In their reception of the Chinese Christian documents from the Tang period, Peter Saeki and Arthur Moule put forth a distinction between the Aluoben documents and the Jingjing documents, assuming that the authors of these texts shared the same cultural background, held similar theological opinions and belonged to a single Christian community. However, the account of Zunjing about Alunogen’s arrival in China shows that he might not have been involved in translating the Jingjiao texts into Chinese. In contrast with Peter Saeki and Arthur Moule’s view, it seems reasonable to posit that Aluoben might have been a diplomatic emissary of the Persian Sassanid Empire and that the author of the Xi’an stele subsequently emphasized his identity as a missionary. Given that Yishenlun and Xuting Mishisuo jing were addressed to an audience with an understanding of the Sogdian language, it seems implausible that these two texts were composed by Aluoben in Chang’an and intended for court officials. Furthermore, it is evident that the Christians who emigrated to China in the 7^th and 8^th centuries were of Sogdian, Persian, and Bactrian origins, and therefore had a diverse range of historical and cultural backgrounds. In addition, an examination of the theological opinions expressed in Yishenlun and Xuting Mishisuo jing in comparison to those found in other Jingjiao texts reveals notable divergences. These elements rather suggest that the authors and intended addressees of the Chinese Christian texts were part of disparate groups with distinct cultural backgrounds and theological features.

Throughout history, poetry has held a profoundly important place in Chinese cultural history and in the lives of the Chinese literati. During the Ming and Qing dynasties, Jesuit missionaries who came to China hoped to integrate into and adapt to Chinese culture. They created a large number of literary works in Chinese, including poems. Michele Ruggieri (A.D. 1543-1607), the first Jesuit missionary officially permitted to enter China, wrote over fifty regulated poems in Chinese. These poems, rich in Catholic elements and known as the Chinese Catholic poems, not only recorded the interactions between the missionaries and late Ming literati but also showcased the inculturated Catholicism.