Li adds to this theory by looking at the pictographs for the four seasons, which depict the climatic conditions associated with the particular season. The pictograph for Spring, ŋy21, clearly indicates that this is the windy season (the character is composed of sky + wind). Likewise, the character for Summer, ʐu21, shows the rainy season (sky + rain). Autumn, tʂʼɣ55, depicts a flower in bloom (sky + flower) and Winter , tsʼɪ33, is of course snow (sky + snow). The problem here is with Autumn . Flowers do not bloom in the Autumn months in the Lijiang basin, so why should the pictograph depict the flower? Li suggests that the pictograph originates from a time when the Naxi people were settled in an area with autumn flowering plants. The History of the Qiang People 《羌族史》 notes:“羌族分布在青藏高原东部边缘,山脉重重，地势陡峭，地面有岷江，黑水河。。。初秋时节，河谷正是紫罗兰盛开，而高山却是白雪皑皑”
“The Qiang were spread across the Eastern edge of the Tibetan plateau, a steep mountainous area through which the Min and Heishui Rivers flow…in early autumn, violas bloom across the river valley, and yet the mountaintops reveal an expanse of white snow.”
This shows the reasoning behind the flower in bloom as a symbol for autumn. From this Li backs up his claim that the Naxi were living by the Min River at the time of the character’s creation, dating some pictographs (at their very earliest) to the Shang/Zhou dynasties.