Pattern is a general term for decorative patterns. Patterns that emerged earlier than words have always been an important part of cultural and artistic creation activities, as well as a vivid portrayal of ideological and cultural images in various historical periods. The Chinese civilization has a unique system of pattern expression, which, as an important part of the cultural heritage of the Chinese nation, still demonstrates its unique value in terms of ritual, ritual, aesthetics, and emotional communication. The significance, connotation, and aesthetic value contained in the patterns of world-famous colored pottery culture, bronze craftsmanship, jade artifacts, lacquerware, gold and silver ware, porcelain, printing and dyeing, weaving and embroidery craftsmanship, etc., radiate unique historical and cultural charm. Xinjiang, as an important passage and hub of the ancient overland Silk Road, has been connecting China and foreign countries for thousands of years, and the cultures of the East and the West blend here. Through Xinjiang, not only can we see the prosperity and flourishing of the Silk Road on land, but we can also appreciate the colorful patterns spread along this road. On this land Silk Road, there were prominent classic patterns shared by the cultural memories of various ethnic groups in China, such as octagonal star patterns, grape patterns, rolled grass patterns, sheep patterns (including sheep horn patterns), ten thousand character patterns, longevity patterns, scroll patterns, honeysuckle patterns, sun patterns, butterfly patterns, flame patterns, dragon and phoenix patterns, cloud patterns, lotus patterns, Hui character patterns, peony patterns, etc. These patterns have a long and profound history, with meanings spanning from ancient to modern times, and are concentrated in a large number of unearthed cultural relics, material vessels, textiles, and handicrafts; The repeated appearance of octagonal star patterns, grape patterns, sheep patterns, ten thousand character patterns, and longevity character patterns, due to their long history, express the auspicious meaning of longevity and prosperity, which is well-known among the people. The octagonal star pattern with four times and eight directions, as the name suggests, refers to the combination of eight identical angles in pairs to form a geometric pattern shape pointing in four directions: east, west, north, and south. It has clear directionality and is commonly found in decorative arts around the world. The back of the 50 cent RMB banknote issued in China in the 1980s had an octagonal star pattern. The octagonal star pattern is widely present in the cultures of the middle to late Neolithic period in China, such as the Hongjiang Gaomiao culture, Songxikou culture, Zaoshi lower culture, Tangjiagang culture, Banpo culture, Majiabang culture, Songze culture, Dawenkou culture, Liangzhu culture, Majiayao culture, Xiaoheyan culture, and more than 20 cultural sites where stone, pottery, and jade artifacts unearthed have octagonal star patterns. According to research, the earliest discovered octagonal star pattern was unearthed at the Gaomiao Cultural Site in Hongjiang, Hunan, about 8000 years ago. The octagonal star pattern imitates the radiance of the sun, and its symbolic meaning usually refers to the radiant sun and stars, reflecting the worship of the sun. According to the Classic of Mountains and Seas, the worship of the sun in China may have originated in the Rizhao area along the eastern coast of Shandong. With population migration and cultural exchange, China's belief in the sun god has had a profound impact on the sun worship in the entire East Asian cultural sphere. During the Eastern Han Dynasty, a type of copper drum was popular among many ethnic groups in the south. The center of the drum was cast with an eight pointed sun pattern, hence it was also known as the eight pointed sun pattern. Some studies suggest that this pattern is also a variant of the octagonal star pattern. The octagonal star pattern in the pottery decoration of Songze culture is considered one of the earliest origins of the eight petal flower due to its eight corners resembling eight pointed petals. Some people also believe that this design is related to the persimmon stem pattern and has a deep connection with the later Huagai pattern, which symbolizes the center of the sky. From the Shang and Zhou dynasties to the Qin and Han dynasties, octagonal star patterns were more common. There are many octagonal star patterns resembling petals on bronze vessels from the Shang and Zhou dynasties. In addition, the Warring States period bronze tripod unearthed in Luoyang is believed to have a combination of one octagonal star pattern and four fire patterns on its four petal flower clusters. The costumes of the hundred figurines unearthed in the the Mausoleum of the First Qin Emperor are also decorated with star patterns. Some people believe that the four petal flower pattern on the Han Dynasty Mao Zedong unearthed from the Niya site in Xinjiang, as well as the eight petal plum pattern on the Tang Dynasty Jinlianzhu Duima brocade unearthed from the Astana ancient tomb group in Xinjiang, may be variants of the octagonal star pattern. The symbolic meaning of the octagonal star pattern represents the four seasons and eight directions, and the continuity of life. According to the interpretation of the octagonal star pattern in the "Nine Palace Grid" of the Book of Luo, it can be found that the octagonal star pattern is an image expression form of the Eight Trigrams, representing all directions in orientation and spring, summer, autumn, and winter in time. It is associated with the concept of four dimensions, eight directions, and four seasons and eight periods, and is a representation of primitive sundials. The most powerful example of this is the octagonal star pattern jade plate unearthed from the Lingjiatan site in Anhui, which can be compared with the "Hetu Jade Plate" in ancient divination books. Therefore, some people believe that the significance of the octagonal star pattern is one of the origins of the Eight Trigrams philosophy in the Book of Changes. Looking at the cultural heritage of the Silk Road on land, the octagonal star pattern, as a decorative element throughout history, is widely present in textiles, embroidery, utensils, architecture, and artworks of various ethnic groups in Xinjiang, and has been influenced by various civilizations. Its prominent cyclic lines and symmetry present a strong sense of order and beauty visually. This reflects that Xinjiang is deeply influenced by the Central Plains culture and is an important component of the entire Chinese civilization; It also reflects its cultural mission as the western gateway of Chinese civilization, undertaking the intersection and integration of Eastern and Western civilizations. There are three main forms of composition for octagonal star patterns: one is to continue the early combination form, often combined with phoenix patterns, knot patterns, animal face patterns (sheep horn patterns, sheep horn shaped cloud patterns), etc., to form a narrative composite pattern that expresses a certain spatiotemporal calendar view; The second is the appearance of a single line octagonal star pattern connected by grid points, or a composite pattern of raised octagonal star patterns and other symbolic patterns in the form of blank spaces on a circular base marked by grid points, which has strong symbolism and ritual sense; The third is the octagonal star pattern that exists in many variant forms, with the most prominent being the octagonal star pattern composed in the form of variations such as S-pattern and four petal eight petal pattern. Grapes with rich and prosperous grape patterns were called "pu tao" in ancient times, symbolizing wealth, longevity, and abundant offspring due to their abundant fruit. On the entrance of a tomb in Yanghai No.2 Cemetery in Shanshan County, Xinjiang, there is a grape vine that is over one meter long. According to the earliest discovered grape vine specimen in China, this discovery pushes the history of grape cultivation in Turpan to nearly 3000 years ago. So far, the earliest grape patterns have appeared on grape patterned jars unearthed in Hejing County, Xinjiang, which are believed to be from the Western Zhou Dynasty to the Spring and Autumn Period. The white grape patterned embroidery belt unearthed from the Zhagululuke Cemetery in Qiemo County, Xinjiang during the Spring and Autumn and Warring States periods is currently the earliest discovered embroidered piece with grape patterns. At the latest during the Western Han Dynasty, grapes were introduced from the Western Regions to the Central Plains by Zhang Qian. Shanglin Garden even planted grapes specifically, and grape patterns were also recorded at that time. At this time, grape patterns mostly appeared in textiles, such as bird and animal grape patterns in Hanqi, and grape patterns on woolen fabrics from the Western Han Dynasty unearthed from the Shanpura Cemetery in Luopu County, Xinjiang; For example, the grape patterned colorful pottery unearthed in Minfeng County, Xinjiang, which is believed to be from the Eastern Han Dynasty, created a unique composition of grape patterns combined with humans and auspicious beasts. During the Wei, Jin, Southern and Northern Dynasties, grape patterns were commonly found in stone carving art, textile embroidery, and copper cups in grottoes. For example, the border decoration pattern of honeysuckle and grapes in Yungang Grottoes, the grape pattern in the statue niche of King Yuanxiang of Beihai in Guyang Cave of Longmen Grottoes, and the grape pattern in the copper gilded grape patterned high footed cup of a young boy unearthed in Datong, Shanxi are the most typical. For example, the red silk embroidered bird pattern fragments and light yellow silk embroidered grape auspicious beast pattern fragments unearthed from the Astana ancient tomb in Turpan, Xinjiang, the manor life map unearthed from the Astana Eastern Jin tomb in Turpan, Xinjiang, and the grapes in the tray held by the donor on the right side wall of Cave 28 in Baizikrik, Turpan, Xinjiang, all emphasize the actual form and planting process of grapes. The Tang Dynasty was the most popular dynasty for grape patterns, and many poems have descriptions of grapes, such as the well-known "grape wine in a night light cup, immediately urging to drink the pipa" (Wang Han's "Liangzhou Ci"). At this time, grape patterns had been widely used in other fields of arts and crafts besides grotto stone carving art, often appearing on silk fabrics, murals, bronze mirrors, sachets, and other items, such as grape Tang grass patterned silk hidden in Masakura in Japan, and grape flower and bird patterned silver sachets unearthed in Shaanxi. The Tang Dynasty was also a golden period for the development of grape patterned decorative art, which can be seen in the early Tang Dynasty coffered ceilings in Cave 387, Cave 329, Cave 209, and Cave 328 of the Mogao Caves; In addition, grape patterns, as a decorative element for Tang dynasty mirrors, are famous for their unique composition and combination: sometimes used in conjunction with pomegranate patterns, symbolizing many children and longevity; Often appearing in the form of intertwined grape patterns, symbolizing the continuity of wealth and prosperity; At this time, classic patterns such as the auspicious beast grape pattern and the precious flower (lotus, peony, passion flower) grape pattern were also formed, such as the auspicious beast grape pattern bronze mirror collected in Emin County, Tacheng, Xinjiang. During the Ming and Qing dynasties, grape patterns were more widely used in various fields such as porcelain, lacquerware, textiles, jewelry, painting, and architectural decoration, giving them a more secular atmosphere. The grape patterns of the Ming Dynasty are more realistic and have clear lines, often combined with entwined and folded branches, such as the entwined grape hairpin unearthed from the tomb of Wang Wenyuan's wife in Pingwu, Sichuan. Due to the extensive appearance of grape patterns in folk kiln porcelain, its meaning has expanded from conveying auspiciousness to a metaphor for the moral character of a righteous person and a gentleman. The grape patterns of the Qing Dynasty, based on the Ming Dynasty, paid more attention to decoration and artistry, often combining with auspicious flowers, fruits, and flower baskets. Looking at the cultural heritage of the Silk Road on land, grape patterns have been one of the earliest decorative patterns throughout history. They are commonly found in fabrics, embroidery, clothing, carpets, objects, and architectural decorations of various ethnic groups in Xinjiang. They are often combined with other flower and fruit patterns, which are beautiful, generous, colorful, and symbolize abundant harvests, abundant children, good fortune, and longevity. The composition form of grape patterns can also be roughly classified into three types: one can exist as a single or continuous border decoration; Secondly, it appears in combination with auspicious beasts such as the four gods, twelve zodiac animals, spirit birds, or characters, symbolizing warding off evil and auspiciousness; Thirdly, it appears in combination with honeysuckle, rolled grass, entwined branches, folded branches, vines, and other auspicious plants and fruits, symbolizing abundant harvests, long-lasting offspring, and prosperous families. The sheep pattern of Jixiang Furui, also known as Jiyang pattern, is one of the traditional auspicious patterns in China, symbolizing auspiciousness. Sheep horn pattern and sheep horn shaped cloud pattern are both variants of sheep pattern. The earliest discovered sheep pattern in China can be traced back to the Neolithic Age, when the images of sheep and sheep horns appeared on rock paintings and pottery, such as the sheep horn column decoration in the Banpo culture, the rock sheep and northern goat depicted in Damao rock paintings, and the sheep horn pattern double ear statue in Majiayao culture. The depiction of sheep, storks, and fish in the Luotuo Peak rock in Altay, Xinjiang is a representative of the Bronze Age sheep pattern. The composition and combination of sheep, fish, and storks in this rock depiction have a wonderful connection with the Han Dynasty's Da Ji sheep, fish, crane, and bronze washing. During this period, sheep shaped wooden combs were also unearthed from the Wubao Ancient Tomb in Hami, Xinjiang. During the Iron Age, sheep patterns appeared in pottery and wooden barrels, such as the sheep head handle pottery beans, wolf and sheep double ear wooden barrels unearthed from the Yanghai Cemetery in Shanshan County, Turpan, Xinjiang, which are typical examples. During the Shang Dynasty, sheep patterns were concentrated in bronze ware, such as the Four Sheep Bronze Square Zun, the Queen Mother Wu Bronze Square Cauldron, and the "Dish and Whole" Copper Square Cuff from the Shang Dynasty. During this period, sheep patterns were often combined with patterns such as Kuilong and animal faces for composition, and were used for worship; In the Zhou Dynasty, sheep patterns also appeared in wooden objects, such as the wolf and sheep pattern wooden box unearthed in Qiemo County, Xinjiang, from the Eastern Zhou Dynasty. Its composition is similar to the wolf and sheep patterns on the Hu crest used in the attire and etiquette of the Xiongnu nobles in the late Warring States period