China's earliest mythical figures "Fuxi and Nuwa" were ancestors of mankind. Half-man, half-fish, they possessed human faces with reptilian bodies. In the myth, a horse-dragon with four hoofed legs and curly hair on its back, could walk on water as well as fly. It gave a map of the Yellow River to Emperor Fuxi who invented the Eight Trigrams used for divination, thus forming the basis of the I'Ching.
Oracle bones of the Shang and the I'Ching were used to divine agricultural matters of when and where to plant, harvest or fish. The I'Ching refers to dragons as bringers of thunderstorms. The first hexagram of the I Ching is "The Creative", the ascending dragon. Taoists revere the dragon as the spirit of "The Way" who brings eternal changes and guards the flaming pearl of spiritual perfection. The dragon is the guardian of the flaming pearl, spiritual perfection and is depicted coiling among clouds revealing only parts of itself.
China, "Land of the Dragon" has a population who are "Descendants of the Dragon". An ancient belief that certain animals possessed the power to contend with nature's harsh conditions gave rise to totems that represented shared blood ties. Totemic Tribes evolved, each tribe worshipped a different totem regarding it as a common ancestor, guardian able to provide food and avert disaster.
One tribe near Central China's Yellow River worshipped the snake, but named it "dragon". They owed their victories in battle to the dragon's protection. Totems of conquered tribes were absorbed into the snake totem proclaiming the conquered tribe's annexation into the victorious tribe.
DRAGON TOTEMS evolved to include:a camel's head with deer antlers, hare's eyes, a snake's neck, clam's belly, carp's scales, hawk's talons, tiger paws and bull's ears. By virtue of its spiritual character and power, the dragon was the animal most revered by the Han and Miao ethnic groups. The Yellow Emperor (c.27th century B.C.) is said to be the common ancestor of Central China's tribes and is described as having the "body of a yellow dragon."
Later, tribal leaders were thought to be a dragon incarnate or to have blood relations with the dragon, their tribes all worshipped the dragon totem. The dragon was gradually considered the ancestor of royal families only and known as the IMPERIAL DRAGON. Symbolising supernatural power, the dragon has been linked with the emperor since the Han Dynasty, providing spiritual justification for exercising imperial prerogative and absolute power.
Emperor Yu, founder of the Hsia Dynasty (2183-1752 B.C.), called upon the deitie of the divine dragon who used his tail to dredge a river and thus drain water off flooded farmland. The spiritual overseer of water, the dragon was also vested with the power to conjure clouds and rain. Both the Han and Miao performed dragon dances seeking favourable weather and good harvests.
DRAGON BOATS are described as the vehicle of the immortals in records dating from the reign of Chou Muwang (Chou Dynasty, 1111-249 B.C.). According to legend, the sun god Hsiho rode a hornless dragon over the horizon, representing the setting sun and the coming of night. China's DRAGON BOAT FESTIVAL commemorates the patriot and poet Qu Yuan, who lived from 340-278 B.C. during a time of war between the kingdoms of Chu and Qin. He served Chu with loyalty wisdom and integrity but his advice was rejected in favour of the more flattering words offered by corrupt men in the court, Qu Yuan was banished from the kingdom. Qu Yuan expressed his anger and disappointment through poetry. He protested against the corrupt court by throwing himself into the Mi Luo River on the fifth day of the fifth month. When word of his suicide reached the people, they raced out in their boats to scare away the fish and to find him. When they were unable to find him, they threw rice into the river as an offering to Qu Yuan.
The annual Dragon Boat Festival occurs on the 5th day of the 5th lunar month, dragon boat races are held in the rivers and lakes of Southern China and sacrifices are offered to the dragon. The long and narrow dragon boats carry 12 rowers and a drummer who race to the accompaniment of drum beats. Spectators also strike gongs and drums while lighting firecrackers.
The DRAGON DANCE is a popular folk dance all over China. DRAGON-LANTERNS are created with bamboo tubes covered and joined with silk or coloured paper. Each section contains a lit candle with a wooden handle attached for performers to manoeuvre the dragon in festive rolling movements.The dragon-lantern dance is accompanied by firecrackers and fireworks.
In South China the STRAW DRAGON consists of straw, cane or willow twigs. On evenings between the 5th and 6th lunar months burning incense is often attached all over the dragon to entice insects into landing upon the dragon. At the end of the performance the dragon is thrust into the water to drown the insects and aid in relieving insect plagues. In Northwest China straw dragons are waved during severe drought, spectators splash water on the performers and pray for rain.
Liu An, king of Huainan during the reign of Han Wudi (141-87 B.C.), wrote a philosophical text known as Huainanzi. In Chapter IV of that treatise, entitled "Earthly Exegesis," Liu An includes the following explanation of the
ORIGINS OF ANIMALS:
"The yu chia gave rise to the flying fdragon; the flying dragon gave rise to the phoenix; the phoenix gave rise to the luan (another mythical bird); the luan gave rise to the common bird, and all animals with feathers are its descendants."
"The mao du gave rise to the ying dragon; the ying dragon gave rise to the chien horse; the chien horse gave rise to the chilin; the chilin gave rise to the common mammal, and all mammals are its descendants."
"The chieh lin gave rise to the chiao dragon; the chiao dragon gave rise to the kun keng (a legendary fish thousands of miles long); the kun keng gave rise to the chien hsieh; the chien hsieh gave rise to the common fish, and all animals with scales are its descendants."
"The chieh tse gave rise to the hsien dragon; the hsien dragon gave rise to the hsuan tortoise; the hsuan tortoise gave rise to the ling tortoise; the ling tortoise gave rise to the common tortoise, and all crustaceans are its descendants."
According to this primitive evolutionary theory, the dragon is the original ancestor of all birds, mammals, fish, and crustaceans. A theory appeared in China that held the dragon as the spiritual ancestor of all living things, according to the following genealogy:
The fei dragon is the ancestor of all birds.
The ying dragon is the ancestor of all mammals.
The chiao dragon is the ancestor of all fish.
The hsien dragon is the ancestor of all crustaceans.
Liu Bang, an official of humble lineage overthrew the Qin Dynasty in 206 B.C. and established the Han Dynasty (206 B.C.- A.D.220). To legitimise his ascension to China's throne, a story was concocted about his birth being the result of his mother's affair with a red dragon in her dream and when Liu Bang was intoxicated he could not refrain from transforming back into a dragon. From then on emperors and dragons were one as "SON of HEAVEN" and ruled by divine right mandated by Heaven. Once the dragon image had become the sole province of the emperor, all articles for his daily use were emblazoned with the Chinese character for "dragon", including "dragon robes" and the "dragon throne." The emperor's face was also referred to as the "dragon visage."
It became law that only the Emperor could display a five-clawed Imperial Dragon. It was usually a Yellow dragon, thought to be most superior of all coloured dragons. If someone other than the Emperor was caught wearing the symbol of the 5 toed dragon, they were put to death. The Dragon became one of the Twelve Symbols of Sovereignty, symbolising the natural world, adaptability, and transformation. When two dragons are placed together but turned away, the dragons symbolise eternity via the Yin and the Yang.
The IMPERIAL ROBE later included the dragon design. During the Han Dynasty the Imperial Robe included twelve designs of equal importance of which the dragon was only one. The dragon design gained prominence in the Tang Dynasty when Wu Zetian, China's only empress, included dragon designs embroidered on both shoulders as well as on the front of her ceremonial robe. The court adopted the five-clawed dragon as the exclusive design for the imperial robe during the Yuan Dynasty (1206-1368). Commoners were forbidden to use this design, dragons with fewer than five claws were named "mang".
The Ming Dynasty (1368-1644) greatly increased the numbers of dragon embroideries on their robes to indicate the flourishing posterity of the royal family. The exquisite coloured silk thread with gold and silver wire embroideries didn't appear on the imperial robes until the Qing Dynasty (1644-1911). These robes were also adorned with peacock-feather yarn, pearls and coral.
Images of dragons fashioned from dough were also used in sacrifices to gods and ancestors during the Qing Dynasty. Decorated with images of flasks as symbols of peace, square halberds as symbols of good fortune, and pearls with ingots as symbols of wealth, these dragon images augured peace and good fortune. They also showed people's belief in the dragon as an emissary, seeking good fortune on their behalf.
The auspicious dragon also appears on silk wedding scrolls inscribed with the phrase, "The dragon and phoenix bode good fortune" (denoting man and woman) it symbolizes the happiness that attends celebrations marked by traditional drinking from nuptial wine cups.
Depictions of other forms of the dragon, such as water, fire, golden, and cloud dragons, are easily identified by their names. The dragon is often depicted with parts of its body obscured by clouds, "one can see the head of the divine dragon, but not the tail" this reflects both the dragon's ever-changing image and unpredictable nature.
Chang Sengyao of the Six Dynasties Period (222-589),when painting a dragon would paint a lock on it and firmly secure the work to the ground with nails. He took these precautions because his paintings were imbued with such a powerful spiritual force, as soon as the eyes were painted in the dragon would mount the clouds and soar into the heavens! This is the origin of the story about "painting in the dragon's eyes," a ceremony that remains a solemn occasion to this day.
Zhang Zengyad, (5th century AD.) painted four dragons on a wall of Anle Temple in Jinling. He left the eyes out, saying that if he painted the eyes, the dragons would fly away. Prompted, he reluctantly painted eyes on two dragons. Clouds began to roll in and lightning flashed in the sky. The two dragons with eyes broke out of the wall and soared into the sky, never to be seen again.
Quoting Wang Fu of the Eastern Han Dynasty in his Literary Expositor, Luo Yuan of the Southern Song Dynasty (1127-1279 AD):
Wang Fu says "depictions of creatures with the head of a horse and body of a snake are commonly considered dragon images. But dragons actually have three sections and nine likenesses. The three connected sections are from the head to the upper leg, the leg to the abdomen, and the abdomen to the tail. The nine likenesses are horns of a stag, head of a camel, eyes of a demon, neck of a snake, belly of a clam, scales of a fish, talons of an eagle, paws of a tiger, and ears of an ox."
Dragons are believed to have 117 carp scales which have yang essence in 81 with 31 yin. Males often have a pearl under the skin and scales on their necks. Dragons pass through 7 forms over a 3,000 year period. Appearing in many forms, contemporary dragon depictions, however, follow Wang Fu's prescription as an amalgamation of characteristics from many animals. Most people think of dragons in the 6th form. Dragons embody the divine creative force of the universe as the spiritual ancestor of all living things. Human beings are also considered dragon descendants.
Chinese Dragons are snake-like with four short legs, but do not have wings. Five toed dragons are a symbol of power. The Chinese term for dragons is "Lung" and there are four main categories:
Tien-Lung, The Celestial Dragon, protects the place of Gods.
Shen-Lung, The Spiritual Dragon, controls wind and rain.
Ti-lung, The Earth Dragon , controls rivers, and water on the earth.
Fut's-Lung, The Underworld Dragon, guards precious metals and gems.
Known as Lung Wang, the many Chinese Dragon Gods of rivers, lakes and the four oceans, represent wisdom, strength and goodness. Protectors of ferrymen and water carriers, Lung Wang would punish wasters of water bringing fog and earthquakes that would damage river banks. During drought people would make offerings to Lung Wang in return for rain.
Chi Lung Wang is one of many Chinese Dragon Kings and is associated with the use of the hand-pumps used in fire-fighting. He is invoked to aid the running of these pumps.
There are four main Dragon Kings depicted as brothers, (Taoist's use different names):
Ao Ch'in
Ao Jun
Ao Kuang
Ao Shun
Each King rules one of the four seas. Earth is in the centre of these seas. They live in underwater Crystal Palaces with an army of fish, crabs, and crayfish who police the sea bottom. Jade influences where and how much rain is distributed. The Chinese love of jade was based on the idea that jade was the congealed semen of the celestial dragon deposited in the body of the earth.
The pi-dragon, symbol of the universe was carried on jade discs as dragon eating own tail. related to "pi" as mystical number of Pythagoras, mystic numerical principle of the circle.
Temples dedicated to the Goddess Matsu pay homage to the "four great dragon kings," or a single dragon spirit. A separate temple in honour of the dragon could also be set up to procure protection for ships at sea. Floods, tidal waves, and other natural disasters.
Separate dragons control the rivers of the North, South, East and West. The commander of all the River Dragons is Great Chien-Tang who is blood red, has a fiery mane, and is 900 feet long. Hui Dragon, literally means "small snake dragon," it got the name from a species of poisonous snake. The most primitive simple dragon images resembling a lizard, can all be called hui dragons.
The dragon classification system in Chinese culture use the names below:
A chiu dragon has a squiggly body.
A chih dragon is a dragon without horns.
A kuie dragon has a single leg and is associated with music.
A ching dragon is green and represents the East
A chu dragon is a supernatural being, the equivalent of a huo (fire) dragon.
A pan dragon is shaped in a coil, the same as the chiu dragon.
A ying dragon has wings.
According to legend the "dragon begat nine sons." The nine sons were not dragons in form and each had a different temperament, distinct natural attributes and interests.
The first son, Pihsi (or pahsia or Baxi), is turtle like in appearance and capable of bearing heavy loads. This creature is the origin of the heavy, tortoise-shaped bases that support stone tablets, such as the nine "Imperial Stone Tortoise Steles" of the Chihkan Building in Tainan (dating from Chienlung's reign of 1736-1795). Although these bases are shaped like tortoises, most pihsi have the head of a hornless dragon (chih).
The second son is the Chiwen, a mammal with a fondness for gazing into the distance, has sharp eyes, a nose for trouble and provides symbolic protection against fires. An excellent lookout, this dragon is usually perched on strategic positions like temple roofs, in the lofts of assembly halls and pagodas, atop houses, or lodged in the far corners of a temple.
The third son, Pulao, a small dragon, loves singing and emits a unique chirping sound. Often found in the design of bells, but with a mortal fear of whales, he shrieks loudly if a whale attacks. Frequently he appears atop of clocks with a carved whale set to strike so that the clock will chime loud and clear. Pan Gu's Eastern Capital Rhapsody from the Eastern Han Dynasty (25-220 B.C.) contains the verse, "The whale issued forth, and the clock emitted a resounding clang."
In a later period, the fish and dragon were associated, through wooden batons shaped like fish that hung in dining rooms of Chan (Zen) temples. The batons were used to strike a large bell, an action representing the transformation of a fish into a dragon. This image of transformation, which symbolizes the transcendence of worldly concerns and the attainment of sainthood, is based on the legend "the carp leaps through the dragon gate," a depiction of intense struggle that ends in victory.
The fourth son, the Qiuniu enjoys music and is found on the designs of many traditional musical instruments.
The fifth son, the Taotie, with a voracious appetite, appears on the lids of dings (cauldrons). It became the most important decorative design on ancient Chinese bronze works.
The sixth son, the Kungfu (or fankong or Baxia), has an affinity for water and likes to drink. It appears on bridge pillars.
The seventh son is the Yazi, delights in killing, his image is often imprinted on the hilts of swords, knives and other weapons.
The eighth son is the Chinni (or Suanni), looks like a lion, has a natural affinity for fireworks and is fond of sitting amidst smoke. It commonly decorates incense burners.
The ninth son, the Chiaotu (or Jiaotu) resembles a conch or clam and craves seclusion. He is fond of closing up and usually appears on the knockers of doors.
Widely used in architecture and for decorative design, the dragon image can take on a variety of different appearances, drawing on the divergent forms and attributes of the nine sons. The dragon is depicted more frequently than any other animal. Depictions abound on roof ornamentation, pillars, balustrades, window lattices, door shutters, and decorative features such as dragon candles and dragon lamps, in furniture, household utensils, vessels, vehicles, garments, lacquer ware, works of bronze and jade, and commercial designs.. The walls of temple entrances, which are often spotted with depictions of screaming dragons, clearly convey Chinese people's long-standing fascination and affection for these mystical creatures.
In ancient times, the dragon was considered one of the Four Spirits, the green dragon, white tiger, phoenix and tortoise, each representing the four directions; east, west, south, and north, respectively. Chin and Han Dynasty architecture featured depictions of the four spirits on small, circular tiles which seal off the ends of roof eaves.
Wall paintings and inscriptions excavated from tombs dating from the Han, Tang, and Song dynasties frequently include depictions of the Four Spirits or the twelve images of the Chinese zodiac to indicate the points of the compass and the twelve divisions of the traditional day. The dragon is the fifth of the twelve animals that comprise the Chinese zodiac. Designated by the character chen, it corresponds to the hours from 7:00 to 9:00 a.m.
Chen also has meanings associated with the word zhen: the stirring of the originating force of the universe; thunder and lighting; a simultaneous release of sound and light; the natural process of plant growth; and any powerful upward-moving force. The dragon, due to its close association with these primal natural forces, is considered the supreme spiritual being and the source of all life.
The Chinese astrological system the Keng Chen includes a year of Year of the Dragon. The mythical dragon is the only animal of the twelve animals of the Chinese zodiac not found in the natural realm. In the Chinese calendar, the years: 1844, 1856, 1868, 1880,1892, 1904, 1916, 1928, 1940, 1952, 1964, 1976, 1988, and the year 2000, are all Year of the Dragon. An auspicious year, those born in Dragon years are said to be complex; stubborn short-tempered, gentle, sensitive, soft-hearted, and passionate. Having the Dragon sign, is considered fortunate, it symbolizes life, growth, riches, virtue, and harmony. Complimentary signs are the Rat, Monkey, and Snake. The opposite sign is the Dog.
"Dragon purloins the pearl," is a folk performance, depicting a dragon swallowing the sun and moon, causing eclipses. Images that depict dragons snatching pearls with their mouth, or spitting them out, symbolise the transformation of the pearl into the "Precious Pearl of Good Fortune" or the "Divine Pearl" and reflects human submission to natural spiritual forces, as well as the desire for power and wealth.
Chinese New Year processions involve a huge paper dragon chasing a red orb which may be interpreted as thunder belched out by the dragon or as the dragon devouring the sun. Associated with this specific time of year suggests an astronomical basis, the dragon representing the Draco constellation, which nears the point of the setting sun until the Chinese New Year when it rises exactly where the sun sets. Another interpretation equates the ball with the moon as it appears before the rising dragon star, thus heralding the arrival of the New Year. The dragon chasing and swallowing the ball may symbolise the disappearance of the moon behind the clouds, intended to bring on the spiring rain. The dragon and the pearl also have Buddhist connotations of the precious pearl which "grants all desires".
The dragon's original character as the water god holds the precious pearl to control the ocean tides. During periods of drought, the dragon blesses the people with much-needed rain. This rain came to mean blessing, and implied bringing wealth to humankind.
The "dragon pearl" is an expression of the dragon's unlimited spiritual power. In the text Chuang-tzu, the chapter "Lieh Yukou" describes the "priceless pearl" that can only be found in the "unfathomable depths." If one seeks to obtain the jade that rests below the chin of the li dragon, one must wait until he is fast asleep. This is the origin of the aphorism "seek the dragon and find the pearl," which says that in order to gain benefits, one must take risks.
Common Buddhist themes include "Buddha tames the dragon," to become the guardian spirit of Buddhism. Indian culture, supplied the antecedent Naga, a semi-divine being or Serpent demigods that spoke their own language, Naga-Krita. Nagas had a human face, the tail of a snake, and the raised head of a cobra which was sometimes depicted as Buddha's throne. Arriving in China, Naga was translated as "dragon king." Buddhist dragon themes also include the bodhisattva Kuan Yin riding a dragon, and Arhat the dragon tamer. In another story Buddha honours the Naga king and queen who reared him.
The Buddhist sutras include the "Supreme Sutra of the Precious Pearl of Good Fortune" which contains references to the Dragon's "Five Copper Pillars of the Precious Palace." That sutra also records the story of So Chieluo, the Dragon Princess, who at the age of eight, held a pearl worth "all the worlds and dominions" in her hand, a symbol of spiritual attainment. She offered this pearl to the Buddha, and when he accepted, So Chieluo was transformed into a man, becoming a bodhisattva and ascending to heaven to sit upon the precious lotus throne.
Chinese folk tales about the Dragon: Early Chinese agricultural society depended on water and believed their patron saint lived in a jewelled underwater palace in the depths of the sea. The dragon is both a rain god and a water god, possessing the ability to conjure clouds and rain. Invisible, their voice is the sound of gongs and jingling coins, but they can become visible by turning into a newt or snake to visit our world. They have no wings, but fly by riding on the earth's magnetic current. Celestial Chinese dragons have five claws and guard the palaces of dead nobility and gods. They hibernate during the winter in pools, in summer they take to the sky bringing on the rains. Azure Dragons were symbols of spring, sighting one heralded the onset of the spring thunderstorms and the end of hibernation.
Many Eastern dragons will bless you with happiness and wealth and are often found in bodies of water, even a raindrop. The Dragon King could summon cloud, rain or ocean storms and during drought people prayed for rain and offered sacrifices to to the dragon at one of the many temples built to honour him. If rain followed the people believed in their benevolent saviour, but if no rain came they held a grievance against him as an evil doer.
The dragon reflected the fertile imagination of the ancients, in the text known as Kuanzi, the chapter entitled "Water and Earth" says that: "The dragon arose from water and bathed in the five colours, and is a spiritual being. Desiring to be small, it transforms into a worm; desiring to be large, it fills the world; wanting to ascend, it rises to the clouds; wanting to descend, it enters the deepest springs; always changing spontaneously and without limit."
During the Hsia Dynasty, Kung Jia, granted the title of Imperial Dragon Master, to Liu Lei who was breaking in dragons to draw the imperial coach. Kong Jia even ate dragon meat, which is said to be different from common beef or mutton and simply delicious.
"Nezha Makes a Disturbance in the Sea": An evil Dragon King, required a sacrifice of a little boy and girl during a year of drought when the people prayed for rain. No sacrifices were made so the Dragon King flooded people's houses. Nezha attacked the palace and subdued the Dragon King and killed a prince before skinning him. The Monkey King's golden cudgel is said to have been a talisman in the Dragon Palace to pacify the sea.
This story tells of identical dragon heads and bodies, but tails differ all over China: An ill Dragon King who transformed himself into an old man in order to enter the human world and seek a doctor's treatment. The doctor observed that the pulse was very strange, the Dragon King revealed his identity and complained of a pain in his waist. The doctor requested that for a diagnoses his patient should transform back into a dragon. The Dragon King complied only when they returned to the sea side and he lay in the water revealing only his upper body for examination. The doctor removed a centipede which had burrowed under the dragon's scales near his waist. Recovering quickly and to express gratitude, the dragon asked the doctor to create a dragon model after his image and wave it so that the weather would be fine. Because the dragon's tail was hidden during the examination people's model dragon tails are different all over China, but the heads and bodies are identical.
Lu Pan and the Dragon: In this legend, Lu Pan, the patron saint of carpenters, builds a magnificent mansion. He asked the Dragon King of the Eastern Sea if he could borrow the Dragon Palace to use as a model for his new home. The Dragon King agreed to lend him the palace, but only for three days. Even though Lu Pan worked day and night, when the deadline for returning the palace arrived, he had only completed a very basic structure, devoid of details or ornamentation. To extend the deadline, Lu Pan came up with an ingenious plan: he nailed the palace firmly to the ground so the Dragon King could not take it back.
On the third night came wind and rain, and the Dragon King dispatched several "little dragons" to lead the "crab generals and regiments of prawns and fish" in a massive march to reclaim the palace. But because the Dragon Palace was nailed down, the troops' night long efforts to take back the palace were unsuccessful.
The aquatic hordes anxiously tried to twist the palace free. The little dragons stamped their feet and tried to wrench the stone pillars from the ground, but no matter how they tried, the palace wouldn't budge. Some climbed up to the roof to seek divine assistance, but no help was forthcoming from heaven or earth. And at dawn of the following day, the little dragons perished when they were exposed to the hot rays of the rising sun.
That morning Lu Pan saw what happened to the dragons. Their final poses were imprinted on the pillars, and their bodies were strewn about on the roof. He was suddenly struck by inspiration: their bodies and imprints, just as they lay on the facade of the palace, formed a perfect, beautiful composition. He painted the dragons where they were, not as corpses, but with all their original vigour and awesome power. This is why dragon images are found in temples today, in decorative woodcarvings of billowing waves, which feature dragons carved into their upswept curves.
Dragon images that narrate the "carp leaping through the dragon gate" theme are also frequently carved inside buildings. These wall-dragons become symbolic guardians that, use their power and control of water and rains to protect buildings from fires.
