Korean envoys in wall paintings at the Afrasiab palace of the Western Turk Kkaganate in Samarkand, Uzbekistan, have always been used as a sign of an international connection between Korea and Central Asia. It has also been debated whether this is the actual portrait or the iconographic depiction of the conventional image. Considering that the Afrasiab region at the time of the construction of the paintings at Afrasiab was controlled by Western Turks as well as Goguryeo and the Turk empire had close relations with Korea, this paper proposes that the Afrasiab painting should be interpreted as evidence of more direct connections among the northern nomadic and semi-nomadic peoples; and the possible transmission route across North Asia also will be proposed. The stone statuary of Turks in the 7th and 8th centuries followed not only the established norms of Tang royal funerary sculptures whose model was in the spirit path of the tomb of Tang Taizong (d. 649) at Zhaoling, Xi‘an, China, but also the inspiration of Sogdian paintings in the seated posture and the hand gesture. This paper thus presents a new interpretation of the Korean envoy at the Afrasiab painting in the pursuit of the possible transmission route of the Central Asian artistic elements along the Steppe Route. The paper also introduces stone statues and the ritual complexes of the Turks including those in Shiveet Ulaan to demonstrate how the Mongolian steppe can be a place of a complicated process of the interpretation of varying cultural elements.