty and ingenious engineering. In my photo, the stacked wooden halls rise in tiers, connected by narrow walkways and stairways, with roofs at different heights hugging the cliff. The effect is both delicate and daring — a structure that seems to float in mid‑air yet has survived more than 1,500 years of wind, rain, and seismic activity.
Great Wall Excursions
The Great Wall near Datong is a very different experience from the restored sections around Beijing. Here, the wall is unrestored, managed locally, and visited mostly by hikers, photographers, and Great Wall researchers. Information online is limited, and these “wild wall” stretches are accessible at any time with no entrance fee — but also no facilities. Bring your own food and water!
Because these sites lie outside the major tourist network, there are no bus connections. Reaching them requires hiring a taxi or arranging a private driver. What you get in return is solitude, dramatic scenery, and the rare chance to see the Great Wall in its original, weathered state — crumbling watchtowers, eroded rammed‑earth walls, and long, empty ridge lines stretching across the northern frontier.
Ancient Great Wall Forest Park
| Drive | 25 km north of Datong |
| Taxi | ¥120–¥200 (USD 17-29) for ca. 2-3 hrs RT |
Ancient Great Wall Forest Park is one of the more accessible Great Wall sites near Datong. Located on the outskirts of the city, it offers a mix of natural scenery and surviving wall remnants without requiring a long trip into the countryside. It’s a good option if you want to experience the “wild wall” atmosphere but prefer something easier to reach than the remote frontier sections north of Datong. the countryside.
Weilubao Great Wall Relics
| Drive | 70–80 km NW of Datong in Zuoyun County |
| Taxi | ¥300–¥450 (USD 58-80) for ca. 3-4 hrs RT |
This is one of the closest true Great Wall remnants to Datong. It is known for wild, unrestored wall segments, beacon towers, and great photography. It’s ideal for travellers who prefer quieter, non‑touristy sites.
Li’erkou Great Wall
| Drive | 90–110 km W of Datong in Tianzhen County |
| Taxi | ¥400–¥550 (USD 43-65) for ca. 4-5 hrs RT |
https://baike.baidu.com/en/item/Li'erkou%20Great%20Wall/652547" title="Li'erkou Great Wall, Datong, https://baike.baidu.com/en/item/Li'erkou%20Great%20Wall/652547" class="has-alt-description">Li’erkou Great Wall, Datong, Baidu Wiki
The Li’erkou Great Wall, located in Li’erkou Village in Tianzhen County, is one of the most highly regarded wild‑wall sections near Datong. This stretch offers dramatic mountain scenery and long, untouched lines of authentic Ming‑era fortifications with almost no modern repair. The result is a raw, atmospheric landscape — eroded battlements, crumbling watchtowers, and sweeping ridge lines that feel unchanged for centuries.
Li’erkou is ideal if you want a more adventurous, remote Great Wall experience. It’s harder to reach than the forest‑park sections near the city, but the reward is solitude, history, and some of the most photogenic frontier scenery in northern Shanxi.
Which one should you visit?
Authenticity & Dramatic Scenery: Lierkou or Weilubao.
Easy Access: Ancient Great Wall Forest Park.
Pingyao
https://commons.wikimedia.org/w/index.php?curid=32182469" title="Old Town, Pingyao, China By Francisco Anzola - Another daoist temple, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=32182469" class="has-alt-description">Old Town, Pingyao, CC BY-SA (Wikimedia) Edited
If you want more atmosphere than archaeology, then head 366 km (3 hrs) southwest from Datong to Pingyao, a worthy choice. It offers cobbled streets, lantern-lit nights, traditional shops, and museums. The old town is a dense network of narrow lanes, grey‑brick courtyard compounds, and wooden shopfronts. Intimate, authentic Pingyao is a place where the urban fabric from the Ming and Qing dynasties still feels intact, lived‑in, and coherent.
https://commons.wikimedia.org/w/index.php?curid=1201748" title="Daoist Temple, Pingyao, China By Benzh - Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1201748" class="has-alt-description">Daoist Temple, Pingyao, CC BY-SA (Wikimedia) Edited
Pingyao features Shuanglin Temple (known for its painted sculptures), Zhenguo Temple (one of China’s oldest wooden structures), and the Wang and Qiao Family Compounds (sprawling traditional mansions).
Pingyao is one of China’s best‑preserved ancient walled cities. You can walk the full circuit of the old city walls. They’re authentic in layout and structure, not a modern reconstruction.
Datong-Pingyao Synopsis
Datong is a former coal city transformed into a Buddhist art and heritage hub, anchored by the Yungang Grottoes, the reconstructed ancient city walls, and nearby sites like the Hanging Temple. It will appeal to travellers interested in religious art, large‑scale monuments, and dramatic landscapes. Most tourists spend 2 to 3 days.
Pingyao is China’s best‑preserved Ming–Qing walled merchant city, famous for its banking history, courtyard mansions, and UNESCO‑listed old town. It will appeal to heritage lovers, photographers, and visitors seeking an atmospheric old‑town immersion. Most tourists spend 2 days. Pingyao is a smaller town that is more walkable, but has a lower visitor capacity.
If Datong is about monumental contrasts, Pingyao is about cultural immersion.
Other Posts on China
Below are the detailed posts that describe aspects of China. Read the Demystifying the Chinese Language post to learn how to pronounce Mandarin (pinyin) names.

[strong][strong]Beijing: Exploring the Once Forbidden City[/strong][/strong]

National Palace Museum Treasures Shaped World

Datong Awaits: China’s Timeless Treasures

[strong]Why Chengde Should Be on Your Travel Bucket List[/strong]

Myths and Mysteries of the Great Wall

Xi’an: Ancient Treasures Transformed China

3 Hidden Gems of Chengdu
Final Comments
Why They Matter Today. They’re one of the three greatest Buddhist grotto complexes in China, alongside Longmen and Mogao. They preserve a moment of artistic transformation that shaped East Asian Buddhist art for centuries. Ongoing conservation efforts make them a living laboratory for heritage preservation.
Whether you’re wandering through tranquil gardens, gliding along moonlit canals, or savouring the delicate sweetness of Suzhou cuisine, this city offers travellers a rare chance to step into a living masterpiece. Just a short train ride from Shanghai, Suzhou is both an escape and an immersion—a place where history, artistry, and everyday life intertwine seamlessly. For those seeking beauty with depth, Suzhou isn’t simply a stop on the map; it’s a destination that lingers in memory long after the journey ends.
Surprising Fact for Today
Datong sits on the northeastern edge of a loess plateau, which explains the distinctive yellow‑earth landscapes you see around the city. Loess is a fine, wind‑deposited silt from the northwestern deserts that accumulated over hundreds of thousands of years. For more surprising facts, read Mind-Blowing Facts About China That Will Change Your View.
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Trip Planning
The next sections will help you plan and tailor the itinerary for your trip.
Resources
China Map, our custom Google map
How many days do you need for Datong?
You need more than a partial day in Datong. We spent three nights (two days) in Datong. You should allow one day for the Yungang Grottoes and one day for Ancient Datong and the sights outside the city.
When is the best time to visit [strong]China?[/strong]
The best time to visit Northern China is during spring (April–May) and autumn (September–October), when the weather is mild. Note that the weather in mountain regions is always cooler.
| Months | Comments |
|---|
| Nov–Mar | Budget-friendly, fewer tourists Avoid northern China due to the cold |
| Apr–May | Mild temperatures, blooming flowers, fewer crowds |
| Jun–Aug | Hot and humid, crowded tourist sites Avoid July–August in major cities, inland areas and Southern China, due to the heat and crowds |
| Sep–Oct | Clear skies, comfortable weather, vibrant foliage |
[strong]Datong Weather[/strong]
The average elevation in Datong is 1,040 m (3,412 ft). Also note that the temperature shown is the average high temperature for several months. As it is higher latitude, winters are longer from November to March. Spring and Autumn are only two months each.
| Season | Temp | Temp | Rain | Rain |
|---|
| Months | °C | °F | mm | in. |
|---|
| Nov–Mar | 1.2° | 34.2° | 1.0 | 0.0 |
| Apr–May | 19.7° | 67.4° | 17.9 | 0.7 |
| Jun–Aug | 30.3° | 86.6° | 103.3 | 4.1 |
| Sep–Oct | 18.3° | 65.0° | 24.1 | 0.9 |
Is there overtourism in China?
Yes, there were over 62 million visitors in 2024, but it is not caused by foreigners. Over-tourism and overcrowding are increasingly pressing issues in China, especially during peak travel periods like Golden Week and major holidays.
| Holiday | Dates | Comments |
|---|
| Chinese New Year | Jan 28 – Feb 3 | Largest annual migration in the world as people return home to celebrate with family. Transportation packed |
| Qingming Festival | April 4–6 | Families travel to ancestral homes; Regional transport and rural areas may be congested |
| Labor Day | May 1–5 | Major cities and scenic areas see high foot traffic |
| Dragon Boat Festival | June 6–8 | Moderate crowding in festival zones and scenic spots |
| Golden Week | Oct 1–7 | mass domestic travel; attractions hit full capacity, transportation is heavily booked, and prices spike |
The vast majority of tourism is domestic, ca. 90%! Domestic tourism is the primary driver of China’s travel economy, supported by a large middle class and strong internal mobility. All cities are overcrowded, even without tourism.
[strong][strong]Transportation[/strong][/strong]
We travelled mainly by train but sometimes by bus or boat. Use the Rome2Rio or Trip.com app if you are planning local trips within or to China.
Rental Cars
China does NOT recognize International Driving Permits (IDPs). You can’t drive with just your foreign license. To legally drive, you need a Chinese driver’s license — either a temporary permit or a full license. Driving in China can be intense: traffic, signage, and parking systems are often unfamiliar. Many payments (e.g., tolls, parking) need QR code apps like Alipay or WeChat Pay.
Trains
The two most popular Chinese train booking apps are the official 12306.cn app (limited English) and the international-friendly Trip.com (multi-lingual). Bullet trains offer comfortable seating, digital ticketing, and English signage on most major routes.
Other Modes of Travel
Buses connect nearly every city, town, and village, often reaching places trains don’t. Buses are essential in rural and mountainous regions, offering affordable access to heritage towns and scenic routes. Public transit and taxis are cheap, efficient, and widely recommended for short-term visitors.
Travel Times and Distances
Here are some road (Rd) and train distances and travel times for this blog. There are high‑speed rail (HSR) lines from Datong to Beijing, Xi’an and Pingyao. There are also HSR lines from Beijing to Pingyao and from Pingyao to Xi’an.
| Route | Rd km | Rd hrs | Train hrs | Train Cost |
|---|
| Datong – Xi’an | 870 | 9:03 | 5:30 | CNY 227–535 |
| Datong – Beijing | 342 | 3:39 | 2:22 | CNY 180–206 |
| Datong – Pingyao | 366 | 4:14 | 3:00 | CNY 50–150 |
| Beijing – Pingyao | 569 | 6:00 | 4:30 | CNY 158–447 |
| Pingyao – Xi’an | 502 | 5:10 | 3:40 | CNY 174–383 |
Other Posts You May Like
Travel Tips and Culture Guides
Here are some other posts on the culture of China. While the posts on Buddhism were written about other countries, the terms and concepts are basically the same throughout the world.

Mind-Blowing Facts About China

From Ideas To Inventions: Dive Into Dynasties

Cracking the Code: Demystifying Chinese

From Past to Pagoda: Chinese Gems

Guide to Thai Buddhism

Buddhist Terms & Symbolism
Google Maps Ratings
Google Maps provides a rating from 0 to 5 for all sights, hotels, and restaurants (but not cities). All our recommendations are appended with the rating (prefixed with a G) from Google Maps. Google Ratings are based on feedback from locals as well as tourists. They are much more reliable than travel booking websites or tourist anecdotes. We consider a score of 4 to 4.39 to be Very Good and 4.4 to 5 to be Excellent.
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except where noted CC BY-SA (Creative Commons Wikipedia)
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