This paper examines the stylistic features of tree-shaped paintings in the image stones of northern Shaanxi and Shanxi regions,and constructs a chronological framework for these motifs based on their assemblages.It is proposed that the dominant stylistic features of tree-shaped paintings were largely defined by the two major Qiang rebellions,reflecting the interactions and exchanges in motif styles among different regions.The integration of Buddhism and immortality beliefs related to the Queen Mother of the West further illustrates the intense yearning for stability,happiness,and eternal life amidst the backdrop of the Qiang rebellions.
Han DynastyNorthern ShaanxiShanxiimage stonestree-shaped motifs
万方数据
维普
