Chinese dragon

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Chinese dragon

The Chinese dragon (spelled Long, Loong or Lung in transliteration), is a mythical Chinese creature that also appears in other East Asian cultures, and is also sometimes called the Oriental (or Eastern) dragon. Depicted as a long, snake-like creature with four claws, in contrast to the Western dragon which stands on two legs and which is usually portrayed as evil, it has long been a potent symbol of auspicious power in Chinese folklore and art.

The dragon is also the embodiment of the concept of yang (male) and associated with the weather as the bringer of rain and water in general. Its female counterpart is the Chinese phoenix.

Description

Non-imperial Chinese dragon in Shanghai.

From its origins as totems or the stylized depiction of natural creatures, the Chinese dragon evolved to become a mythical animal. By the Han Dynasty, the dragon's appearance is described as having the trunk of a snake; the scales of a carp ; the tail of a whale; the antlers of a stag; the face of a camel; the talons of eagles; the ears of a bull; the feet of a tiger and the eyes of a (dragon)lobster. It has a flaming pearl under its chin. Chinese dragons are occasionally depicted with bat-like wings growing out of the front limbs, but most do not have wings, though oddly enough, they are still capable of taking flight.

This description accords with the artistic depictions of the dragon down to the present day. The dragon has also acquired an almost unlimited range of supernatural powers. It is said to be able to disguise itself as a silkworm, or become as large as our entire universe. It can fly among the clouds or hide in water (according to the Guanzi). It can form clouds, can turn into water or fire, can become invisible or glow in the dark (according to the Shuowen Jiezi).

One such early form was the pig dragon. It is a coiled, elongated creature with a head resembling a boar[1]. The character for "dragon" in the earliest Chinese writing has a similar coiled form, as do later jade dragon amulets from the Shang period.

Origin

The ancient seal script form of the character for "dragon" that is now written 龍 or 龙 and pronounced lóng in Mandarin.

There is no consensus on the origin of the Chinese dragon, but many scholars agree that it came from totems of different tribes in China. Some have suggested that it comes from a stylized depiction of existing animals, such as snakes, fish, or crocodiles. For example, the Banpo site of the Yangshao culture in Shaanxi featured an elongated, snake-like fish motif. Archaeologists believe the "long fish" to have evolved into images of the Chinese dragon. The association with fish is reflected in the legend of a carp that saw the top of a mountain and decided he was going to reach it. He swam upstream, climbing rapids and waterfalls letting nothing get in the way of his determination. When he reached the top there was the mythical "Dragon Gate" and when he jumped over he became a dragon. Several waterfalls and cataracts in China are believed to be the location of the Dragon Gate. This legend is used as an allegory for the drive and effort needed to overcome obstacles and achieve success. Dragons or dragon-like depictions have been found extensively in neolithic-period archaeological sites throughout China. The earliest depiction of dragons was found at Xinglongwa culture sites. Yangshao culture sites in Xi'an have produced clay pots with dragon motifs. The Liangzhu culture also produced dragon-like patterns. The Hongshan culture sites in present-day Inner Mongolia produced jade dragon amulets in the form of pig dragons.

An alternative view, advocated by He Xin, is that the early dragon depicted a species of crocodile. Specifically, Crocodilus porosis, an ancient, giant crocodile. The crocodile is known to be able to accurately sense changes in air pressure, and be able to sense coming rain. This may have been the origin of the dragon's mythical attributes in controlling the weather, especially the rain. The association with the crocodile is also supported by the view in ancient times that large crocodiles are a variety of dragon. For example, in the Story of Zhou Chu, about the life of a Jin Dynasty warrior, he is said to have killed a "dragon" that infested the waters of his home village, which appears to have been a crocodile.

Others have proposed that its shape is the merger of totems of various tribes as the result of the merger of tribes. The coiled snake or dragon form played an important role in early Chinese culture. Legendary figures like Nüwa (女媧), Fuxi (伏羲) are depicted as having snake bodies. Some scholars report that the first legendary Emperor of China Huang Di (黃帝,Yellow Emperor) used a snake for his coat of arms. Every time he conquered another tribe, he incorporated his defeated enemy's emblem into his own. That explains why the dragon appears to have features of various animals.

There is no apparent connection to the western dragon. However, Marco Polo's alleged sighting of a dragon while traveling throught the East may have influenced the European view of the dragon.

Chinese Mythology and Culture

The dragon as ruler of weather and water

Chinese dragons are strongly associated with water in popular belief. They are believed to be the rulers of moving bodies of water, such as waterfalls, rivers, or seas. They can show themselves as water spouts (tornado or twister over water). In this capacity as the rulers of water and weather, the dragon is more anthropomorphic in form, often depicted as a humanoid, dressed in a king's costume, but with a dragon head wearing a king's headdress.

There are four major Dragon Kings, representing each of the four seas: the East Sea (corresponding to the East China Sea), the South Sea (corresponding to the South China Sea), the West Sea (sometimes seen as the Indian Ocean and beyond), and the North Sea (sometimes seen as Lake Baikal).

Because of this association, they are seen as "in charge" of water-related weather phenomenon. In premodern times, many Chinese villages (especially those close to rivers and seas) had temples dedicated to their local "dragon king." In times of drought or flooding, it was customary for the local gentry and government officials to lead the community in offering sacrifices and conducting other religious rites to appease the dragon, either to ask for rain or a cessation thereof.

The dragon as symbol of imperial authority

An imperial robe from the Qing Dynasty

At the end of his reign, the first legendary Emperor Huang Di was said to have been immortalized into a dragon that resembled his emblem, and ascended to Heaven. Since the Chinese consider Huang Di as their ancestor, they sometimes refer to themselves as "the descendants of the dragon." This legend also contributed towards the use of the Chinese dragon as a symbol of imperial power.

The dragon, especially yellow or golden dragons with five claws on each foot, was a symbol for the emperor in many Chinese dynasties. The imperial throne was called the Dragon Throne. During the late Qing Dynasty, the dragon was even adopted as the national flag. It was a capital offense for commoners to wear clothes with a dragon symbol. The dragon is featured in the carvings on the steps of imperial palaces and tombs, such as the Forbidden City in Beijing.

In some Chinese legends, an Emperor might be born with a birthmark in the shape of a dragon. For example, one legend tells the tale of a peasant born with a dragon birthmark who eventually overthrows the existing dynasty and founds a new one; another legend might tell of the prince in hiding from his enemies who is identified by his dragon birthmark.

In contrast, the Empress of China was often identified with the Fenghuang.

Modern belief in the Chinese dragon

In modern times, belief in the dragon appears to be sporadic at best. There appear to be very few who would see the dragon as a literally real creature. The worship of the Dragon Kings as rulers of water and weather continues in many areas, and is deeply ingrained in Chinese cultural traditions such as Chinese New Year celebrations.

Nine Dragon Screen, Datong (detail).

There are "Nine Classical Types" of dragons as depicted in Chinese art and literature, nine being an auspicious number in Chinese culture. These are:

  • Tianlong (天龍), The Celestial Dragon
  • Shenlong (神龍), the Spiritual Dragon
  • Fucanglong (伏藏龍), the Dragon of Hidden Treasures
  • Dilong (地龍), the Underground Dragon
  • Yinglong (應龍), the Winged Dragon
  • Jiaolong (虯龍), the Horned Dragon
  • Panlong (蟠龍), the Coiling Dragon: inhabits the waters
  • Huanglong (黃龍), Yellow Dragon, which emerged from the River Luo to show Fuxi the elements of writing
  • Dragon King (龍王)

Besides these, there are Nine Dragon Children, which feature prominently in architectural and monumental decorations:

  • The first son is called bixi (贔屭 pinyin: bìxì), which looks like a giant tortoise and is good at carrying weight. It is often found as the carved stone base of monumental tablets.
  • The second son is called chiwen (螭吻 pinyin chǐwěn), which looks like a beast and likes to see very far. It is always found on the roof.
  • The third son is called pulao (蒲牢 pinyin pǔláo), which looks like a small dragon, and likes to roar. Thus it is always found on bells.
  • The fourth son is called bi'an (狴犴 pinyin bì'àn), which looks like a tiger, and is powerful. It is often found on prison doors to frighten the prisoners.
  • The fifth son is called taotie (饕餮 pinyin tāotiè), which loves to eat and is found on food-related wares.
  • The sixth son is called baxia (蚣蝮 pinyin gōngfù or bāxià), which likes to be in water, and is found on bridges.
  • The seventh son is called yazi (睚眥 pinyin yázī), which likes to kill, and is found on swords and knives.
  • The eighth son is called suanni (狻猊 pinyin suānní), which looks like a lion and likes smoke as well as having an affinity for fireworks. It is usually found on incense burners.
  • The youngest is called jiaotu (椒圖 pinyin jiāotú), which looks like a conch or clam and does not like to be disturbed. It is used on the front door or the doorstep.

There are two other (inferior) dragon species, the jiao and the li, both hornless. The jiao is sometimes said to be female dragons. The word is also used to refer to crocodiles and other large reptiles. The li is said to be a yellow version of the jiao. Whereas the dragon is mostly seen as auscpicious or holy, the jiao and the li are often depicted as evil or malicious.

Number nine

The number nine is considered lucky in China and Chinese dragons are frequently connected with it. For example, a Chinese dragon is normally described in terms of nine attributes and usually has 117 scales - 81 (9x9) male and 36 (9x4) female.

This is also why there are nine forms of the dragon and the dragon has nine children (see Classical depictions above). The "Nine Dragon Wall" is a screen wall with images of nine different dragons, and is found in imperial palaces and gardens. As nine was considered the number of the emperor, only the most senior officials were allowed to wear nine dragons on their robes - and then only with the robe completely covered with surcoats. Lower-ranking officials had eight or five dragons on their robes, again covered with surcoats; even the emperor himself wore his dragon robe with one of its nine dragons hidden from view.

There are a number of places in China called "Nine Dragons," the most famous being Kowloon (in Cantonese) in Hong Kong. The part of the Mekong in Vietnam is known as Cửu Long, with the same meaning.

Chinese zodiac

Main Article Dragon (Zodiac)

The dragon is one of the 12 animals in the Chinese zodiac which is used to designate years in the Chinese calendar. It is thought that each animal is associated with certain personality traits. Dragon years are usually the most popular to have babies. There are more babies born in Dragon years than in any other animal years of the Zodiac.

Constellations

The Azure Dragon - Qing Long - 青龍 is considered to be the primary of the four celestial guardians, the other three being the Zhu Que - 朱雀 (red bird), Bai Hu - 白虎 (white tiger), Xuan Wu - 玄武 (black tortoise-like creature). In this context, the Azure Dragon is associated with the East and the element of Wood. .

Dragonboat racing

Main article Dragon boat

At special festivals, especially the Duan Wu festival, dragon boat races are an important part of festivities. Typically, these are boats rowed by a team of up to 12 rowers, and with a carved dragon as the head of the boat. Dragon boat racing is also an important part of celebrations outside of China, such as at Chinese New Years.

Dragon dancing

Main article Dragon dance
File:Mua-rong.jpeg
A Dong Ho painting of a dragon dance

On auspicious occasions, including Chinese New Year and the opening of shops and residences, festivities often include dancing with dragon puppets. These are "life sized" cloth-and-wood puppets manipulated by a team of people, supporting the dragon with poles. They perform choreographed moves to the accompaniment of drums and music.

Dragons and Tigers

Tigers have always been an eternal rival to the dragon, thus various artworks depict a dragon and tiger fighting an epic battle. Although the Imperial dragon is infinitely more powerful than the tiger in myth, a well used Chinese idiom to describe equal rivals (often in sports nowadays) is "Dragon versus Tiger." In Chinese martial arts, "Dragon style" is used to describe styles of fighting based more on understanding movement, while "Tiger style" is based on brute strength and memorization of techniques.

Other Cultures

Japanese Dragon

A Japanese dragon, also known as ryū or tatsu (竜 or 龍, "dragon") is a legendary creature from Japan. Like other creatures refered to as dragons, the ryū is a large, fantastic, serpent-like being, and is closely related to the Chinese lóng and the Korean yong. Like these it is usually depicted as a wingless, heavily-scaled snake-like creature with small clawed legs and a horned or antlered mammalian head, and is associated with large bodies of water, clouds or the heavens. The ryū in art can generally be distinguished from other East-Asian dragons in that it has only three toes, rather than the lóng's five or the yong's four.

One of the first dragon-like creatures in Japanese myth is the Yamata-no-Orochi, an enormous girl-devouring serpent with eight heads and eight tails which was slain by Susanoo.

Dragons in later Japanese folklore were often much more benign, perhaps because of a heavy influence from China. They appear in famous tales such as My Lord Bag of Rice, in which a hero must kill a giant centipede which is devouring the children of the dragon king of Lake Biwa. In Urashima Tarō, the title character rescues a turtle which turns out to be the daughter of Ryūjin, the dragon king of the ocean.

Vietnamese Dragon

File:Dragonvietnam.gif
Vietnamese dragon, Ly dynasty

In Vietnam, the dragon (Vietnamese: rồng or long) is the most important and sacred symbol. According to the ancient creation myth of the Vietnamese people, all Vietnamese people are descended from a dragon.

To Vietnamese people, the dragon brings rain, essential for agriculture. It represents the King, the prosperity and power of the nation. Like the Chinese dragon, the Vietnamese dragon is the symbol of yang, representing the universe, life, existence, and growth.

The 5th-generation grandson of Shennong, Lạc Long Quân, in dragonkind, king of Đông sea, married a fairy, Âu Cơ, in birdkind, daughter of king Đế Lai. Âu Cơ bore 100 eggs, which hatched into 100 sons. The first-born son became the king of Lạc Việt, the first dynasty of Vietnam, proclaimed himself Emperor Hùng Vương The First (who was then followed by Hùng Vương The Second, Hùng Vương The Third and so on, through 18 reigns). This is the origin of the Vietnamese proverb: "Con Rồng, cháu Tiên" ("Children of Dragon, Grandchildren of Fairy").

Hùng Vương taught citizens to tattoo dragon images on their chest, abdomen and thigh to protect them against orca.

The Vietnamese dragon is the combined image of crocodile, snake, lizard and bird. Historically, Vietnamese people lived near rivers, so they venerated crocodiles as "Giao Long," the first kind of Vietnamese dragon.

There are some kinds of dragons found on archaeological objects: crocodile-dragons (dragons with crocodile head and snake body). The cat-dragon excavated on a glazed terracotta piece in Bac Ninh has some features of Dai Viet period dragon: it does not have a crocodile head, its head is shorter and it has a long neck, its wing and backfin are long lines, and its whiskers and fur are found in the Dai Viet dragon image.

Ngo dynasty (938–965)

On the brick from this period found in Co Loa, the dragon is short, with a cat-like body and a fish's backfin.

Ly dynasty (1010–1225)

The Ly dynasty is the dynasty which laid the foundation of Vietnamese feudal culture. Buddhism was widespread and Van Mieu, the first feudal university, was opened. The slender, flowing dragon of this period represents the King, and is literature dragon.

These dragons' perfectly rounded bodies curve lithely, in a long sinuous shape, tapering gradually to the tail. The body has 12 sections, symbolising 12 months in the year. On the dragon's back are small, uninterrupted, regular fins. The head, held high, is in proportion with the body, and has a long mane, beard, prominent eyes, crest on nose (pointing forwards), but no horns. The legs are small and thin, and usually 3-toed. The jaw is opened wide, with a long, thin tongue; the dragons always keep a châu (gem/jewel) in their mouths (a symbol of humanity, nobility and knowledge). These dragons are able to change the weather, and are responsible for crops.

File:188582749 20bbd4c36c.jpeg
A terracotta tile showing a dragon

Tran dynasty (1225–1400)

The Tran dynasty dragon was similar to that of the Ly dynasty but looked more intrepid. The Tran dragon has new details: arms and horns. Its fiery crest is shorter. Its slightly curved body is fat and smaller toward the tail. There are many kinds of tail (straight and pointed tail, spiral tail) as well as many kinds of scale (a regular half-flower scale, slightly-curved scale).

The Tran dragon symbolised the martial arts, because the Tran kings were descended from a Mandarin commander. The Vietnamese had to fight Mongol invaders in this age.

Le dynasty

In this period, the Vietnamese dragon's image was influenced by the Chinese dragon, because of Confucianism's expansion policy. Differing from those of the previous dynasty, dragons in this age are not only represented in a curved posture among clouds but also in others. These dragons were majestic, with lion-heads. Instead of a fiery crest, they have a large nose. Their bodies only curve in two sections. Their feet have five sharp claws.

Nguyen dynasty

(1802–1883) During the early part of Nguyen dynasty, the dragon is represented with a spiral tail and long fiery sword-fin. Dragon was personified, for example, by a mother with her children, the couple of dragons. Its head and eyes are large. It has stag horns, a lion's nose, exposed canine teeth, regular flash scale, curved whiskers. Dragon images made for the King have 5 claws, others have 4 claws.

(1883-1945) In this later period the dragon image degenerated and became unrefined, losing its natural and majestic shape, and was seen as a signal of the decline in art of the last Vietnamese dynasty.

Vietnamese place-names, and other things, named after dragons

Korean Drangon

Chinese dragon
Yongsan Dragon 4.jpg
Korean name
Hangul
Hanja
Revised Romanization yong
McCune-Reischauer yong


The Korean dragon is a certain type of dragon associated with Korean mythology. Like its peers, the Korean dragon is culture-specific, which means it has unique properties that differentiate it from dragons in other cultures. It is generally comparable to its Chinese counterpart in appearance and cultural significance.

Korean dragons

Whereas most dragons in Western mythology are generally related to the elements of fire and destruction, dragons in Korean mythology are mostly viewed as benevolent beings related to water and agriculture, often considered bringers of rain and clouds. Hence, many Korean dragons are said to have resided in rivers, lakes, oceans or even deep ponds within mountains.

The symbol of the dragon has been used extensively, both in Korean mythology and ancient Korean art. Politically, the dragon represents the Emperor, who himself was associated with rain and agriculture. Hence, those who used the title of King (Wang) were forbidden from wearing dragon adornments; the phoenix is the creature traditionally associated with a king.

Ancient texts sometimes mention sentient speaking dragons, capable of understanding such complex emotions such as devotion, kindness, and gratitude. One particular Korean legend speaks of the great King Munmu, who on his deathbed wished to become a "Dragon of the East Sea in order to protect Korea."

The Korean dragon was said to have certain specific traits: no wings, for example, in addition to a long beard.

Very occasionally a dragon may be depicted as carrying a dragon orb known as the Yeo-ui-ju (여의주) in one or more of its claws. It was said that whoever could wield the Yeo-ui-ju was blessed with the abilities of omnipotence and creation at will, and that only four-toed dragons (those which had thumbs to hold the orbs) were both wise and powerful enough to wield these orbs (as opposed to the lesser, three-toed dragons).

As with Chinese dragons, the number nine is significant with Korean dragons and they are said to have 81 (=9x9) scales on their backs.

Imugi

A close relative to the dragon is a native Korean mythological creature known as an Imugi (이무기). There are different stories about the Imugi: Some, for example, say that they are hornless creatures resembling dragons but have been cursed, and thus were unable to become dragons. Other say that an Imugi is a proto-dragon which must survive one thousand years in order to become a fully fledged dragon. In either case they are said to be large benevolent python-like creatures that live in the waters or caves. Their sighting is associated with good luck.

Footnotes

  1. "Jade coiled dragon, Hongshan Culture (c. 4700-2920 B.C.E.)", National Gallery of Art, Washington DC. Retrieved on 23-02-2007.

External links

External links


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