In the history of Buddhism in the northwest regions of China, hollyhock flowers first appeared in the cave murals of Dunhuang and the surrounding areas before appearing frequently in the murals of the Mogao Grottoes at Dunhuang and the cave temples in Turfan beginning in the Late Tang dynasty. The flowers were either held in the hands of bodhisattvas, the medicine Buddha or donors, or were placed on plates. Many different artistic styles were used to depict hollyhocks—sometimes elaborately or in simple sketches realistically or in a more freehand rendering—which seems to have depended on the aesthetic interests of the individual painters and their mastery of painting techniques. Hollyhock became popular in cave murals not only because its shape and beautiful colors fit well with other elements of Buddhist art, but also because it was known to possess medicinal properties. Especially after the fourth year of the Yonghui era（653 CE） when hollyhock was used effectively to treat smallpox, the flowers became endowed with connotations of resurrection and the avoidance of calamity. In addition, hollyhocks are also mentioned frequently in Esoteric Buddhist scriptures as being used to wipe or scrub surfaces clean, especially when creating a Mandala, which further cements the association between hollyhocks and health and cleanliness. It can be concluded for the above reasons that hollyhock flowers became popular offerings to the Buddha because of its connection to health and healing; the inclusion of these flowers in Dunhuang cave murals following a period of calamity in the region is also worthy of careful attention.
