Through integrating the analyses of styles and inscriptions, this article argues that a stone statue from Qingzhou (state) which has not been published previously should be dated to the Northern Wei Dynasty. Besides, by combining the delicate engraved donors' portraits on this status and other line-engraved motifs from the Han Dynasty to the end of Northern Dynasties, the development of Chinese ancient stone line-engraved portraits and line-drawing paintings is explored. Rarely seen portraits on this statue demonstrates a significant change from "miti" to "shuti" on the painting style during the Six Dynasties, and profound influences from the painting styles of the Southern Dynasties on the characteristics of statues. On the other hand, such phenomena indicate frequent interactions and communications in terms of culture and economy between the North and South.
