The murals and coffin paintings of the Tubo period in Qinghai have long been the focus of scholarly attention. Scholars have extensively discussed the ethnic identity of the tomb owners, as well as the functions, structures, origins, and cultural significance of the images as a whole. Some scholars have chosen to analyze specific images, but relatively few have separately discussed the "husband and wife banquet seating" motif. The "husband and wife banquet seating" motif occupies a central position in the narrative scenes, serving as a key to understanding the entire image and guiding viewers to explore the broad cultural context behind the picture. Its origins can be traced back to the tradition of husband and wife seating in murals of the Northern Wei Xianbei tombs, stone carving images in the Northern Dynasties of the Su-Turk nobility tombs, and even themes of reclining and drinking in Greek and Roman cultures, as well as the banquet scenes of Su-Turk nobles or deities in Central Asia. Of particular interest is the fact that both male and female tomb owners are depicted wearing robes or only male or female robe images, demonstrating a complex network of multicultural interactions. By the Tang Dynasty, the "husband and wife banquet seating"motif had disappeared from tombs in the Central Plains but appeared in Tubo-period tombs, reflecting the unique scene of multicultural exchanges and integration in the Qinghai-Tibet region during the Tang Dynasty,especially the process of identity construction and cultural identity integration during the integration of Tubo and Tuyuhun into the Han Chinese community.
coffin paintings and muralsTuboTuyuhunhusband and wife banquet seatingfemale imagery
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