From the gathering of craftsmen during the Northern Wei Dynasty to the current influx of global tourists, the Yungang Grottoes have always been witnesses of cultural exchange and mutual learning. In early spring, in Datong, Shanxi, and the Yungang Grottoes scenic area at the southern foot of Wuzhou Mountain, English, French, and Japanese are intertwined, and voices are heard one after another. Tourists from all over the world stop in front of the open-air Buddha statue in Cave 20, looking up at the 13.7-meter-high Northern Wei Buddha statue and posting a photo with the millennium Buddha statue on social media. Lisa, a self media blogger from the United States, used six videos to talk about the cultural connotations of the Yungang Grottoes, from handprints to "two Buddhas sitting together". She interpreted the cultural codes hidden in the Yungang Grottoes one by one and gained attention on social media platforms. Benefiting from China's 240 hour visa free transit policy for tourists from more than 50 countries, this cave, which has been included in the UNESCO The World Heritage List, is becoming a "clocking in place" for foreign tourists coming to China. By 2025, the Yungang Grottoes will receive 5.28 million visitors, setting a new historical high. Among them, more than 40000 foreign tourists from over 100 countries and regions visited here. In the scenic area, there are complete service facilities such as foreign language explanations, English signs, and overseas bank card acceptance equipment. Many staff members are proficient in providing consulting services for global tourists. Going back 1500 years in time - in the mid-5th century AD, the Wuzhou Mountain in Datong also echoed with the sound of various language exchanges. That are craftsmen from Hexi Liangzhou, Western Regions, and even the hinterland of Central Asia, wielding hammers to chisel stones on sandstone cliffs. In the fifth year of Taiyan (439 AD), Emperor Taiwu of Northern Wei pacified Beiliang and captured 3000 monks and disciples from Liangzhou, as well as 30000 households of officials and civilians from various clans, and relocated them to Pingcheng (now Datong). As a result, "all the Buddhist and Buddhist affairs were concentrated in the east, and the number of Xiang teachings increased. These craftsmen from Liangzhou, including both Han and various ethnic groups from the Western Regions, became the core force in excavating the Yungang Grottoes. In the early years of Heping (460 AD), the eminent monk Tan Yao was ordered by Emperor Wencheng to "chisel the stone walls of the mountain, open five caves, and carve one Buddha statue each", which became the famous "Tan Yao Five Caves" (Caves 16 to 20). Afterwards, this national project led by the royal family continued for nearly half a century, stretching about 1 kilometer from east to west, chiseling out 254 caves of various sizes and over 59000 statues. The eminent monks Shixian, Tanyao, and others who migrated from Liangzhou, combined Gandhara art, Motura art, and Han traditions to initiate the carving of Yungang. The Yungang Grottoes is a cultural and artistic treasure trove that integrates Chinese and foreign cultures, ethnic minority cultures, Central Plains culture, Buddhist art, and stone carving art. ”Professor Li Jun from the School of Archaeology and Museology at Shanxi University defines the significance of the Yungang Grottoes in this way. In 2001, when Yungang Grottoes were included in the UNESCO The World Heritage List, it was evaluated as "the first peak in the history of the development of Chinese Buddhist art". While "influenced by Buddhist grotto art in South Asia and Central Asia", it also has distinctive "Chinese characteristics and local spirit". During an interview, Professor Peng Shunhong from the School of Literature at Datong University in Shanxi Province confirmed this integration with numerous details. The inscription on the statue contains the code for the integration of various ethnic groups. The "Da Ru Ru Ke Dun Statue Record" on the west wall of Cave 18's entrance, where "Ru Ru" means Rouran and "Ke Dun" means empress, is a witness to the exchange between Northern Wei and surrounding ethnic groups. In the inscriptions of the Liao Dynasty on the west side of the south wall of Cave 13, both the Han surname "Zhang" and the Khitan surname "Yelu" appear, confirming the historical fact of ethnic integration in the Liao Dynasty. In terms of niche shape, the flat oval and dome shaped roofs of the early Tanyao Five Caves are permeated with the imprint of the early nomadic life of the Xianbei ethnic group; After the mid-term, a large number of Han style palace roofs and roof niches appeared, and even a complex structure with a dome roof under the roof of a house appeared - a typical fusion of nomadic culture and agricultural settlement culture. Foreign elements abound: imitation Roman columns and ancient Greek Ionic columns appear in Caves 9 and 10; Cave 8: The Buddha with exposed teeth wears a sun and moon crown in the style of the Persian Sassanid dynasty; The Persian lion shaped column head in Cave 12 and the grapes in the hands of Moses in Cave 8 may be the earliest images depicting grapes in Chinese Buddhist grottoes. It cannot be ruled out that foreign craftsmen may have participated in the carving of the figures in Yungang Grottoes. ”Peng Shunhong said that 1500 years ago, this was already an "international chemical workshop". From the gathering of craftsmen during the Northern Wei Dynasty to the current influx of global tourists, the Yungang Grottoes have always been witnesses of cultural exchange and mutual learning. As stated by Hang Kan, the director of Yungang Research Institute, the institute is using digital preservation, 3D printing to replicate grottoes, and multilingual online interactive projects to "explain the origin of grotto carving art to people from different cultural backgrounds". Li Jun believes that the study of Yungang Grottoes focuses on sorting out the communication and integration of various ethnic groups, and this cultural relic is also an important carrier for enhancing the sense of community of the Chinese nation. (New Society)