By iconically representing the game board, the TLV pattern also symbolically appropriated the cultural context in which the game board had been situated, including the practice of divination, the belief in immortality and the metaphorical approach to the cosmos. With the manifold connotations, this paper argues that the TLV mirror is by any means a cultural sign, perfectly articulating the very Han auspicious mentality. I argue that, despite the many and profound changes that take place in the fabrication and design of Chinese bronze mirrors during the Tang dynasty, the mirrors continue to track developments in the Daoist religion and the social ideal of the wenren. As well as being beautiful and prestigious, mirrors continue to be meaningful and lucky objects. Decorations on the mirrors' backs depict Daoist maps of the cosmos, reminders of edifying stories, and talismanic patterns.
Inscriptions refer to Daoist beliefs and practices.
The narratives represented often show a literary gentleman as a model Daoist sage. I classify Tang Daoist mirror designs, showing how images, inscriptions, narratives, and symbols relate to the religious and social culture of the time. They are the resting places of the Eastern Wei and Northern Qi emperors and members of the imperial houses of these two dynasties. Seven of the tombs excavated so far feature wall paintings. This paper presents the wall paintings of the large tomb at Wanzhang.