Xiongnu
In the 1920s, Pyotr Kozlov's excavations of the royal tombs at the Noin-Ula burial site in northern Mongolia that date to around the first century CE provided a glimpse into the lost world of the Xiongnu. Other archaeological sites have been unearthed in Inner Mongolia and elsewhere; they represent the Neolithic and historical periods of the Xiongnu's history. Those included the Ordos culture, many of them had been identified as the Xiongnu cultures. The region was occupied predominantly by peoples showing Mongoloid features, known from their skeletal remains and artifacts. Portraits found in the Noin-Ula excavations demonstrate other cultural evidences and influences, showing that Chinese and Xiongnu art have influenced each other mutually. Some of these embroidered portraits in the Noin-Ula kurgans also depict the Xiongnu with long braided hair with wide ribbons, which is seen to be identical with the Ashina clan hair-style. Well-preserved bodies in Xiongnu and pre-Xiongnu tombs in the Mongolian Republic and southern Siberia show both Mongoloid and Caucasian features. Analysis of skeletal remains from sites attributed to the Xiongnu provides an identification of dolichocephalic Mongoloid, ethnically distinct from neighboring populations in present-day Mongolia. Russian and Chinese anthropological and craniofacial studies show that the Xiongnu were physically very heterogenous, with six different population clusters showing different degrees of Mongoloid and Caucasoid physical traits. These clusters point to significant cross-regional migrations (both east to west and west to east) that likely started in the Neolithic period and continued to the medieval Mongolian period.
Xiongnu
Within the Xiongnu culture more variety is visible from site to site than from "era" to "era," in terms of the Chinese chronology, yet all form a whole that is distinct from that of the Han and other peoples of the non-Chinese north. In some instances iconography can not be used as the main cultural identifier because art depicting animal predation is common among the steppe peoples. An example of animal predation associated with Xiongnu culture is a tiger carrying dead prey. We see a similar image in work from Maoqinggou, a site which is presumed to have been under Xiongnu political control but is still clearly non-Xiongnu. From Maoqinggou, we see the prey replaced by an extension of the tiger's foot. The work also depicts a lower level of execution; Maoqinggou work was executed in a rounder, less detailed style. In its broadest sense, Xiongnu iconography of animal predation include examples such as the gold headdress from Aluchaideng and gold earrings with a turquoise and jade inlay discovered in Xigouban, Inner Mongolia. The gold headdress can be viewed, along with some other examples of Xiongnu art, from the external links at the bottom of this article.