A Double trees with thick branches and leaves in a semicircular formation often replaced haloes of Buddhist statues made of white marble in Hebei during the sixth century. Some of Buddhist statues made of white marble during the Northern Qi dynasty not only present thick branches and leaves of a double trees but also have those branches intertwined as shown in Reclining Seated Maitreya from the third year of the tianbao period in Ohara Museum of Art and Seven Tathāgata Buddhas excavated in Linzhang County. This paper is an iconographic research about the images of a double trees whose branches are intertwined. This kind of images was created mainly in the southern Hebei, southeastern Shanxi, and northern Shandong during the Northern Qi. Similar images of tree branches are found in the Eastern Han pictorial carvings excavated in Shandong, where trees were worshiped as sacred beings from the period of the State of Qi. In Shandong, iconographic images of trees had been created from that time, and trees with intertwined branches came to be especially worshiped during the Eastern Han dynasty. In previous studies, these double-tree motifs were related to the images of a couple of trees whose branches were grafted. However, the former has a strong regional character unlike the latter. The images of intertwined branches have been found only in Shandong, while those of grafted branches are not confined to a specific region and carry auspicious meanings. The religious worship and the images of sacred trees with intertwined branches originated in Shandong. But they have been also found in the Gong County Grottoes and on the backside of a sixth-century Buddhist statue excavated in northern Hebei. This is probably because the double-tree motifs popular in the southern Hebei during the Northern Qi were introduced to northern Hebei and southeastern Shanxi in the process of its spread from the capital Yecheng (current Lizhang) to Luoyang and Taiyuan along transportation routes. The double-tree motifs found in statues made of white marble in Hebei such as Reclining Seated Maitreya were carved as openwork. The method of openwork carving is typically applied to jade. Because of the material affinity of white marble with jade in general, this particular jade carving technique was employed in statues made of white marble, especially the detailed expression of intertwined branches. Images of trees with intertwined branches are closely related to the production of white- marble statues in Hebei during the sixth century. Though the images originated in Shandong, it was in Hebei that they were adopted for Buddhist statues in the sixth century. As white- marble Buddhist statues were mostly produced for private patrons, it is natural to incorporate images of trees, which were familiar to them, into Buddhist iconography. The images of sacred trees found in pictorial carvings of Han dynasty and Buddhist iconography made the double- tree motifs more easily and widely accepted.