Textiles have played a significant role in understanding the life and thinking of its users. Yuan silk textile greatly merges the weaving styles from the land that the Mongol-Yuan conquered. This paper offers an explanation on a specific Yuan silk textile by analyzing its motifs, colors, techniques, and the users attitudes toward them. This textile would require an overall look with Han and Islamic pattern structure, with a Taoism symbol, Buddhist lotus, and Mongolian nomadic totems. These features can be discussed with a comparison of the works of previous dynasties and evinced by historical records. This paper proposes that the previous dichotomy or setting of the Yuans preference for some cultures is misleading. Instead, it should be realized that the motifs and techniques imply the Mongol Yuans admiration of Buddhism, Han culture, and Islamic weaving techniques. In this admiration, the Yuans ban on the application of some motifs conveys their narrow cultural controls and causes the misunderstanding that denies their contribution to cultural communication. A motif cannot be clearly defined as a representation of one single culture. In other words, the Yuan court followed the confluence of diverse cultures with the development of commercial and travel.