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Japanese people viewed medieval dragons and serpents and how they were portrayed in text.The dragon is a powerful symbol in Japan. It is a combination of a snake’s body, a fish’s scales, and an eagle’s talons.detailed sculptures with bendable limbs were made from hard, forged metal. The people who created these sculptures also made the armor for the samurai.

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This article explains how Japanese people viewed medieval dragons and serpents and how they were portrayed in text. Almost all of the connections of dragons come from India, China, and japan. Their stories come from ancient texts from both Hinduism and Buddhism. Though not all dragons from these countries are the same, in art works for instance, a Japanese dragon looks more like a serpent without wings while the Chinese or Indian dragon did have wings. Japanese dragons also had scales like lizards, which the other two did not seem to have. Japanese dragons are more like the water snakes rather than giant fire breathing dragons that are in most movies.

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Dragons hold a great deal of importance and significance in various cultures of the world, with their names being mentioned in quite a lot of legendary, mythological works. Specially in the eastern parts of the world, these magnanimous creatures are seen as a positive inspiration. Historyplex gives you a brief insight on the symbolism of dragons in Japanese culture.

Did You Know?

“A dragon king was once said to live in a pond at Shinzen’en, the imperial garden of Kyoto, Japan. During times of drought, Buddhist monks held ceremonies there to persuade the dragon king to rise and bring rain.”
― American Museum of Natural History

What image comes to your mind when you think of dragons? Huge fire-breathing creatures with great wings that reside somewhere under the mountains or volcanoes, and instill terror in the hearts and minds of those who encounter their ferociousness? Well, our perception of these mythical creatures is greatly influenced by media and artwork that we have seen so far. A dragon could be quite like Smaug in the Hobbit movie series, or Draco from the 1996 movie ‘Dragonheart’. Well, while the former is quite the Western depiction of a dragon, the Eastern perception is pretty much like the depiction of this creature in the latter movie.

Strong, mighty, and powerful, yes, but they are not the monsters that devour mankind and are greedy for gold and power. In Eastern cultures, dragons are more of the powerful and wise guardians that protect people from universal dangers and impart wisdom to those who are successful in pleasing them. Yes, Japanese dragons are associated with rainfall and water bodies of the world, thereby having full control on the harvest, which is the symbolism of wealth and prosperity. This is the reason why the monks held rituals to please them to get relief from droughts. But this is not all that this water god symbolizes in Japan. The following section discusses furthermore on the significance of dragons and the legends and myths associated with their symbolism.

Symbolism of Dragons in Japanese Mythology

A lot many commonalities or links lie between the legends associated with dragons in Japan, China, and India. Their stories come from the ancient texts from both Hinduism and Buddhism. But, one must not get confused between Chinese and/or Indian dragons and Japanese dragons as they are depicted quite differently in art. For instance, a Japanese dragon looks more like a serpent without wings. On the other hand, the Chinese and/or Indian dragons have wings. Another point of difference is the presence of scales and spines in the Japanese dragon, which are often not seen in the other two. So, yes, Japanese dragons are more like the water creatures with scales and spines rather than the wing-bearing, fire-breathing dragons that are depicted in most movies, books, and other forms of media. The following are the various meanings associated with 日本の竜 Nihon no ryū, the Japanese word for a dragon.

Dragons are shape-shifters and can turn into humans to mate

Symbolism: Magic, Transformation, Adaptability, and Mysticism

Carving of a dragon on a stone in Japan

The Japanese believe dragons have the power to transform into any shape and size. Therefore, these creatures are symbolic of magical powers, transformation, and adaptability. Furthermore, accredited to their ability to shape-shift, it would be nearly impossible to catch hold of them in their true form, which derives a sense of mysticism in their existence. In fact, you would be surprised to know that it was because of the transformation tendencies of dragons, that Japan got its first ruler. The next point elaborates on it further.

Dragons are believed to be the ancestors of the first emperor of Japan

Symbolism: Royalty, Power, Prestige, and Honor

Kashihara Shrine where the first Emperor of Japan, Jimmu, acceded to the throne

The legendary Emperor Jimmu was the descendant of Princess Toyotama-hime, the daughter of Ryūjin, the Dragon god. According to legend, she transformed into a human and married a hunter named Hoori no Mikoto and had a son from the union. This son after growing up, married and had four sons, and one of these four sons went on to become the first emperor of Japan. Therefore, dragons symbolize royalty, imperial power, honor, and prestige―the qualities that a ruler has!

Dragons are guardians of Buddha

Symbolism: Protection, Promise, and Buddhism laws

Seven-headed Nāga protecting Buddha

Dragons have been associated with gardens and Buddhism. The book titled, ‘Tenryu-ji: Life and Spirit of a Kyoto Garden’, written by Norris Brock Johnson, mentions the instance when the seven-headed dragon/serpent protected Buddha from wind and rain for seven days. When Buddha was meditating in Lake Mucilinda, a seven-headed Nāga saw Buddha’s light, and so he came on the surface. He was so delighted by the sight that it started raining for seven days. Therefore, this dragon curled his seven hoods over Buddha and protected him throughout. He also promised to protect these lands and govern the workings of Buddhist laws. This is the reason why dragon statues are commonly seen in Buddhist temples and shrines. Therefore, dragons also symbolize abiding by the Buddhist laws, protection, and honoring a promise.

Dragons are associated with Japanese goddess Benzaiten

Symbolism: Knowledge, Wisdom, Music, and Everything that Flows

Goddess Benzaiten riding a sea dragon

This Buddhist goddess, known to have been originated from the Indian goddess named Saraswati, is believed to be the third daughter of a dragon king of Munetsuchi, as noted by a Japanese Buddhist monk named Kōkei in the historical writing called Enoshima Engi. Her shrines are located in the Enoshima island and she is often depicted riding a sea dragon. A legend states that she had married that sea dragon to save the island from wrath. She is associated with music, literature, knowledge, wealth, and everything that flows, including waters and seas, thereby, making these also the symbolism associated with Japanese dragons.

Dragons are the bearers of the yang energy

Symbolism: Masculinity, Activity, Creativity, Marital bliss, and Leadership

Dragon with a Japanese woman

Dragons are the ultimate representation of the yang, or masculine energy which is associated with leadership, activity, and creativity. Their ultimate rival is considered to be the phoenix, which is the symbol of femininity. However, when these two unite, it symbolizes the perfect balance required to attain marital bliss. Also, as mentioned earlier, the masculine energy of the dragon is associated with the Emperor, which furthermore accentuates this symbolism.

A dragon holding a crystal or pearl in its claw

Symbolism: Wealth, Success, and Prosperity

Dragon holding a red crystal in its claw

It is also believed that the symbol of a Japanese dragon holding a crystal or a pearl in its claw represents wealth, success, power, and prosperity. Keeping this symbol in the east side of your house will attract all of this in your life. As mentioned earlier, the dragon is also the controller of the winds and waters, therefore, having power over the harvest, which is synonymous with abundance in earnings and wealth.

If we dig deeper into the ancient Japanese manuscripts, we will undoubtedly come across a lot many tales associated with dragons and their powerful influence on the lives of the mortals. While widely believed to be nothing more than a myth, some stories do force us to believe that perhaps these creatures aren’t mythical at all. For instance, why would Buddhism claim on the existence of a guardian dragon? With the tales of these godly creatures being widespread globally, not just Asia, there might be a possibility of it all being true, and we humans just being unaware of this other world that exists with our own!

No matter what the reality between these legends may be, the symbolism mentioned above are enough to inspire us in our lives and learn from these beings. Indirectly, they are doing what legend claims them to do―impart wisdom to those who believe in them.

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This article explains how medieval Japanese people discovered dinosaur bones and mistook them for dragons. Back in medieval Japan dinosaur bones were discovered and mistaken for dragons, it is speculated that the mislabeled fossil could have been of a stegosaurus for its spiked tail and large backplating.

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Around the world, people are celebrating the Chinese New Year and the start to the Year of the Dragon. This got us wondering: Where did the myth of the dragon come from in the first place? Scholars say that belief in dragons probably evolved independently in both Europe and China, and perhaps in the Americas and Australia as well. How could this happen? Many have speculated about which real-life animals inspired the first legends. Here's our run-down of the likeliest suspects.

Dinosaurs. Ancient people may have discovered dinosaur fossils and understandably misinterpreted them as the remains of dragons. Chang Qu, a Chinese historian from the 4th century B.C., mislabeled such a fossil in what is now Sichuan Province. Take a look at a fossilized stegosaurus, for example, and you might see why: The giant beasts averaged 30 feet in length, were typically 14 feet tall and were covered in armored plates and spikes for defense.

The Nile Crocodile. Native to sub-Saharan Africa, Nile crocodiles may have had a more extensive range in ancient times, perhaps inspiring European dragon legends by swimming across the Mediterranean to Italy or Greece. They are among the largest of all crocodile species, with mature individuals reaching up to 18 feet in length-and unlike most others, they are capable of a movement called the "high walk," in which the trunk is elevated off the ground. A giant, lumbering croc? Might be easy to mistake for a dragon.

The Goanna. Australia is home to a number of species of monitor lizards, also referred to as Goannas. The large, predatory animals have razor-sharp teeth and claws, and they are important figures in traditional Aboriginal folklore. Recent studies even indicate that Goannas may produce venom that causes bite victims' wounds to develop infections after an attack. At least in Australia, these creatures may be responsible for the dragon myth.

Whales. Others argue that the discovery of megafauna such as whales prompted stories of dragons. Ancient humans encountering whale bones would have no way of knowing that the animals were sea-based, and the idea of such gargantuan creatures might well have led people to assume that whales were predatory. Because live whales spend up to 90 percent of their time underwater, they were poorly understood for most of human history.

The Human Brain. The most fascinating explanation involves an unexpected animal: the human. In his book An Instinct for Dragons, anthropologist David E. Jones argues that belief in dragons is so widespread among ancient cultures because evolution embedded an innate fear of predators in the human mind. Just as monkeys have been shown to exhibit a fear of snakes and large cats, Jones hypothesizes that the trait of fearing large predators-such as pythons, birds of prey and elephants-has been selected for in hominids. In more recent times, he argues, these universal fears have been frequently combined in folklore and created the myth of the dragon.

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In honor of the Year of the Dragon, we take a look at some potential inspirations for the dragon myth

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This article explains how Japanese people viewed medieval dragons and serpents and how they were portrayed in art. Various pictures and paintings depict dragons.The dragons were all long and serpent like. Most wings were very small and behind the shoulders except for one. The heads are whiskered and often bearded. Some dragons appear to be human shapeshifters. They seem to be associated with nature and lots of water symbolism.

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Japanese dragons (日本の竜 Nihon no ryū) are diverse legendary creatures in Japanese mythology and folklore. Japanese dragon myths amalgamate native legends with imported stories about dragons from China, Korea and India. The style of the dragon was heavily influenced by the Chinese dragon.

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These articles explain how Japanese and Chinese people viewed medieval dragons and serpents and how they were portrayed in art. Japanese and Chinese dragons were depicted as long scaly serpents with four legs, two of which could have also been arms. A lot of the depictions of these dragons had facial hair such as beards, whiskers and bushy eyebrows. Most of the dragon paintings and texts have had some relationship to water or other natural forces such as mountains or the sky. There are legends of some dragons being human shapeshifters and changing forms at the water's edge.

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The Chinese Dragon, also known as the loong, long or lung ( simplified Chinese: 龙; traditional Chinese: 龍; pinyin: ), is a legendary creature in Chinese mythology, Chinese folklore, and Chinese culture at large. Chinese dragons have many animal-like forms such as turtles and fish, but are most commonly depicted as snake-like with four legs. Academicians have identified four reliable theories on the origin of the Chinese dragon: snakes, Chinese alligators, thunder worship and nature worship. They traditionally symbolize potent and auspicious powers, particularly control over water.

Bronze dragon from Sanxingdui, Shang dynasty

Historically, the Chinese dragon was associated with the emperor of China and used as a symbol to represent imperial power. Liu Bang, the founder of the Han dynasty, claimed that he was conceived after his mother dreamt of a dragon. During the Tang dynasty, emperors wore robes with dragon motif as an imperial symbol, and high officials might also be presented with dragon robes. In the Yuan dynasty, the two-horned, five-clawed dragon was designated for use by the Son of Heaven or emperor only, while the four-clawed dragon was used by the princes and nobles. Similarly, during the Ming and Qing dynasty, the five-clawed dragon was strictly reserved for use by the emperor only. The dragon in the Qing dynasty appeared on the flag of the Qing dynasty.

The dragon is sometimes used in the West as a national emblem of China, though such use is not commonly seen in the People's Republic of China or Taiwan. Instead, it is generally used as the symbol of culture. In Hong Kong, the dragon was a component of the coat of arms under British rule. It was later to become a feature of the design of Brand Hong Kong, a government promotional symbol.

The Chinese dragon has very different connotations from the European dragon - in European cultures, the dragon is a fire-breathing creature with aggressive connotations, whereas the Chinese dragon is a spiritual and cultural symbol that represents prosperity and good luck, as well as a rain deity that fosters harmony. It was reported that the Chinese government decided against using the dragon as its official 2008 Summer Olympics mascot because of the aggressive connotations that dragons have outside of China and chose more "friendly" symbols instead. Sometimes Chinese people use the term "Descendants of the Dragon" ( simplified Chinese: ; traditional Chinese: ) as a sign of ethnic identity, as part of a trend started in the 1970s when different Asian nationalities were looking for animal symbols as representations. For example, the wolf may be used by the Mongols as it is considered to be their legendary ancestor.

The dragon was the symbol of the Chinese emperor for many dynasties. During the Qing dynasty, the Azure Dragon was featured on the first Chinese national flag. It was featured again on the Twelve Symbols national emblem, which was used during the Republic of China, from 1913 to 1928.

The dragon has been used as a state symbol in Vietnam. During the Nguyễn dynasty, the dragon was featured on the imperial standards. It was also featured on the coats of arms of the State of Vietnam, and later South Vietnam.

The ancient Chinese self-identified as "the gods of the dragon" because the Chinese dragon is an imagined reptile that represents evolution from the ancestors and energy. Dragon-like motifs of a zoomorphic composition in reddish-brown stone have been found at the Chahai site (Liaoning) in the Xinglongwa culture (6200-5400 BC). The presence of dragons within Chinese culture dates back several thousands of years with the discovery of a dragon statue dating back to the fifth millennium BC from the Yangshao culture in Henan in 1987, and jade badges of rank in coiled form have been excavated from the Hongshan culture c. 4700-2900 BC. Some of the earliest Dragon artifacts are the pig dragon carvings from the Hongshan culture.

The coiled dragon or snake form played an important role in early Chinese culture. The character for "dragon" in the earliest Chinese writing has a similar coiled form, as do later jade dragon amulets from the Shang period.

Ancient Chinese referred to unearthed fossil bones as " dragon bones" and documented them as such. For example, Chang Qu in 300 BC documents the discovery of "dragon bones" in Sichuan. While these "dragon bones" have often been asserted in modern times to be dinosaur bones, according to palaeontologist Mark Witton there is little evidence of this (aside a recent report of villagers collecting dinosaur bones as "dragon bones" from 2007), with historical accounts of "dragon bones" from the 19th century suggest that they were predominantly those of mammals, such as the extinct horse .

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 such as 'three joints' and 'nine resemblances' (of the dragon), to wit: from head to shoulder, from shoulder to breast, and from breast to tail. These are the joints; as to the nine resemblances, they are the following: his antlers 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, ), 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] (). 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 antlers of a deer. The head of a crocodile. 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".

Chinese dragons were considered to be physically concise. Of the 117 scales, 81 are of the yang essence (positive) while 36 are of the yin essence (negative). Initially, the dragon was benevolent, wise, and just, but the Buddhists introduced the concept of malevolent influence among some dragons. Just as water destroys, they said, so can some dragons destroy via floods, tidal waves, and storms. They suggested that some of the worst floods were believed to have been the result of a mortal upsetting a dragon.

Many pictures of Chinese dragons show a flaming pearl under their chin or in their claws. The pearl is associated with spiritual energy, wisdom, prosperity, power, immortality, thunder, or the moon. Chinese art often depicts a pair of dragons chasing or fighting over a flaming pearl.

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.) is mystical 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, turn into water, change color as an ability to blend in with their surroundings, and be an effective form of camouflage or glow in the dark (according to the Shuowen Jiezi).

In many other countries, folktales speak of the dragon having all the attributes of the other 11 creatures of the zodiac, this includes the whiskers of the Rat, the face and horns of the Ox, the claws and teeth of the Tiger, the belly of the Rabbit, the body of the Snake, the legs of the Horse, the goatee of the Goat, the wit of the Monkey, the crest of the Rooster, the ears of the Dog, and the snout of the Pig.

In some circles, it is considered bad luck to depict a dragon facing downward, as it is seen as disrespectful to place a dragon in such a manner that it cannot ascend to the sky. Also, depictions of dragons in tattoos are prevalent as they are symbols of strength and power, especially criminal organisations where dragons hold a meaning all on their own. As such, it is believed that one must be fierce and strong enough, hence earning the right to wear the dragon on his skin, lest his luck be consumed by the dragons.

According to an art historian John Boardman, depictions of Chinese Dragon and Indian Makara might have been influenced by in Greek mythology possibly after contact with silk-road images of the Kētos as Chinese dragon appeared more reptilian and shifted head-shape afterwards.

Chinese dragons are strongly associated with water and weather in popular religion. They are believed to be the rulers of moving bodies of water, such as waterfalls, rivers, or seas. The Dragon god is the dispenser of rain as well as the zoomorphic representation of yang, the masculine power of generation. 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 Qinghai Lake 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 phenomena. 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 Wuyue 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 sea.

In coastal regions of China, Korea, Vietnam, traditional legends and worshipping of whale gods as the guardians of people on the sea have been referred to Dragon Kings after the arrival of Buddhism.

According to Chinese legend, both Chinese primogenitors, the earliest Door and the Yellow Emperor, were closely related to the dragon. At the end of his reign, the first legendary ruler, the Yellow Emperor, was said to have been immortalized into a dragon that resembled his emblem, and ascended to Heaven. The other legendary ruler, the Yan Emperor, was born by his mother's telepathy with a mythical dragon. Since the Chinese consider the Yellow Emperor and the Yan Emperor as their ancestors, 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.

Dragons (usually with five claws on each foot) were a symbol for the emperor in many Chinese dynasties. During the Qing dynasty, the imperial dragon was colored yellow or gold, and during the Ming dynasty it was red. The imperial throne was referred to as the Dragon Throne. During the late Qing dynasty, the dragon was even adopted as the national flag. Dragons are featured in carvings on the stairs and walkways of imperial palaces and imperial tombs, such as at 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 Chinese phoenix.

Worship of the Dragon god is celebrated throughout China with sacrifices and processions during the fifth and sixth moons, and especially on the date of his birthday the thirteenth day of the sixth moon. A folk religious movement of associations of good-doing in modern Hebei is primarily devoted to a generic Dragon god whose icon is a tablet with his name inscribed, for which it has been named the "movement of the Dragon Tablet".

Dragons or dragon-like depictions have been found extensively in neolithic-period archaeological sites throughout China. Some of earliest depictions of dragons were found at Xinglongwa culture sites. Yangshao culture sites in Xi'an have produced clay pots with dragon motifs. A burial site Xishuipo in Puyang which is associated with the Yangshao culture shows a large dragon mosaic made out of clam shells. The Liangzhu culture also produced dragon-like patterns. The Hongshan culture sites in present-day Inner Mongolia produced jade dragon objects in the form of pig dragons which are the first 3-dimensional representations of Chinese 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 dynasty. A snake-like dragon body painted on red pottery wares was discovered at Taosi (Shanxi) from the second phase of the Longshan Culture, and a dragon-like object coated with approximately 2000 pieces of turquoise and jade was discovered at Erlitou.

Detail of an embroidered silk gauze ritual garment from a 4th-century BC Zhou dynasty tomb at Mashan, Hubei. The flowing, curvilinear design incorporates dragons, phoenixes, and tigers.

Qin dynasty twin bronze dragons, found near the Mausoleum of the First Qin Emperor.

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.

Shenlong, thunder god that controls the weather, appearance of a human head, dragon's body, and drum-like stomach

Fuzanglong, underworld guardian of precious metals and jewels, associated with volcanoes

Dilong, controller of rivers and seas

, winged dragon associated with rains and floods, used by Yellow Emperor to kill Chi You

Jiaolong, hornless or scaled dragon, leader of all aquatic animals

Panlong, lake dragon that has not ascended to heaven

Huanglong, hornless dragon symbolizing the emperor

, winged dragon that rides on clouds and mist; also a name for a genus of pterosaur (compare Feilong kick and Fei Long character)

Qiulong, contradictorily defined as both "horned dragon" and "hornless dragon"

was a giant red draconic solar deity in Chinese mythology. It supposedly had a human's face and snake's body, created day and night by opening and closing its eyes, and created seasonal winds by breathing. (Note that this zhulong is different from the similarly named Vermilion Dragon or the Pig dragon)

Chilong, a hornless dragon or mountain demon

Fewer Chinese dragon names derive from the word long :

Some additional Chinese dragons are not named long, for instance,

Chinese scholars have classified dragons in diverse systems. For instance, Emperor Huizong of Song canonized five colored dragons as "kings".

The Azure Dragon [Qinglong ] spirits, most compassionate kings.

The Vermilion Dragon [Zhulong or Chilong ] spirits, kings that bestow blessings on lakes.

The Yellow Dragon [Huanglong ] spirits, kings that favorably hear all petitions.

The White Dragon [Bailong ] spirits, virtuous and pure kings.

The Black Dragon [Xuanlong or Heilong ] 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 Vermilion, 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.

Dragons were varyingly thought to be able to control and embody various natural elements in their "mythic form" such as " water, air, earth, fire, light, wind, storm, [and] electricity". Some dragons who were able to breathe fire were thought to be exiled from tiān and banished to Earth.

Pulao on a bell in Wudang Palace, Yangzhou

Qianlong era Bixi near the Marco Polo Bridge in Beijing

Several Ming dynasty texts list what were claimed as the Nine Offspring of the Dragon (), and subsequently these feature prominently in popular Chinese stories and writings. The scholar Xie Zhaozhe (1567-1624) in his work Wu Za Zu Wuzazu (c. 1592) gives the following listing, as rendered by M.W. de Visser:

A well-known work of the end of the sixteenth century, the Wuzazu , informs us about the nine different young of the dragon, whose shapes are used as ornaments according to their nature.

The [Pulao, four leg small form dragon class which like to scream, are represented on the tops of bells, serving as handles.

The [qiú niú ], which like music, are used to adorn musical instruments.

The [Chiwen, which like swallowing, are placed on both ends of the ridgepoles of roofs (to swallow all evil influences).

The [cháo fēng ], beasts-like dragon which like adventure, are placed on the four corners of roofs.

The [yá zì ], which like to kill, are engraved on sword guards.

The [xì xì ], which have the shape of the [chī hǔ (One kind small form dragon)], and are fond of literature, are represented on the sides of grave-monuments.

The [bì àn ], which like litigation, are placed over prison gates (in order to keep guard).

The [suān ní ], which like to sit down, are represented upon the bases of Buddhist idols (under the Buddhas' or Bodhisattvas' feet).

The [, also known as [bà xià ], finally, big tortoises which like to carry heavy objects, are placed under grave-monuments.

Further, the same author enumerates nine other kinds of dragons, 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 () collection by the poet Yang Shen (1488-1559) gives different 5th and 9th names for the dragon's nine children: the , form of beasts, which loves to eat and is found on food-related wares, and the jiāo tú (), 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 bì xì, chī wěn or cháo fēng, pú láo, bì àn, tāo tiè, qiú niú, yá zì, suān ní, and jiāo tú. In addition, there are some sayings including [ bā xià ], Hybrid of reptilia animal and dragon, a creature that likes to drink water, and is typically used on bridge structures.

The oldest known attestation of the "children of the dragon" list is found in the Shuyuan zaji (, Miscellaneous records from the bean garden) by Lu Rong (1436-1494); however, he noted that the list enumerates mere synonyms of various antiques, not children of a dragon. The nine sons of the dragon were commemorated by the Shanghai Mint in 2012's year of the dragon with two sets of coins, one in silver, and one in brass. Each coin in the sets depicts one of the 9 sons, including an additional coin for the father dragon, which depicts the nine sons on the reverse. It's also a Chinese idiom, which means among brothers each one has his good points.

Originally, early Chinese dragons are mostly depicted with three claws, but they can range from two to five claws. Different countries that adopted the Chinese dragon have different preferences; in Mongolia and Korea, four-clawed dragons are used, while in Japan, three-clawed dragons are common. In China, three-clawed dragons were popularly used on robes during the Tang dynasty. The usage of the dragon motif was codified during the Yuan dynasty, and the five-clawed dragons became reserved for use by the emperor while the princes used four-clawed dragons. Phoenixes and five-clawed two-horned dragons may not be used on the robes of officials and other objects such as plates and vessels in the Yuan dynasty. It was further stipulated that for commoners, "it is forbidden to wear any cloth with patterns of Qilin, Male Fenghuang (Chinese phoenix), White rabbit, Lingzhi, Five-Toe Two-Horn Dragon, Eight Dragons, Nine Dragons, ' Ten thousand years', Fortune-longevity character and Golden Yellow etc."

The Hongwu Emperor of the Ming dynasty emulated the Yuan dynasty rules on the use of the dragon motif and decreed that the dragon would be his emblem and that it should have five claws. The four-clawed dragon would be used typically for imperial nobility and certain high-ranking officials. The three-clawed dragon was used by lower ranks and the general public (widely seen on various Chinese goods in the Ming dynasty). The dragon, however, was only for select royalty closely associated with the imperial family, usually in various symbolic colors, while it was a capital offense for anyone-other than the emperor himself-to ever use the completely gold-colored, five-clawed Long dragon motif. Improper use of claw number or colors was considered treason, punishable by execution of the offender's entire clan. During the Qing dynasty, the Manchus initially considered three-clawed dragons the most sacred and used that until 1712 when it was replaced by five-clawed dragons, and portraits of the Qing emperors were usually depicted with five-clawed dragons.

In works of art that left the imperial collection, either as gifts or through pilfering by court eunuchs (a long-standing problem), where practicable, one claw was removed from each set, as in several pieces of carved lacquerware, for example the well known Chinese lacquerware table in the Victoria and Albert Museum in London.

The number nine is special in China as it is seen as number of heaven, 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 (9×13) scales-81 (9×9) Yang and 36 (9×4) Yin. This is also why there are nine forms of the dragon and nine sons of the dragon (see Classical depictions above). The Nine-Dragon Wall is a spirit wall with images of nine different dragons, and is found in imperial Chinese palaces and gardens. Because 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 Hong Kong. The part of the Mekong in Vietnam is known as Cửu Long, with the same meaning.

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 children. There are more people born in Dragon years than in any other animal years of the zodiac.

The Azure Dragon is considered to be the primary of the four celestial guardians, the other three being the Vermilion Bird, White Tiger, Black Tortoise. In this context, the Azure Dragon is associated with the East and the element of Wood.

At special festivals, especially the Dragon Boat Festival, dragon boat races are an important part of festivities. Typically, these are boats paddled by a team of up to 20 paddlers with a drummer and steersman. The boats have a carved dragon as the head and tail of the boat. Dragon boat racing is also an important part of celebrations outside of China, such as at Chinese New Year. A similar racing is popular in India in the state of Kerala called Vallamkali and there are records on Chinese traders visiting the seashores of Kerala centuries back (Ibn Batuta).

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, drama, and music. They also wore good clothing made of silk.

Fenghuang ( simplified Chinese: 凤凰; traditional Chinese: 鳳凰; pinyin: ; Wade-Giles: ), known in Japanese as Hō-ō or Hou-ou, are phoenix-like birds found in East Asian mythology that reign over all other birds. In Chinese symbolism, it is a feminine entity that is paired with the masculine Chinese dragon, as a visual metaphor of a balanced and blissful relationship, symbolic of both a happy marriage and a regent's long reign.

In many Buddhist countries, the concept of the nāga has been merged with local traditions of great and wise serpents or dragons, as depicted in this stairway image of a multi-headed nāga emerging from the mouth of a Makara in the style of a Chinese dragon at Phra Maha Chedi Chai Mongkol on the premises of Wat Pha Namthip Thep Prasit Vararam in Nong Phok District, Roi Et Province, Thailand.

The tiger is considered to be the eternal rival to the dragon, thus various artworks depict a dragon and tiger fighting an epic battle. A common chengyu to describe equal rivals 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.

The elm cultivar Ulmus pumila 'Pendula', from northern China, called 'weeping Chinese elm' in the West, is known locally as Lung chao yü shu ('Dragon's-claw elm') owing to its branching.

A number of Chinese proverbs and idioms feature references to a dragon, such as "Hoping one's child will become a dragon" ( simplified Chinese: 望子成龙; traditional Chinese: 望子成龍; pinyin: wàng zǐ chéng lóng ; Jyutping: mong6 zi2 sing4 lung4 ).

As a part of traditional folklore, dragons appear in a variety of mythological fiction. Chinese dragons appear in innumerable media across popular culture today, including but not at all limited to: Japanese anime films and television shows, manga, and in Western political cartoons as a personification of the People's Republic of China.

In the classical 16th century novel Journey to the West, the son of the Dragon King of the West was condemned to serve as a horse for the travelers because of his indiscretions at a party in the heavenly court. Sun Wukong's staff, the Ruyi Jingu Bang, was robbed from Ao Guang, the Dragon King of the East Sea.

The Chinese respect for dragons is emphasized in Naomi Novik's novels, where they were the first people to tame dragons and are treated as equals, intellectuals, or even royalty, rather than beasts solely bred for war in the West.

Manda is a large Chinese dragon that appears in the Godzilla storyline.

A golden three-headed dragon also appears in the comic book series God Is Dead.

The red dragon is a symbol of China which appears in many Mahjong games.

A Chinese water dragon cast by a rebel mermaid named Aurora is the main antagonist in Season 3 of the Australian television series Mako Mermaids. The dragon is heavily based on Chinese mythology to coincide with a new Chinese mermaid on the show.

The main antagonist of Wendy Wu: Homecoming Warrior, Yan-Lo, is a Chinese dragon. Despite the fact that he is deceased during the events of the film, he continues to hatch evil plans in the form of a spirit.

The 1982 Rankin/Bass Productions animated TV movie The Flight of Dragons features a Chinese dragon being the steed for Lo Tae Zhao, the Golden Wizard whose realm is light and air.

Eddie Murphy voices Mushu, a red Chinese dragon in the 1998 Disney animated film and its 2004 sequel, .

Chinese dragons heavily influenced the dragons, including Fang, on Avatar: The Legend of Aang and The Legend of Korra.

In the Marvel Cinematic Universe film Shang-Chi and the Legend of the Ten Rings, the Great Protector is a Chinese water dragon that protects the realm of Ta Lo. Statues of Chinese dragons were also featured in the throne room of Trevor Slattery, Aldrich Killian's pawn, when posing as the Mandarin; long before finding the real version, Shang Chi's father.

Cloud Dragon by Anonymous, Ming dynasty, 15th-16th century

1. ^ Carlson, Kathie; Flanagin, Michael N.; Martin, Kathleen; Martin, Mary E.; Mendelsohn, John; Rodgers, Priscilla Young; Ronnberg, Ami; Salman, Sherry; Wesley, Deborah A. (2010). Arm, Karen; Ueda, Kako; Thulin, Anne; Langerak, Allison; Kiley, Timothy Gus; Wolff, Mary (eds.). The Book of Symbols: Reflections on Archetypal Images. Köln: Taschen. p. 48. ISBN 978-3-8365-1448-4.

2. ^ Kouymjian, Dickran (2006). "Chinese Motifs in Thirteenth-Century Armenian Art: The Mongol Connection". Beyond the Legacy of Genghis Khan. pp. 303-324. doi:10.1163/9789047418573_018. ISBN 978-90-474-1857-3.

3. ^ Sleeboom, Margaret (2004). Academic Nations in China and Japan Framed in concepts of Nature, Culture and the Universal. Routledge publishing. ISBN 0-415-31545-X

4. ^ "Fiery Debate Over China's Dragon", BBC News, an article covering China's decision not to use a dragon mascot and the resulting disappointment.

5. Dr Zai, J. ^ Taoism and Science: Cosmology, Evolution, Morality, Health and more. Ultravisum, 2015.

6. ^ Howard Giskin and Bettye S. Walsh (2001). An introduction to Chinese culture through the family. State University of New York Press. p. 126. ISBN 0-7914-5047-3.

7. Salviati, Filippo (2002). ^ The Language of Adornment: Chinese Ornaments of Jade, Crystal, Amber and Glass, Fig. 17. Ten Speed Press. ISBN 1-58008-587-3.

8. ^ Witton, Mark (26 March 2021). "Mark P. Witton's Blog: Dinosaur fossils and Chinese dragons: ancient association or modern wishful thinking?". Mark P. Witton's Blog.

9. ^ 李 善愛, 1999, 護る神から守られる神へ : 韓国とベトナムの鯨神信仰を中心に, pp.195-212, 国立民族学博物館調査報告 Vol.149

10. Zhiya Hua. ^ Dragon's Name: A Folk Religion in a Village in South-Central Hebei Province. Shanghai People's Publishing House, 2013. ISBN 7-208-11329-7

11. Carr, Michael. 1990. ^ "Chinese Dragon Names", Linguistics of the Tibeto-Burman Area 13.2:87-189. He classified them into seven categories: Rain-dragons, Flying-dragons, Snake-dragons, Wug-dragons [wug refers to "worms, bugs, and small reptiles"], Crocodile-dragons, Hill-dragons, and Miscellaneous dragons.

12. ^ Carlson, Kathie; Flanagin, Michael N.; Martin, Kathleen; Martin, Mary E.; Mendelsohn, John; Rodgers, Priscilla Young; Ronnberg, Ami; Salman, Sherry; Wesley, Deborah A. (2010). Arm, Karen; Ueda, Kako; Thulin, Anne; Langerak, Allison; Kiley, Timothy Gus; Wolff, Mary (eds.). The Book of Symbols: Reflections on Archetypal Images. Köln: Taschen. p. 704. ISBN 978-3-8365-1448-4.

13. ^ Hua, Sara Lynn (28 June 2016). "Difference Between A Chinese Dragon and A Western Dragon". TutorABC Chinese China Expats & Culture Blog.

14. ^ Visser 1913, pp. 101-102. The primary source is Wu Za Zu, chapter 9, beginning with "". The title of Xie Zhaozhe's work, Wu Za Zu, has been variously translated into English as Five Assorted Offerings (in Xie Zhaozhe), Five Sundry Bands (in "Disease and Its Impact on Politics, Diplomacy, and the Military ...") orFive Miscellanies (in Changing clothes in China: fashion, history, nation, p. 48).

15. ^ (Wu Sanxing) (2006). 中國文化背景八千詞 (Eight thousand words and expressions viewed against the background of Chinese culture) (in Chinese). (Commercial Press, Hong Kong). p. 345. ISBN 962-07-1846-1.

16. ("Chapter 9, Dragon's derived and associated creatures: Nine children of the dragon (1)"), in ^ Yang Jingrong and Liu Zhixiong (2008). The full text of Shuyuan zaji, from which Yang and Liu quote, is available in electronic format at a number of sites, e.g. here: Archived 6 March 2010 at the Wayback Machine

17. ^ Rawson, Jessica (ed). The British Museum Book of Chinese Art, p. 177, 2007 (2nd edn), British Museum Press, ISBN 978-0-7141-2446-9

18. ^ Clunas, Craig and Harrison-Hall, Jessica, Ming: 50 years that changed China, p. 107, 2014, British Museum Press, ISBN 978-0-7141-2484-1

19. ^ "Why Chinese children born in years of the dragon are more successful". The Economist. 4 September 2017.

20. ^ Mocan, Naci H.; Yu, Han (May 2019) [August 2017]. "Can Superstition Create a Self-Fulfilling Prophecy? School Outcomes of Dragon Children of China" (PDF). The National Bureau of Economic Research (NBER Working Paper No. 23709): 13, 47.

21. U. pumila 'Pendula', ' ^ "Inventory of Seeds and Plants Imported ... April-June 1915"Archived 11 February 2008 at the Wayback Machine (March 1918)

Doré, Henri [in French] (1917). Researches into Chinese Superstitions. Translated by M. Kennelly; D. J. Finn; L. F. McGreat. Ch'eng-wen. p. 681. OL 13587109M.

Meccarelli, Marco (15 March 2021). "Discovering the Long: Current Theories and Trends in Research on the Chinese Dragon". Frontiers of History in China. 16 (1): 123-142. doi:10.3868/s020-010-021-0006-6.

Nikaido, Yoshihiro (2015). Asian Folk Religion and Cultural Interaction. Vandenhoeck & Ruprecht. ISBN 978-3-8470-0485-1.

Overmyer, Daniel L. (2009). Local Religion in North China in the Twentieth Century: The Structure and Organization of Community Rituals and Beliefs. Brill. ISBN 978-90-04-17592-1.

Tom, K. S. (1989). Echoes from Old China: Life, Legends, and Lore of the Middle Kingdom. University of Hawaii Press. ISBN 0-8248-1285-9.

Visser, Marinus Willem de (1913), The Dragon in China and Japan (PDF), Amsterdam: J. Müller, archived from the original on 19 January 2010,@University of Georgia Library

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The Chinese Dragon, also known as the loong , long or lung ( simplified Chinese: 龙; traditional Chinese: 龍; pinyin: ), is a legendary creature in Chinese mythology, Chinese folklore, and Chinese culture at large. Chinese dragons have many animal-like forms such as turtles and fish, but are most commonly depicted as snake-like with four legs.

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Research Question: How did dragons influence medieval Japanese culture?

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Research Question: How did dragons influence medieval Japanese culture?

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You should care because you will better understand the cultural heritage and values of the Japanese people.

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Thesis: Dragons were worshipped as gods and influenced most of medieval Japanese culture, such as there architecture, art, literature and fashion.

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Thesis: Dragons were worshipped as gods and influenced most of medieval Japanese culture, such as there architecture, art, literature and fashion.

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1. Japanese dragons have a lot of association with water and the ocean
2. There are legends of some dragons being human shapeshifters
3. Some Japanese dragons are combinations of sacred meaningful creatures
4. The stegosaurus could have been the culprit for mistaken fossils thought to be dragons.
5. Japan originally got the idea of dragons from other countries like China or India

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Answer the question in the jamboard by placing a sticky note.