Like each culture, the Steppe culture had an artistic conception peculiar to itself and this conception had yielded to various works of art. These works are the outputs of "Animal style" that were embossed over movable materials in accordance with the life conditions and under the influence of the close relation with the animals. The works of art that the ancient Turks applied and decorated on precious stones such as gold and silver, etc. and on the large tents and thrones of their rulers and the delicate tastes of the Turkish community were of great significance. Thein formation about these works of art could be obtained on the basis of the notes of memoirs written down by Chinese Sung-yun who visited the Ak-Hun Ruler Mihiragula in the northern India in the year of 518, the Byzantine envoy Zemarkhos that visited Istemi Khan in the site of Altun Dağ (Golden Mountain) in the Tien Shan Mountains in the year of 568, and the Buddhist priest, Hiuen-Tsang that was the guest of West Gokturk Ruler Tong Yabgu in the year of 629, etc.
However, it has also been known that the Turks had some works of art in the type of mausoleums pertaining to Kul-Tegin and Bilge Hakan. It is definite that the palace artists and craftsmen that were sent from China had contributed great efforts in the descriptions that visualised the wars of the heroes on the walls of the construction of both mausoleums. This situation was confirmed by both the Chinese resources and the inscriptions. The Chinese emperor had also demanded the construction of an extension for inscriptions in the Chinese languages for both monuments. However, the construction of monuments for the sake of the dead persons and the building of artistic constructions did not constitute an innovation among the Turks in that period. As a matter of fact, the same Chinese resources had provided general explanations about the beginning years (553) of the Gokturk State. They provided the following explication: " they would construct buildings over the tombs, and they would arrange the colourful description of the person and the stages of wars that the late person had entered in his lifetime to the walls of this building They would construct inscriptions in the mausoleums that defined the identity of the dead persons
The issue about the arrangement of inscriptions for the maintenance of the memoirs of the Turkish celebrities for the next generations was also cited within Tirnova inscriptions that belonged to Omurtag Khan (814-831). The Turkish terms that were used also indicated this situation: bengütaş (Monument, memorial) bitigtaş (inscription), bark (mausoleum), bedizci (artist and embroidery master), etc. However, the mausoleums of Kül-Tegin and Bilge were destroyed (or the scientific excavations have not been carried out so far). Due to this fact, it is impossible to determine the Chinese and Turkish elements in the architecture and ornaments and the characteristics of the steppe fine arts cannot be revealed about this issues. As far as we know for the time being, the findings include a statue that was found in the tomb of a Turkish soldier that was alleged to "reveal all the facial lines of the Turkish race, the marble bust of Kül-Tegin engraved in a very beautiful manner that was found in the place of the 2nd inscription in the course of an excavation that was carried out in the year of 1958 and a rough statue of a woman. The bust of Kul-Tegin is actually a work of art that represented the pure form of the Turkish face.
The rock embossed design of Kurum Khan with a grey wolf in Bulgaria has also the quality of the continuation of this ancient tradition. It is not appropriate to consider the "saltworts" as a work of art that were composed of roughly engraved bulky slabs in the form of a human. These are the religious signs that represented the persons that the late person had killed in the wars and that were believed to be in the service of him in the next world. This belief is observed among the Bulgarian Turks and the Hungarians.
There are various "stone-grannies" engraved as if they had a glass in their right hands in front of them that were observed in aboundant amounts within the steppe lands between the Central Asia and the Danube River. However, there is not any artistic concern in these stones. We should state that the colourful stone and silver ornamental inlaying, the carpet and rug weaving, embroidery frame making, and the arts of tent making were highly developed among the Steppe Turks.