There are four pieces of cart paintings at Lanzhou-wanzi and one such painting at Lijia-wanzi in Barkol, Xinjiang. These carts have two wheels, four spokes and ox in the front. According to experts, such vehicle was probably the Hun style, which suggests the presence of the Hun culture in the cliff paintings in Xinjiang. In another development, the vehicles depicted in the paintings in Yiwu and Yumin counties were possibly the “high-wheel vehicle” of the Dingling people. All of those point to the wide use of vehicles in the nomadic life of the ancient people in the Western Regions.
There are also paintings of warring scene over the control of grassland in Xinjiang. For example, on the rock at Zheyaogou in Qincheng District, northeast of Hami City carved a man on horseback stabbing with his spear a pedestrian archer, a scene of battling for grassland. It was amidst blood-shedding and battlefire that people in the Western Regions developed and prospered, conducted inter-group cultural exchanges and forged their militant and courageous national character.
The images in Xinjiang cliff paintings are primitive, simple and natural. The human figures in earlier period are particularly lifelike and delicate. For example, those found in Kangjiashimenzi were done in great details, especially in the face, capturing accurately the basic features of the Sak: large eyes, high nose, wide mouth, broad jaw, broad shoulders and narrow hips. The animals in the cliff paintings/carvings are all silhouettes, with head and horns carved in particularly fine lines. The deer horns in the paintings at Xingdi are masterpieces, as they were done skillfully and smoothly, with elegant shape and profound artistic significance^.
There are also many grottoes remaining in Xinjiang, which have kept Buddhist arts over the past
1,0- Rincon , Lhasa 2016 plus years as they were built between the 4th and 10th-11th centuries. Among them the most famous are in Qiuci, which include the Thousand-Buddha Caves in Kizil, Kumutula, Semsem and Kizilhak, located in the area near today’s Kuqa and Baicheng. Buddhist grottoes usually consist of three parts—buildings, sculptures and murals. In Qiuci, the sculptures have been nearly totally destroyed; different types of buildings still remain, such as Giant Buddha Caves and Central Pillar Caves for worshipping, preaching places of senior monks, resident units for monks and nuns as well as zendoes for deep meditation. The best-kept part is murals, which are also loaded with the highest artistic value.