Xiongnu
Full-scale war broke out in autumn 129 BC, when 40,000 Chinese cavalry made a surprise attack on the Xiongnu at the border markets. In 127 BC, the Han general Wei Qing retook the Ordos. In 121 BC, the Xiongnu suffered another setback when Huo Qubing led a force of light cavalry westward out of Longxi and within six days fought his way through five Xiongnu kingdoms. The Xiongnu Hunye king was forced to surrender with 40,000 men. In 119 BC both Huo and Wei, each leading 50,000 cavalrymen and 100,000 footsoldiers (in order to keep up with the mobility of the Xiongnu, many of the non-cavalry Han soldiers were mobile infantrymen who traveled on horseback but fought on foot), and advancing along different routes, forced the "chanyu" and his court to flee north of the Gobi Desert. Major logistical difficulties limited the duration and long-term continuation of these campaigns. According to the analysis of Yan You (嚴尤), the difficulties were twofold. Firstly there was the problem of supplying food across long distances. Secondly, the weather in the northern Xiongnu lands was difficult for Han soldiers, who could never carry enough fuel. According to official reports, the Xiongnu lost 80,000 to 90,000 men, and out of the 140,000 horses the Han forces had brought into the desert, fewer than 30,000 returned to China.
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.