Bai Gu Jing (白骨精)
Alternative Names (異名):
白骨精, 백골정, Bai Gu Jing
Bai Gu Jing (traditional Chinese: 白骨精, means a "white bone demon") is a yaoguai from Journey to the West (西遊記).
Plot
It first uses one of its many transformations to manifest itself as an innocent pretty girl who says she left her father and mother to search for food and that she is willing to share them with Sanzang(三藏) aka Xuanzang. Sun Wukong(孫悟空) uses his magical eyes could see through her disguise and hits her with the golden banded cudgel and smashes her body but she leaves the body before it is hit. This leads to a fallout with Sanzang and Wukong as Sanzang sees that Wukong's method is too harsh and that it defeats their purpose of finding salvation in all living beings.
As Sanzang eventually forgives Wukong for his action, Bai Gu Jing manifest itself into its next transformation which is the mother of the girl that Wukong first killed. Once again, Wukong saw through the demon's trick, but it insisted that Wukong beat it one more time with the cudgel to incite Sanzang to further scold him more. With anger, Wukong falls for the demon's trickery once again, Sanzang scolds Wukong but repents for his doing. Sanzang doesn't realize that the demon's intention is to drive Wukong away knowing he is his only protector. Sanzang would once again forgive Wukong but he gives him an ultimatim that he is not to kill anymore.
In the final transformation, Bai Gu Jing manifest itself into the father to seek pity from Sanzang who believes Wukong had killed both his wife and daughter. In the final act, Wukong once again ignores Sanzang's order and kills the last manifestation of the demon, this act led to Sanzang using the Tight-Fillet spell to punish Wukong. While Wukong refuses to repent for his actions, Sanzang would eventually expel him from the journey leaving him to return to Flower Fruit Mountain. Once Wukong was gone, Sanzang and his other disciples soon realize the demon's trap, as it intends to eat his flesh which is believe to bring longevity. The finale of the story leads to Sanzang's forgivings and the return of Wukong to save the day.
This part of the story brings into debate the argument between Sanzang and Wukong, Wukong acts without thinking and repent as he sees only evil and good, he is the only one that could see through the demon and believes that the only solution is by vanquishing it. On the other hand Sanzang thinks with compassion and believes even if Wukong was right, there are alternatives in dealing with the demon without killing it. The demon also uses the notion of karma to mock Sanzang and his disciples by using karma, its reincarnation from the daughter to the mother and eventually to the father leads Sanzang to fill more pity every time Wukong kills. The eventual outcome of the story allows both Sanzang and Wukong to learn a valuable lesson, as Sanzang must tolerate the means of Wukong in order to be protected while Wukong must learn to understand compassion.
Links
http://en.wikipedia.org/wiki/Bai_Gu_Jing
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese Fiction | Chinese mythology | Demons | Journey to the West (西遊記)
Monday, April 7, 2008
Tuesday, April 1, 2008
Baku (貊)
Baku (貊)
Alternative Names (異名):
獏, 貘, Baku, 맥, 貊, Maek
Baku (獏 or 貘) are Japanese supernatural beings that devour dreams and nightmares. They have a long history in Japanese folklore and art, and more recently have appeared in Japanese anime and manga.
The Japanese term baku has two current meanings, referring to both the traditional dream-devouring creature and to the zoological tapir (e.g., the Malaysian tapir). In Korean, the term is maek (맥, 貊). In recent years, there have been changes in how the baku is depicted.
History and Description
The traditional Japanese nightmare-devouring baku originates in Chinese folklore and was familiar in Japan as early as the Muromachi period (14th-15th century). Hori Tadao (2005) has described the dream-eating abilities attributed to the traditional baku and relates them to other preventatives against nightmare like the use of amulets. Kaii-Yōkai Denshō Database, citing a 1957 paper, and Mizuki (2004) also describe the dream-devouring capacities of the traditional baku.
An early 17th century Japanese manuscript, the Sankai Ibutsu (山海異物), describes the baku as a Chinese mythical chimera with an elephant’s trunk, rhinoceros eyes, an ox tail, and tiger paws, which in belief protected against pestilence and evil, although eating nightmares was not included among its abilities. However, in a 1791 Japanese wood-block illustration, a specifically dream-destroying baku is depicted with an elephant’s head, tusks, and trunk, with horns and tiger’s claws.[4] The elephant’s head, trunk, and tusks are characteristic of baku portrayed in classical era (pre-Meiji) Japanese wood-block prints and in shrine, temple, and netsuke carvings. Writing in the Meiji era, Lafcadio Hearn (1902) described a baku with very similar attributes that was also able to devour nightmares.
Since the 1980s in manga, anime, and other forms of popular culture, the baku appears not as a chimera of an elephant and tiger but as a zoologically recognizable tapir. Examples include Takahashi Rumiko's manga Urusei Yatsura (1995) and Mikimoto Haruhiko's manga Marionatte Generation (2001, original 1990), and in anime, Oshii Mamoru’s 1984 film about Lum, Beautiful Dreamer. Such baku also appear in Pokémon and Digimon (the Drowzee is a baku-like Pokémon, and Digimon features a character called Bakumon). "Baku" is a main character in the Playstation 2 game Dual Hearts, characterized as a "pig" that eats dreams. However, not all modern baku/yumekui are tapirs ("yumekui" means "dreamcatcher"). In Satoshi Kon’s 2007 animated film “Paprika,” Paprika, a young woman who is kami of the Dreamtime, is a baku/yumekui who devours a dream-villain at the film’s climax. Hakase Mizuki's 2007 manga Ba_ku (sic) is also in part about a baku/yumekui who is not a tapir.
Dream-eating, tapir-shaped baku have also entered non-Japanese popular culture. The picture book "The Dream Eater" by Christian Garrison tells the story of a young boy, Yukio, who meets a baku and brings it to his village. Neil Gaiman’s "The Dream Hunters,” which is based on Japanese mythology, features baku.
Chinese mythology | Japanese legendary creatures | Japanese mythology | Legendary mammals
Alternative Names (異名):
獏, 貘, Baku, 맥, 貊, Maek
Baku (獏 or 貘) are Japanese supernatural beings that devour dreams and nightmares. They have a long history in Japanese folklore and art, and more recently have appeared in Japanese anime and manga.
The Japanese term baku has two current meanings, referring to both the traditional dream-devouring creature and to the zoological tapir (e.g., the Malaysian tapir). In Korean, the term is maek (맥, 貊). In recent years, there have been changes in how the baku is depicted.
History and Description
The traditional Japanese nightmare-devouring baku originates in Chinese folklore and was familiar in Japan as early as the Muromachi period (14th-15th century). Hori Tadao (2005) has described the dream-eating abilities attributed to the traditional baku and relates them to other preventatives against nightmare like the use of amulets. Kaii-Yōkai Denshō Database, citing a 1957 paper, and Mizuki (2004) also describe the dream-devouring capacities of the traditional baku.
An early 17th century Japanese manuscript, the Sankai Ibutsu (山海異物), describes the baku as a Chinese mythical chimera with an elephant’s trunk, rhinoceros eyes, an ox tail, and tiger paws, which in belief protected against pestilence and evil, although eating nightmares was not included among its abilities. However, in a 1791 Japanese wood-block illustration, a specifically dream-destroying baku is depicted with an elephant’s head, tusks, and trunk, with horns and tiger’s claws.[4] The elephant’s head, trunk, and tusks are characteristic of baku portrayed in classical era (pre-Meiji) Japanese wood-block prints and in shrine, temple, and netsuke carvings. Writing in the Meiji era, Lafcadio Hearn (1902) described a baku with very similar attributes that was also able to devour nightmares.
Since the 1980s in manga, anime, and other forms of popular culture, the baku appears not as a chimera of an elephant and tiger but as a zoologically recognizable tapir. Examples include Takahashi Rumiko's manga Urusei Yatsura (1995) and Mikimoto Haruhiko's manga Marionatte Generation (2001, original 1990), and in anime, Oshii Mamoru’s 1984 film about Lum, Beautiful Dreamer. Such baku also appear in Pokémon and Digimon (the Drowzee is a baku-like Pokémon, and Digimon features a character called Bakumon). "Baku" is a main character in the Playstation 2 game Dual Hearts, characterized as a "pig" that eats dreams. However, not all modern baku/yumekui are tapirs ("yumekui" means "dreamcatcher"). In Satoshi Kon’s 2007 animated film “Paprika,” Paprika, a young woman who is kami of the Dreamtime, is a baku/yumekui who devours a dream-villain at the film’s climax. Hakase Mizuki's 2007 manga Ba_ku (sic) is also in part about a baku/yumekui who is not a tapir.
Dream-eating, tapir-shaped baku have also entered non-Japanese popular culture. The picture book "The Dream Eater" by Christian Garrison tells the story of a young boy, Yukio, who meets a baku and brings it to his village. Neil Gaiman’s "The Dream Hunters,” which is based on Japanese mythology, features baku.
Chinese mythology | Japanese legendary creatures | Japanese mythology | Legendary mammals
Friday, March 28, 2008
Thursday, March 20, 2008
Ant
Ant
Ants are eusocial insects of the family Formicidae and, along with the related families of wasps and bees, belong to the order Hymenoptera. They are a diverse group of more than 12,000 species, with a higher diversity in the tropics. They are known for their highly organized colonies and nests, which sometimes consist of millions of individuals. Individuals are divided into sub-fertile, and more commonly sterile, females ("workers", "soldiers", and other castes), fertile males ("drones"), and fertile females ("queens"). Colonies can occupy and use a wide area of land to support themselves. Ant colonies are sometimes described as superorganisms because the colony appears to operate as a unified entity.
Ants have colonized almost every landmass on Earth. The only places lacking indigenous ant species are Antarctica, Greenland, Iceland, parts of Polynesia, the Hawaiian Islands, and other remote or inhospitable islands. When all their individual contributions are added up, they may constitute up to 15 to 25% of the total terrestrial animal biomass.
Termites, sometimes called white ants, are not closely related to ants, although they have similar social structures. Velvet ants, although resembling large ants, are wingless female wasps.
Ants are eusocial insects of the family Formicidae and, along with the related families of wasps and bees, belong to the order Hymenoptera. They are a diverse group of more than 12,000 species, with a higher diversity in the tropics. They are known for their highly organized colonies and nests, which sometimes consist of millions of individuals. Individuals are divided into sub-fertile, and more commonly sterile, females ("workers", "soldiers", and other castes), fertile males ("drones"), and fertile females ("queens"). Colonies can occupy and use a wide area of land to support themselves. Ant colonies are sometimes described as superorganisms because the colony appears to operate as a unified entity.
Ants have colonized almost every landmass on Earth. The only places lacking indigenous ant species are Antarctica, Greenland, Iceland, parts of Polynesia, the Hawaiian Islands, and other remote or inhospitable islands. When all their individual contributions are added up, they may constitute up to 15 to 25% of the total terrestrial animal biomass.
Termites, sometimes called white ants, are not closely related to ants, although they have similar social structures. Velvet ants, although resembling large ants, are wingless female wasps.
Wednesday, March 12, 2008
Black Tortoise (玄武)
Black Tortoise (玄武)
Alternative Names (異名):
玄武, Xuán Wǔ, 현무(Korean), Hyeon-mu, Genbu(Japanese), Huyền Vũ(Vietnamese), Black Tortoise
The Black Tortoise (Chinese: 玄武; pinyin: Xuán Wǔ, literally "Black Warrior") is one of the Four Symbols of the Chinese constellations. It is sometimes called the Black Warrior of the North (北方玄武, Běi Fāng Xuán Wǔ), and it represents the north and the winter season. Although its name in Chinese, Xuánwǔ, is often translated as Black Tortoise in English, it is usually depicted as both a tortoise and a snake, specifically with the snake coiling around the tortoise.
The Seven Mansions of the Black Tortoise
Like the other Four Symbols, the Black Tortoise corresponds to seven "mansions", or positions, of the moon.
Dipper (Chinese: 斗; pinyin: Dǒu)
Ox (Chinese: 牛; pinyin: Niú)
Girl (Chinese: 女; pinyin: Nǚ)
Emptiness (Chinese: 虛; pinyin: Xū)
Rooftop (Chinese: 危; pinyin: Wēi)
Encampment (Chinese: 室; pinyin: Shì)
Wall (Chinese: 壁; pinyin: Bì)
Origin
In ancient China, the tortoise and the snake were thought to be spiritual creatures symbolising longevity. During the Han Dynasty, people often wore jade pendants that were in the shape of tortoises. Because of ancient Chinese influence on Japan, honorific titles and badges in Japan often referred to the tortoise or images of tortoises.
Then a legend arose that told of female tortoises being unable to mate with male tortoises, but only with male snakes. This made the male tortoise angry, but the female tortoise kept the male tortoise at a distance by urinating around herself. From then on, men whose wives were having extramarital affairs were often referred to as "tortoises," and so people stopped using the tortoise as a fortuitous symbolism.
The depiction of the Xuánwǔ as a tortoise-snake creature may have come into existence because of this legend of female tortoises and male snakes mating. However, this explanation is uncertain, because the depiction could have come into existence as early as the Zhou Dynasty.
The Dark Lord of the North
Xuan Wu (玄武) (also known as The Dark Lord of the North or The Lord of True Martiality), posthumously known as High Heavenly Xuan God (玄天上帝), as well as True Warrior High God (真武大帝), and commonly known as Bei Di (北帝) is one of the higher ranking Taoist deities, and one of the more revered deities in traditional China. He is revered as a powerful god, able to control the elements (worshipped by those wishing to avoid fires), and capable of great magic. He is particularly revered by martial artists, and is the patron saint of the Wudang Mountains in China's Hubei Province, where he allegedly attained immortality.
Xuan Wu was originally a butcher who had killed many animals unremorsefully. As days passed, he felt remorse for his sins and repented immediately by giving up butchery and retired to a remote mountain for cultivation of the Tao.
One day while he was assisting a woman in labor, while cleaning the woman’s blood stained clothes along a river, the words "Xuan Tian Shang Di" appeared before him. The woman in labor turned out to be a manifestation of the goddess Guan Yin. To redeem his sins, he dug out his own stomach and intestines and washed it in the river. The river turned into a dark, murky water. After a while, it turned into pure water.
Unfortunately, Xuan Wu does indeed loses his own stomach and intestines while he was washing it in the river. The Jade Emperor was moved by his sincerity and determination to clear his sins; hence he became an Immortal known with the title of Xuan Tian Shang Ti.
After he became an immortal, his stomach and intestines after absorbing the essences of the earth, it was transformed into a demonic turtle and snake which harmed people and no one could subdue them. Eventually Xuan Wu returned back to earth to subdue them and later uses them as his means for transportation.
Xuan Wu is portrayed as a warrior in imperial robes, his left hand is in the "three mountain mudra", somewhat similar to Guan Yu's mudra, while the right hand holds a sword, which is said to have belonged to Lü Dongbin, one of the Eight Immortals.
Another legend says that he borrowed the sword from Lü Dongbin to subdue a powerful demon, and after being successful, he refused to bring it back after witnessing the sword's power. The sword itself would magically return to its owner if Xuan Wu released it, so it is said that he always holds his sword tightly, and is unable to release it.
He is usually seated on a throne with the right foot stepping on the snake and left leg extended stepping on the turtle. His face is usually red with bulging eyes. His appearance also causes most people to accidentally mistake him as Guan Yu.
His birthday is celebrated on the third day of the third lunar month.
Historic Reference
In the classic novel, Journey to the West, Xuánwǔ was a king of the north who had two generals serving under him, a "Tortoise General" and a "Snake General." This king had a temple at Wudang Mountains in Hubei, thus there is a "Tortoise Mountain" and a "Snake Mountain" on the opposite sides of a river in Wuhan, the capital of Hubei.
In Taoist legend it was said that Xuánwǔ was the prince of a Chinese Emperor. However, he was not interested in taking the throne, but decided to study in Tao's way. At age 15, he left his parents to search for enlightment in Tao's way. It was said that he eventually achieved god status and was worshipped as a god of northern sky.
Other Chinese legends also speak of how the "Tortoise General" and a "Snake General" came to be. During Xuánwǔ's study to achieve enlightment and god status he was told that in order to fully achieve god status, he must purge all humanly flesh from his body. Since he was born he had been eating the food of the world, humanly food, therefore his stomach and intestines were still human. Legend told of an event that a god came and changed out his human stomach and intestines for a godly body so he could fully achieve god status. (It was also said that the stomach and intestines that were tossed out became the "Tortoise Mountain" and "Snake Mountain".) The stomach and intestines taken out by the god whom did the surgery on Xuánwǔ were said to have taken on the shape of a tortoise (stomach) and a snake (intestines). As many Chinese legends speak of certain animals becoming demons over time as they gain knowledge, that's what the tortoise and snake became, and terrorized people. As Xuánwǔ, now in his god status, heard of this, he came and slayed the demons from his past. However, he did not kill them, as the snake and tortoise demons showed remorse. He let them train under him and atone for their wrong doings, and they became the "Tortoise General" and "Snake General", and they assisted Xuánwǔ with his quests.
Links
http://en.wikipedia.org/wiki/Black_Tortoise
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese constellations | Chinese astronomy | Chinese mythology | Chinese legendary creatures | Legendary reptiles | Chinese gods |
Alternative Names (異名):
玄武, Xuán Wǔ, 현무(Korean), Hyeon-mu, Genbu(Japanese), Huyền Vũ(Vietnamese), Black Tortoise
The Black Tortoise (Chinese: 玄武; pinyin: Xuán Wǔ, literally "Black Warrior") is one of the Four Symbols of the Chinese constellations. It is sometimes called the Black Warrior of the North (北方玄武, Běi Fāng Xuán Wǔ), and it represents the north and the winter season. Although its name in Chinese, Xuánwǔ, is often translated as Black Tortoise in English, it is usually depicted as both a tortoise and a snake, specifically with the snake coiling around the tortoise.
The Seven Mansions of the Black Tortoise
Like the other Four Symbols, the Black Tortoise corresponds to seven "mansions", or positions, of the moon.
Dipper (Chinese: 斗; pinyin: Dǒu)
Ox (Chinese: 牛; pinyin: Niú)
Girl (Chinese: 女; pinyin: Nǚ)
Emptiness (Chinese: 虛; pinyin: Xū)
Rooftop (Chinese: 危; pinyin: Wēi)
Encampment (Chinese: 室; pinyin: Shì)
Wall (Chinese: 壁; pinyin: Bì)
Origin
In ancient China, the tortoise and the snake were thought to be spiritual creatures symbolising longevity. During the Han Dynasty, people often wore jade pendants that were in the shape of tortoises. Because of ancient Chinese influence on Japan, honorific titles and badges in Japan often referred to the tortoise or images of tortoises.
Then a legend arose that told of female tortoises being unable to mate with male tortoises, but only with male snakes. This made the male tortoise angry, but the female tortoise kept the male tortoise at a distance by urinating around herself. From then on, men whose wives were having extramarital affairs were often referred to as "tortoises," and so people stopped using the tortoise as a fortuitous symbolism.
The depiction of the Xuánwǔ as a tortoise-snake creature may have come into existence because of this legend of female tortoises and male snakes mating. However, this explanation is uncertain, because the depiction could have come into existence as early as the Zhou Dynasty.
The Dark Lord of the North
Xuan Wu (玄武) (also known as The Dark Lord of the North or The Lord of True Martiality), posthumously known as High Heavenly Xuan God (玄天上帝), as well as True Warrior High God (真武大帝), and commonly known as Bei Di (北帝) is one of the higher ranking Taoist deities, and one of the more revered deities in traditional China. He is revered as a powerful god, able to control the elements (worshipped by those wishing to avoid fires), and capable of great magic. He is particularly revered by martial artists, and is the patron saint of the Wudang Mountains in China's Hubei Province, where he allegedly attained immortality.
Xuan Wu was originally a butcher who had killed many animals unremorsefully. As days passed, he felt remorse for his sins and repented immediately by giving up butchery and retired to a remote mountain for cultivation of the Tao.
One day while he was assisting a woman in labor, while cleaning the woman’s blood stained clothes along a river, the words "Xuan Tian Shang Di" appeared before him. The woman in labor turned out to be a manifestation of the goddess Guan Yin. To redeem his sins, he dug out his own stomach and intestines and washed it in the river. The river turned into a dark, murky water. After a while, it turned into pure water.
Unfortunately, Xuan Wu does indeed loses his own stomach and intestines while he was washing it in the river. The Jade Emperor was moved by his sincerity and determination to clear his sins; hence he became an Immortal known with the title of Xuan Tian Shang Ti.
After he became an immortal, his stomach and intestines after absorbing the essences of the earth, it was transformed into a demonic turtle and snake which harmed people and no one could subdue them. Eventually Xuan Wu returned back to earth to subdue them and later uses them as his means for transportation.
Xuan Wu is portrayed as a warrior in imperial robes, his left hand is in the "three mountain mudra", somewhat similar to Guan Yu's mudra, while the right hand holds a sword, which is said to have belonged to Lü Dongbin, one of the Eight Immortals.
Another legend says that he borrowed the sword from Lü Dongbin to subdue a powerful demon, and after being successful, he refused to bring it back after witnessing the sword's power. The sword itself would magically return to its owner if Xuan Wu released it, so it is said that he always holds his sword tightly, and is unable to release it.
He is usually seated on a throne with the right foot stepping on the snake and left leg extended stepping on the turtle. His face is usually red with bulging eyes. His appearance also causes most people to accidentally mistake him as Guan Yu.
His birthday is celebrated on the third day of the third lunar month.
Historic Reference
In the classic novel, Journey to the West, Xuánwǔ was a king of the north who had two generals serving under him, a "Tortoise General" and a "Snake General." This king had a temple at Wudang Mountains in Hubei, thus there is a "Tortoise Mountain" and a "Snake Mountain" on the opposite sides of a river in Wuhan, the capital of Hubei.
In Taoist legend it was said that Xuánwǔ was the prince of a Chinese Emperor. However, he was not interested in taking the throne, but decided to study in Tao's way. At age 15, he left his parents to search for enlightment in Tao's way. It was said that he eventually achieved god status and was worshipped as a god of northern sky.
Other Chinese legends also speak of how the "Tortoise General" and a "Snake General" came to be. During Xuánwǔ's study to achieve enlightment and god status he was told that in order to fully achieve god status, he must purge all humanly flesh from his body. Since he was born he had been eating the food of the world, humanly food, therefore his stomach and intestines were still human. Legend told of an event that a god came and changed out his human stomach and intestines for a godly body so he could fully achieve god status. (It was also said that the stomach and intestines that were tossed out became the "Tortoise Mountain" and "Snake Mountain".) The stomach and intestines taken out by the god whom did the surgery on Xuánwǔ were said to have taken on the shape of a tortoise (stomach) and a snake (intestines). As many Chinese legends speak of certain animals becoming demons over time as they gain knowledge, that's what the tortoise and snake became, and terrorized people. As Xuánwǔ, now in his god status, heard of this, he came and slayed the demons from his past. However, he did not kill them, as the snake and tortoise demons showed remorse. He let them train under him and atone for their wrong doings, and they became the "Tortoise General" and "Snake General", and they assisted Xuánwǔ with his quests.
Links
http://en.wikipedia.org/wiki/Black_Tortoise
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese constellations | Chinese astronomy | Chinese mythology | Chinese legendary creatures | Legendary reptiles | Chinese gods |
Thursday, January 24, 2008
Chinese dragon (龍)
Chinese dragon (龍)
Alternative Names (異名):
龍(Traditional Chinese), 龙(Simplified Chinese), Lóng(Hanyu Pinyin) ▶ Chinese dragon
龍(Hanja), 룡(Hangul), 용, ryong, yong, 미르(Traditional Korean) ▶ Korean dragon
龍(Kyūjitai), 竜(Shinjitai), りゅう(Hiragana), たつ ▶ Japanese dragon
龍(Hán tự), rồng(Quốc ngữ), long ▶ Vietnamese dragon
The Chinese dragon is a Chinese mythical creature, depicted as a long, scaled, snake-like creature with four claws. In contrast to the Western dragon which stands on four legs and which is usually portrayed as evil, Chinese dragon has long been a potent symbol of auspicious power in Chinese folklore and art. The Chinese dragon is traditionally also the embodiment of the concept of yang (male) and associated with the weather as the bringer of rain and water in an agriculturally water-driven nation. Its female counterpart is the Fenghuang.
Symbolism
The dragon is sometimes used in the West as a national emblem of China. However, this usage within both the People's Republic of China and the Republic of China on Taiwan is rare.
Firstly, the dragon was historically the symbol of the Emperor of China. Starting with the Yuan Dynasty, regular citizens were forbidden to associate themselves with the symbol. The dragon re-emerged during the Qing Dynasty and appeared on national flags
Secondly, the dragon has aggressive, warlike connotations that the Chinese government wishes to avoid. It is for these reasons that the giant panda is far more often used within China as a national emblem than the dragon. In Hong Kong, however, the dragon is part of the design of Brand Hong Kong, a symbol used to promote Hong Kong as an international brand name
Many Chinese people often use the term "Descendants of the Dragon" (龍的傳人) as a sign of ethnic identity, as part of a trend started in the 1970s when different Asian nationalities were looking for animal symbols for representations. The wolf was used among the Mongols, the monkey among Tibetans.
In Chinese culture today, it is mostly used for decorative purposes. It is a taboo to disfigure a depiction of a dragon; for example, an advertisement campaign commissioned by Nike, which featured the American basketball player LeBron James slaying a dragon (as well as beating up an old Kung Fu master), was immediately censored by the Chinese government after public outcry over disrespect.
A number of Chinese proverbs and idioms also feature references to the dragon, for example: "Hoping one's son will become a dragon" (望子成龍, i.e. be as successful and powerful as a dragon).
Dragon worship
Origin
The origin of Chinese dragon is not certain, but many scholars agree that it originated 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.
An alternative view, advocated by He Xin, is that the early dragon depicted a species of crocodile. Specifically, Crocodylus porosus, 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. In addition, there is evidence of crocodile worship in ancient Babylonian, Indian, and Mayan civilizations. 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.
"Coiled dragon" forms have been attributed to the Hongshan culture. Why the Hongshan peoples "coiled" their dragon motifs while other cultures did not? Possibly the sleeping dinosaur fossil may offer a suggestion, because it was discovered within the same province, Liaoning. Perhaps Hongshan peoples found additional "sleeping dinosaur" fossils.
There is no direct connection between the Chinese dragon and the western dragon.
The dragon as mythical creature
From its origins as totems or the stylized depiction of natural creatures, the Chinese dragon evolved to become a mythical animal. The Han Dynasty scholar Wang Fu recorded Chinese myths that long dragons had nine anatomical resemblances.
The people paint the dragon's shape with a horse's head and a snake's tail. Further, there are expressions as 'three joints' and 'nine resemblances' (of the dragon), to wit: from head to shoulder, from shoulder to breast, from breast to tail. These are the joints; as to the nine resemblances, they are the following: his horns resemble those of a stag, his head that of a camel, his eyes those of a demon, his neck that of a snake, his belly that of a clam (shen, 蜃), his scales those of a carp, his claws those of an eagle, his soles those of a tiger, his ears those of a cow. Upon his head he has a thing like a broad eminence (a big lump), called [chimu] (尺木). If a dragon has no [chimu], he cannot ascend to the sky.
Further sources give variant lists of the nine animal resemblances. Sinologist Henri Doré lists these characteristics of an authentic dragon: "The horns of a deer. The head of a camel. A demon's eyes. The neck of a snake. A tortoise's viscera. A hawk's claws. The palms of a tiger. A cow's ears. And it hears through its horns, its ears being deprived of all power of hearing." He notes that, "Others state it has a rabbit's eyes, a frog's belly, a carp's scales." The anatomy of other legendary creatures, including the chimera and manticore, is similarly amalgamated from fierce animals.
Chinese dragons are physically concise. Of the 117 scales, 81 are of the yang essence (positive) while 36 are of the yin essence (negative). This malevolent influence accounts for their destructive and aggressive side. Just as water destroys, so can the dragons in the form of floods, tidal waves and storms. Some of the worst floods were believed to have been the result of a mortal upsetting a dragon.
Many pictures of oriental dragons show a flaming pearl under their chin. The pearl is associated with wealth, good luck, and prosperity.
Chinese dragons are occasionally depicted with bat-like wings growing out of the front limbs, but most do not have wings, as their ability to fly (and control rain/water, etc.) are mythical and not seen as a result of their physical attributes.
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)
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 King of Wu-Yue in the Five Dynasties and Ten Kingdoms period was often known as the "Dragon King" or the "Sea Dragon King" because of his extensive hydro-engineering schemes which "tamed" the seas.
The dragon as symbol of imperial authority
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. They also used dragon kites in celebrations.
Depictions of the dragon
Neolithic depictions
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.
One such early form was the pig dragon. It is a coiled, elongated creature with a head resembling a boar. The character for "dragon" in the earliest Chinese writing has a similar coiled form, as do later jade dragon amulets from the Shang period.
Classical depictions
Chinese literature and myths refer to many dragons besides the famous long. The linguist Michael Carr analyzed over 100 ancient dragon names attested in Chinese classic texts. Many such Chinese names derive from the suffix -long:
Tianlong (Chinese: 天龍; pinyin: tiānlóng; Wade-Giles: t'ien-lung; literally "heavenly dragon"), celestial dragon that guards heavenly palaces and pulls divine chariots; also a name for Draco (constellation)
Shenlong (Chinese: 神龍; pinyin: shénlóng; Wade-Giles: shen-lung; literally "god dragon"), thunder god that controls the weather, appearance of a human head, dragon's body, and drum-like stomach
Fucanglong (Chinese: 伏藏龍; pinyin: fúcánglóng; Wade-Giles: fu-tsang-lung; literally "hidden treasure dragon"), underworld guardian of precious metals and jewels, associated with volcanoes
Dilong (Chinese: 地龍; pinyin: dìlóng; Wade-Giles: ti-lung; literally "earth dragon"), controller of rivers and seas; also a name for earthworm
Yinglong (Chinese: 應龍; pinyin: yìnglóng; Wade-Giles: ying-lung; literally "responding dragon"), winged dragon associated with rains and floods, used by Huangdi to kill Chi You
Jiaolong (Chinese: 蛟龍; pinyin: jiāolóng; Wade-Giles: chiao-lung; literally "crocodile dragon"), hornless or scaled dragon, leader of all aquatic animals
Panlong (Chinese: 蟠龍; pinyin: pánlóng; Wade-Giles: p'an-lung; literally "coiled dragon"), lake dragon that has not ascended to heaven
Huanglong (Chinese: 黃龍; pinyin: huánglóng; Wade-Giles: huang-lung; literally "yellow dragon"), hornless dragon symbolizing the emperor
Feilong (Chinese: 飛龍; pinyin: fēilóng; Wade-Giles: fei-lung; literally "flying dragon"), winged dragon that rides on clouds and mist; also a name for pterosaur (compare Feilong kick and Fei Long character)
Qinglong (Chinese: 青龍; pinyin: qīnglóng; Wade-Giles: ch'ing-lung; literally "Azure Dragon"), East one of the Four Symbols, mythological creatures in the Chinese constellations
Fewer Chinese dragon names derive from the prefix long-:
Longwang (Chinese: 龍王; pinyin: lóngwáng; Wade-Giles: lung-wang; literally "Dragon Kings") divine rulers of the Four Seas
Longma (Chinese: 龍馬; pinyin: lóngmǎ; Wade-Giles: lung-ma; literally "dragon horse"), emerged from the Luo River and revealed Bagua (concept) to Fu Xi
Chinese scholars have classified dragons in diverse systems. For instance, Emperor Huizong of Song canonized five colored dragons as "kings".
The Azure Dragon [Qinglong 青龍] spirits, most compassionate kings.
The Vermillion Dragon [Zhulong 朱龍] spirits, kings that bestow blessings on lakes.
The Yellow Dragon [Huanglong 黃龍] spirits, kings that favorably hear all petitions.
The White Dragon [Bailong 白龍] spirits, virtuous and pure kings.
The Black Dragon [Xuanlong 玄龍] spirits, kings dwelling in the depths of the mystic waters.
With the addition of the Yellow Dragon of the Center to Azure Dragon of the East, these Vermillion, White, and Black Dragons coordinate with the Four Symbols, including the Vermilion Bird of the South, White Tiger of the West, and Black Tortoise of the North.
Several Ming Dynasty texts list the Nine Children of a Dragon (龍生九子), which feature prominently in Chinese architectural and monumental decorations. The scholar Xie Zhaozhe (謝肇淛, 1597-1624) gives this listing.
A well-known work of the end of the sixteenth century, the [Wuzazu 五雜俎], informs us about the nine different young of the dragon, whose shapes are used as ornaments according to their nature. The [pulao 蒲牢], dragons which like to cry, are represented on the tops of bells, serving as handles. The [qiuniu 囚牛], which like music, are used to adorn musical instruments. The [chiwen 螭吻/鴟吻], which like swallowing, are placed on both ends of the ridgepoles of roofs (to swallow all evil influences). The [chaofeng 嘲風], lion-like beasts which like precipices, are placed on the four corners of roofs. The [yazi 睚眦/睚眥], which like to kill, serve as ornaments of sword-grips. The [bixi 贔屭], which have the shape of the [chilong 螭龍], and are fond of literature, are represented on the sides of grave-monuments. The [bi'an 狴犴], which like litigation, are placed over prison gates (in order to keep guard). The [suanni 狻猊], which like to sit down, are represented upon the bases of Buddhist idols (under the Buddhas' or Bodhisattvas' feet). The [baxia 霸下], finally, big tortoises which like to carry heavy objects, are placed under grave-monuments.
Further, the same author enumerates nine other kinds of dragons — there are so many, says he, because the dragon's nature is very lewd, so that he copulates with all animals —, which are represented as ornaments of different objects or buildings according to their liking prisons, water, the rank smell of newly caught fish or newly killed meat, wind and rain, ornaments, smoke, shutting the mouth (used for adorning key-holes), standing on steep places (placed on roofs), and fire.
The Sheng'an waiji (升庵外集) collection by the poet Yang Shen (楊慎, 1488-1559) gives different 5th and 9th names for the dragon's nine children: the taotie (饕餮), which loves to eat and is found on food-related wares, and the jiaotu (椒圖), which looks like a conch or clam, does not like to be disturbed, and is used on the front door or the doorstep. Yang's list is bixi, chiwen or cháofēng, pulao, bi'an, taotie, qiuniu, yazi, suanni, and jiaotu.
Oldest attestation of the list found in 菽園雜記 (by 陸容, 1436-1494), however, he noted that the list enumerates mere synonyms of various antiques, not children of a dragon.
Dragon toes
It is sometimes noted that the Chinese dragons have five toes on each foot, while the Japanese dragons have three. To explain this phenomenon, Chinese legend states that all Imperial dragons originated in China, and the further away from China a dragon went the fewer toes it had. Dragons only exist in China and Japan because if they traveled further they would have no toes to continue. The Japanese legend has a story similar to the Chinese one.
However, historical records show that ordinary Chinese dragons had four toes, but the Imperial dragon had five (as in the Five elements of Chinese philosophy). The four-clawed dragon was reserved for princes and certain high rank officials. The three clawed dragon was used by the general public (widely seen on various Chinese goods in Ming dynasty). In fact, it was a capital offense for anyone - other than the emperor himself - to use the five-clawed dragon motif. Improper use of claw number was considered treason, punishable by execution of the offender's entire clan. Since most east Asian nations at one point or another were considered Chinese tributaries, they were only allowed four-clawed dragons. The five toes rule was enforced since 1336 AD (Yuan the second year). "(For commoners) It is forbidden to wear any cloth with patterns of Qilin, Male Fenghuang (Chinese phoenix), White rabbit, Lingzhi, Five-Toe Two-Horn Loong, Eight Loongs, Nine Loongs, Long-live, Fortune-longevity character and Golden Yellow etc." ("禁服麒麟、鸾凤、白兔、灵芝、双角五爪龙、八龙、九龙、万寿、福寿字、赭黄等服")
Cultural references
Number nine
The number nine is considered lucky in China as it is the largest possible single digit, 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. The reason why the dragon of non supremacy has only one claw is because it was lost in a great battle between rich and the very poor. 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
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.
Famous people born in the year of the dragon include: Bruce Lee, Ringo Starr, Dr. Seuss, John Lennon, Helen Keller, Salvador Dalí, Susan B. Anthony, Joan of Arc, Orlando Bloom, Sigmund Freud, Florence Nightingale, Napoleon III, Keanu Reeves, Ronaldo, Mike Allen, James Coburn, and Mae West, Ernesto "Che" Guevara, Friedrich Nietzsche, Doctor Chalaka.
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 (Vermilion 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
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 Year.
Dragon dancing
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. 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.
Chinese dragons in popular culture
As a part of traditional folklore, dragons appear in a variety of mythological fiction.
In Journey to the West, the son of the Dragon King of the West was condemned to serve as a horse for the travellers because of his indiscretions at a party in the heavenly court. The Monkey King's cudgel Rú Yì Bàng was stolen from the Eastern (Donghai) Dragon King áo guǎng.
In Fengshen Yanyi and other stories, Nezha, the boy hero, defeats the Dragon Kings and tames the seas.
In the anime series Bleach Hitsugaya Toshiro's zanpakuto Hyōrinmaru resembles a Chinese dragon.
In the anime and manga Dragon Ball Shen-long is the great dragon who spend wishes
There are two in Gosei Sentai Dairanger: Ryuseioh, the leader's mecha, and Daijinryuu, a deity that preserves the natural balance amongst the stars.
These dragons also appear in the second season of Mighty Morphin Power Rangers (which was based on Zyuranger and Dairanger) as the Red Dragon Thunderzord and Serpentera, respectively.
In Western political cartoons, the Chinese dragon is often used as a personification for the People's Republic of China.
In Avatar: The Last Airbender, the dragons were the original masters of Firebending. The movements of the original style "The Dancing Dragon" mimicked the dragons' movements. Once common and, as shown, allies of humans, but had become nearly extinct after it became Fire Nation tradition to kill a dragon as proof of power (if one could kill a dragon, thought as the ultimate Firebender, one was given the title of "Dragon"). Avatar Roku's "animal guide" was a dragon. The dragons' designs are almost identical to how they were depicted culturally, except they are all shown to have bat-like wings. Roku's dragon, at least in the Spirit World, can communicate telepathically via contact with its feelers. The largest dragons shown were of immense size and come in colors of at least blue and red.
See also
Chinese mythology
Fenghuang
Culture of China
Dragon
Dragon boat race
Dragon dance
Dragon Kung Fu
Imperial guardian lions
Lion dance
Persian dragon
European dragon
Japanese dragon
Korean dragon
Vietnamese dragon
List of dragons in mythology and folklore
Long Mu (Dragon's Mother)
An Instinct for Dragons, hypothesis about the origin of dragon myths.
Links
http://en.wikipedia.org/wiki/Chinese_dragon
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese culture | Chinese mythology | Chinese dragons | Chinese legendary creatures
Alternative Names (異名):
龍(Traditional Chinese), 龙(Simplified Chinese), Lóng(Hanyu Pinyin) ▶ Chinese dragon
龍(Hanja), 룡(Hangul), 용, ryong, yong, 미르(Traditional Korean) ▶ Korean dragon
龍(Kyūjitai), 竜(Shinjitai), りゅう(Hiragana), たつ ▶ Japanese dragon
龍(Hán tự), rồng(Quốc ngữ), long ▶ Vietnamese dragon
The Chinese dragon is a Chinese mythical creature, depicted as a long, scaled, snake-like creature with four claws. In contrast to the Western dragon which stands on four legs and which is usually portrayed as evil, Chinese dragon has long been a potent symbol of auspicious power in Chinese folklore and art. The Chinese dragon is traditionally also the embodiment of the concept of yang (male) and associated with the weather as the bringer of rain and water in an agriculturally water-driven nation. Its female counterpart is the Fenghuang.
Symbolism
The dragon is sometimes used in the West as a national emblem of China. However, this usage within both the People's Republic of China and the Republic of China on Taiwan is rare.
Firstly, the dragon was historically the symbol of the Emperor of China. Starting with the Yuan Dynasty, regular citizens were forbidden to associate themselves with the symbol. The dragon re-emerged during the Qing Dynasty and appeared on national flags
Secondly, the dragon has aggressive, warlike connotations that the Chinese government wishes to avoid. It is for these reasons that the giant panda is far more often used within China as a national emblem than the dragon. In Hong Kong, however, the dragon is part of the design of Brand Hong Kong, a symbol used to promote Hong Kong as an international brand name
Many Chinese people often use the term "Descendants of the Dragon" (龍的傳人) as a sign of ethnic identity, as part of a trend started in the 1970s when different Asian nationalities were looking for animal symbols for representations. The wolf was used among the Mongols, the monkey among Tibetans.
In Chinese culture today, it is mostly used for decorative purposes. It is a taboo to disfigure a depiction of a dragon; for example, an advertisement campaign commissioned by Nike, which featured the American basketball player LeBron James slaying a dragon (as well as beating up an old Kung Fu master), was immediately censored by the Chinese government after public outcry over disrespect.
A number of Chinese proverbs and idioms also feature references to the dragon, for example: "Hoping one's son will become a dragon" (望子成龍, i.e. be as successful and powerful as a dragon).
Dragon worship
Origin
The origin of Chinese dragon is not certain, but many scholars agree that it originated 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.
An alternative view, advocated by He Xin, is that the early dragon depicted a species of crocodile. Specifically, Crocodylus porosus, 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. In addition, there is evidence of crocodile worship in ancient Babylonian, Indian, and Mayan civilizations. 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.
"Coiled dragon" forms have been attributed to the Hongshan culture. Why the Hongshan peoples "coiled" their dragon motifs while other cultures did not? Possibly the sleeping dinosaur fossil may offer a suggestion, because it was discovered within the same province, Liaoning. Perhaps Hongshan peoples found additional "sleeping dinosaur" fossils.
There is no direct connection between the Chinese dragon and the western dragon.
The dragon as mythical creature
From its origins as totems or the stylized depiction of natural creatures, the Chinese dragon evolved to become a mythical animal. The Han Dynasty scholar Wang Fu recorded Chinese myths that long dragons had nine anatomical resemblances.
The people paint the dragon's shape with a horse's head and a snake's tail. Further, there are expressions as 'three joints' and 'nine resemblances' (of the dragon), to wit: from head to shoulder, from shoulder to breast, from breast to tail. These are the joints; as to the nine resemblances, they are the following: his horns resemble those of a stag, his head that of a camel, his eyes those of a demon, his neck that of a snake, his belly that of a clam (shen, 蜃), his scales those of a carp, his claws those of an eagle, his soles those of a tiger, his ears those of a cow. Upon his head he has a thing like a broad eminence (a big lump), called [chimu] (尺木). If a dragon has no [chimu], he cannot ascend to the sky.
Further sources give variant lists of the nine animal resemblances. Sinologist Henri Doré lists these characteristics of an authentic dragon: "The horns of a deer. The head of a camel. A demon's eyes. The neck of a snake. A tortoise's viscera. A hawk's claws. The palms of a tiger. A cow's ears. And it hears through its horns, its ears being deprived of all power of hearing." He notes that, "Others state it has a rabbit's eyes, a frog's belly, a carp's scales." The anatomy of other legendary creatures, including the chimera and manticore, is similarly amalgamated from fierce animals.
Chinese dragons are physically concise. Of the 117 scales, 81 are of the yang essence (positive) while 36 are of the yin essence (negative). This malevolent influence accounts for their destructive and aggressive side. Just as water destroys, so can the dragons in the form of floods, tidal waves and storms. Some of the worst floods were believed to have been the result of a mortal upsetting a dragon.
Many pictures of oriental dragons show a flaming pearl under their chin. The pearl is associated with wealth, good luck, and prosperity.
Chinese dragons are occasionally depicted with bat-like wings growing out of the front limbs, but most do not have wings, as their ability to fly (and control rain/water, etc.) are mythical and not seen as a result of their physical attributes.
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)
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 King of Wu-Yue in the Five Dynasties and Ten Kingdoms period was often known as the "Dragon King" or the "Sea Dragon King" because of his extensive hydro-engineering schemes which "tamed" the seas.
The dragon as symbol of imperial authority
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. They also used dragon kites in celebrations.
Depictions of the dragon
Neolithic depictions
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.
One such early form was the pig dragon. It is a coiled, elongated creature with a head resembling a boar. The character for "dragon" in the earliest Chinese writing has a similar coiled form, as do later jade dragon amulets from the Shang period.
Classical depictions
Chinese literature and myths refer to many dragons besides the famous long. The linguist Michael Carr analyzed over 100 ancient dragon names attested in Chinese classic texts. Many such Chinese names derive from the suffix -long:
Tianlong (Chinese: 天龍; pinyin: tiānlóng; Wade-Giles: t'ien-lung; literally "heavenly dragon"), celestial dragon that guards heavenly palaces and pulls divine chariots; also a name for Draco (constellation)
Shenlong (Chinese: 神龍; pinyin: shénlóng; Wade-Giles: shen-lung; literally "god dragon"), thunder god that controls the weather, appearance of a human head, dragon's body, and drum-like stomach
Fucanglong (Chinese: 伏藏龍; pinyin: fúcánglóng; Wade-Giles: fu-tsang-lung; literally "hidden treasure dragon"), underworld guardian of precious metals and jewels, associated with volcanoes
Dilong (Chinese: 地龍; pinyin: dìlóng; Wade-Giles: ti-lung; literally "earth dragon"), controller of rivers and seas; also a name for earthworm
Yinglong (Chinese: 應龍; pinyin: yìnglóng; Wade-Giles: ying-lung; literally "responding dragon"), winged dragon associated with rains and floods, used by Huangdi to kill Chi You
Jiaolong (Chinese: 蛟龍; pinyin: jiāolóng; Wade-Giles: chiao-lung; literally "crocodile dragon"), hornless or scaled dragon, leader of all aquatic animals
Panlong (Chinese: 蟠龍; pinyin: pánlóng; Wade-Giles: p'an-lung; literally "coiled dragon"), lake dragon that has not ascended to heaven
Huanglong (Chinese: 黃龍; pinyin: huánglóng; Wade-Giles: huang-lung; literally "yellow dragon"), hornless dragon symbolizing the emperor
Feilong (Chinese: 飛龍; pinyin: fēilóng; Wade-Giles: fei-lung; literally "flying dragon"), winged dragon that rides on clouds and mist; also a name for pterosaur (compare Feilong kick and Fei Long character)
Qinglong (Chinese: 青龍; pinyin: qīnglóng; Wade-Giles: ch'ing-lung; literally "Azure Dragon"), East one of the Four Symbols, mythological creatures in the Chinese constellations
Fewer Chinese dragon names derive from the prefix long-:
Longwang (Chinese: 龍王; pinyin: lóngwáng; Wade-Giles: lung-wang; literally "Dragon Kings") divine rulers of the Four Seas
Longma (Chinese: 龍馬; pinyin: lóngmǎ; Wade-Giles: lung-ma; literally "dragon horse"), emerged from the Luo River and revealed Bagua (concept) to Fu Xi
Chinese scholars have classified dragons in diverse systems. For instance, Emperor Huizong of Song canonized five colored dragons as "kings".
The Azure Dragon [Qinglong 青龍] spirits, most compassionate kings.
The Vermillion Dragon [Zhulong 朱龍] spirits, kings that bestow blessings on lakes.
The Yellow Dragon [Huanglong 黃龍] spirits, kings that favorably hear all petitions.
The White Dragon [Bailong 白龍] spirits, virtuous and pure kings.
The Black Dragon [Xuanlong 玄龍] spirits, kings dwelling in the depths of the mystic waters.
With the addition of the Yellow Dragon of the Center to Azure Dragon of the East, these Vermillion, White, and Black Dragons coordinate with the Four Symbols, including the Vermilion Bird of the South, White Tiger of the West, and Black Tortoise of the North.
Several Ming Dynasty texts list the Nine Children of a Dragon (龍生九子), which feature prominently in Chinese architectural and monumental decorations. The scholar Xie Zhaozhe (謝肇淛, 1597-1624) gives this listing.
A well-known work of the end of the sixteenth century, the [Wuzazu 五雜俎], informs us about the nine different young of the dragon, whose shapes are used as ornaments according to their nature. The [pulao 蒲牢], dragons which like to cry, are represented on the tops of bells, serving as handles. The [qiuniu 囚牛], which like music, are used to adorn musical instruments. The [chiwen 螭吻/鴟吻], which like swallowing, are placed on both ends of the ridgepoles of roofs (to swallow all evil influences). The [chaofeng 嘲風], lion-like beasts which like precipices, are placed on the four corners of roofs. The [yazi 睚眦/睚眥], which like to kill, serve as ornaments of sword-grips. The [bixi 贔屭], which have the shape of the [chilong 螭龍], and are fond of literature, are represented on the sides of grave-monuments. The [bi'an 狴犴], which like litigation, are placed over prison gates (in order to keep guard). The [suanni 狻猊], which like to sit down, are represented upon the bases of Buddhist idols (under the Buddhas' or Bodhisattvas' feet). The [baxia 霸下], finally, big tortoises which like to carry heavy objects, are placed under grave-monuments.
Further, the same author enumerates nine other kinds of dragons — there are so many, says he, because the dragon's nature is very lewd, so that he copulates with all animals —, which are represented as ornaments of different objects or buildings according to their liking prisons, water, the rank smell of newly caught fish or newly killed meat, wind and rain, ornaments, smoke, shutting the mouth (used for adorning key-holes), standing on steep places (placed on roofs), and fire.
The Sheng'an waiji (升庵外集) collection by the poet Yang Shen (楊慎, 1488-1559) gives different 5th and 9th names for the dragon's nine children: the taotie (饕餮), which loves to eat and is found on food-related wares, and the jiaotu (椒圖), which looks like a conch or clam, does not like to be disturbed, and is used on the front door or the doorstep. Yang's list is bixi, chiwen or cháofēng, pulao, bi'an, taotie, qiuniu, yazi, suanni, and jiaotu.
Oldest attestation of the list found in 菽園雜記 (by 陸容, 1436-1494), however, he noted that the list enumerates mere synonyms of various antiques, not children of a dragon.
Dragon toes
It is sometimes noted that the Chinese dragons have five toes on each foot, while the Japanese dragons have three. To explain this phenomenon, Chinese legend states that all Imperial dragons originated in China, and the further away from China a dragon went the fewer toes it had. Dragons only exist in China and Japan because if they traveled further they would have no toes to continue. The Japanese legend has a story similar to the Chinese one.
However, historical records show that ordinary Chinese dragons had four toes, but the Imperial dragon had five (as in the Five elements of Chinese philosophy). The four-clawed dragon was reserved for princes and certain high rank officials. The three clawed dragon was used by the general public (widely seen on various Chinese goods in Ming dynasty). In fact, it was a capital offense for anyone - other than the emperor himself - to use the five-clawed dragon motif. Improper use of claw number was considered treason, punishable by execution of the offender's entire clan. Since most east Asian nations at one point or another were considered Chinese tributaries, they were only allowed four-clawed dragons. The five toes rule was enforced since 1336 AD (Yuan the second year). "(For commoners) It is forbidden to wear any cloth with patterns of Qilin, Male Fenghuang (Chinese phoenix), White rabbit, Lingzhi, Five-Toe Two-Horn Loong, Eight Loongs, Nine Loongs, Long-live, Fortune-longevity character and Golden Yellow etc." ("禁服麒麟、鸾凤、白兔、灵芝、双角五爪龙、八龙、九龙、万寿、福寿字、赭黄等服")
Cultural references
Number nine
The number nine is considered lucky in China as it is the largest possible single digit, 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. The reason why the dragon of non supremacy has only one claw is because it was lost in a great battle between rich and the very poor. 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
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.
Famous people born in the year of the dragon include: Bruce Lee, Ringo Starr, Dr. Seuss, John Lennon, Helen Keller, Salvador Dalí, Susan B. Anthony, Joan of Arc, Orlando Bloom, Sigmund Freud, Florence Nightingale, Napoleon III, Keanu Reeves, Ronaldo, Mike Allen, James Coburn, and Mae West, Ernesto "Che" Guevara, Friedrich Nietzsche, Doctor Chalaka.
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 (Vermilion 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
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 Year.
Dragon dancing
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. 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.
Chinese dragons in popular culture
As a part of traditional folklore, dragons appear in a variety of mythological fiction.
In Journey to the West, the son of the Dragon King of the West was condemned to serve as a horse for the travellers because of his indiscretions at a party in the heavenly court. The Monkey King's cudgel Rú Yì Bàng was stolen from the Eastern (Donghai) Dragon King áo guǎng.
In Fengshen Yanyi and other stories, Nezha, the boy hero, defeats the Dragon Kings and tames the seas.
In the anime series Bleach Hitsugaya Toshiro's zanpakuto Hyōrinmaru resembles a Chinese dragon.
In the anime and manga Dragon Ball Shen-long is the great dragon who spend wishes
There are two in Gosei Sentai Dairanger: Ryuseioh, the leader's mecha, and Daijinryuu, a deity that preserves the natural balance amongst the stars.
These dragons also appear in the second season of Mighty Morphin Power Rangers (which was based on Zyuranger and Dairanger) as the Red Dragon Thunderzord and Serpentera, respectively.
In Western political cartoons, the Chinese dragon is often used as a personification for the People's Republic of China.
In Avatar: The Last Airbender, the dragons were the original masters of Firebending. The movements of the original style "The Dancing Dragon" mimicked the dragons' movements. Once common and, as shown, allies of humans, but had become nearly extinct after it became Fire Nation tradition to kill a dragon as proof of power (if one could kill a dragon, thought as the ultimate Firebender, one was given the title of "Dragon"). Avatar Roku's "animal guide" was a dragon. The dragons' designs are almost identical to how they were depicted culturally, except they are all shown to have bat-like wings. Roku's dragon, at least in the Spirit World, can communicate telepathically via contact with its feelers. The largest dragons shown were of immense size and come in colors of at least blue and red.
See also
Chinese mythology
Fenghuang
Culture of China
Dragon
Dragon boat race
Dragon dance
Dragon Kung Fu
Imperial guardian lions
Lion dance
Persian dragon
European dragon
Japanese dragon
Korean dragon
Vietnamese dragon
List of dragons in mythology and folklore
Long Mu (Dragon's Mother)
An Instinct for Dragons, hypothesis about the origin of dragon myths.
Links
http://en.wikipedia.org/wiki/Chinese_dragon
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese culture | Chinese mythology | Chinese dragons | Chinese legendary creatures
Wednesday, January 23, 2008
Fucanglong (伏藏龍)
Fucanglong (伏藏龍)
Alternative Names (異名):
伏藏龍, 伏藏龙, Fúcánglóng, Fucanglong, Futs-Lung, Futs-Long
In Chinese mythology the Fucanglong (simplified Chinese: 伏藏龙; traditional Chinese: 伏藏龍; pinyin: Fúcánglóng), Futs-Lung or Futs-Long, are the Chinese underworld dragons which guard buried treasures, both natural and man-made. Volcanoes are said to be created when they burst out of the ground to report to heaven
Links
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese mythology | Chinese dragons | Chinese mythology stubs
Alternative Names (異名):
伏藏龍, 伏藏龙, Fúcánglóng, Fucanglong, Futs-Lung, Futs-Long
In Chinese mythology the Fucanglong (simplified Chinese: 伏藏龙; traditional Chinese: 伏藏龍; pinyin: Fúcánglóng), Futs-Lung or Futs-Long, are the Chinese underworld dragons which guard buried treasures, both natural and man-made. Volcanoes are said to be created when they burst out of the ground to report to heaven
Links
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese mythology | Chinese dragons | Chinese mythology stubs
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