Abstract:

Several brocades with wood grain dating from the Northern Dynasties to the early Tang Dynasty were discovered in the Astana tombs of Turpan, Xinjiang. The origin of these intricate patterns has yet to be conclusively determined by the academic community. This article primarily relies on archaeological findings and visual representations, supplemented by documentary sources, to analyze the stylistic features of “wood grain”, attempting to interpret their decorative meanings and trace their artistic origins and development. It is found that in the Mesopotamian region, the significance of the Tree of Life motif in the context of imperial ideology is primarily manifested in royal attire, jewelry, official seals, as well as murals and palace sculptures. The “wood grain” in Turpan, on the other hand, features ornamentation with animal or human figures, which has a strong connection to the Mesopotamian motif. This research suggests that this artistic theme originated in the Mesopotamian region and later spread to the Scythian art of the North. After being assimilated and reimagined by the Scythian people, it was further influenced and transmitted by Persian culture before ultimately becoming integrated into Chinese art. During the early Tang Dynasty, this artistic style reached its zenith. The discovered textiles with interlinked floral patterns and tree motifs provide evidence of this view, particularly the “three-petal” and “seven-petal” wood grain decorations, which maintain traditional symbolic significance while containing rich religious and philosophical connotations.

Key words: Turpan, brocades with “wood grain”, artistic origins and development, Mesopotamian region, religious philosophy