Traditional Chinese Art: Auspicious Beast Motifs

Author: Chief Editor: Wang Kansheng
Publisher:
Publication Date: 2000-01-01
Features: China is the homeland of the dragon, and the Chinese people call themselves the descendants of the dragon. The art of the dragon embodies the artistic imagination and creative wisdom of the Chinese people over thousands of years. This book systematically compiles representative dragon motifs from Chinese historical crafts and folk art decorations in chronological order of dynasties, aiming to introduce the evolution of the shapes and styles of dragon decorations. These dragon motifs primarily come from rubbings of unearthed artifacts, architecture, utensils, as well as meticulous reproductions from murals, clothing, etc. The book collects over 300 dragon motifs and more than 30 color illustrations, with each plate accompanied by dates, sources, and textual descriptions, making it highly valuable for aesthetic application and research. Excerpt: The legend of "Nine Dragons Born but Not One Became a Dragon, Each with Its Own Preference": The eldest, "Qiuniu," loves music; the second, "Yazi," loves killing; the third, "Chaofeng," loves danger; the fourth, "Pulao," loves to roar; the fifth, "Suanni," loves to sit; the sixth, "Ba Xia," loves to carry heavy loads; the seventh, "Bi An," loves litigation; the eighth, "Bixi," loves literature; and the ninth, "Chiwen," loves to swallow. Later, Qiuniu became the carved beast on the head of the huqin; Yazi became the dragon's mouth on the handle of a sword; Chaofeng became the walking beast on the corners of palace terraces; Pulao became the beast knob on a bell; Suanni became the lion on a Buddha's throne; Ba Xia became the turtle on a stele base; Bi An became the bronze plaque with a ring on prison gates; Bixi became the literary dragon on both sides of a stone stele; and Chiwen became the dragon's head on the ridges of palace roofs. Another version of the legend of "Nine Dragons Born" includes: Pulao, Bi An, Yazi, Bixi (resembling a turtle, loving to carry heavy loads, later becoming the turtle base of a stele), Chiwen (resembling a beast, loving to gaze, later becoming the beast head on a roof), Taotie (loving to eat, standing on the lid of a tripod), Chenba (loving water, hence standing on bridge pillars), Jinli (resembling a lion, loving fire and smoke, hence standing on incense burners), and Jiaotu (resembling a snail or clam, loving seclusion, hence standing at the entrance of doors). The legend of "Nine Dragons Born" has been passed down among the Miao people even earlier, though with slightly different content, stating that the dragon had nine sons, the first eight being timid, while only the ninth was brave. Dragon stories in folk literature and art often personify the dragon. Take the widely known image of the Dragon King of the Sea, for example: some dragons bring blessings to the people, while others harm them. Many literary works feature dragons with different moralities and human-like personalities. The Journey to the West depicts Sun Wukong borrowing weapons from the Dragon King in the Crystal Palace. The Investiture of the Gods tells the story of Nezha slaying Ao Bing, the dragon prince who harmed the people. The Romance of the Lute narrates how Liu Yi, a scholar from the Tang Dynasty, saves the dragon princess of Dongting Lake and later marries her. The Scholar Zhang Yu Boils the Sea is a comedy about a scholar named Zhang Yu who rebels against the Dragon King, boils the sea, and ultimately marries the dragon princess. Through these dragon myths, people promote virtue and suppress evil, spreading the social values cherished in the hearts of the people. The belief that dragons can control clouds and rain has long been held. In Miao regions, the "Dragon Dance" is held annually. People hold pieces of green cloth overhead with both hands, connecting them to form a long dragon, symbolizing the continuous flow of water and praying for a bountiful harvest. In Han regions, dragon temples can be found in all directions, once used to pray for favorable weather and bountiful harvests. Dragon-related activities have always been popular sports and cultural events because the dragon, as a cultural symbol, represents the personalities, philosophies, and life ideals of different social groups. Among these, dragon boat racing and dragon dances are the most widespread. The history of dragon boats dates back to King Mu of Zhou riding a dragon boat for a journey. Emperor Yang of the Sui Dynasty also traveled south by dragon boat along the Grand Canal. An unearthed lacquered coffin from Changtai Pass in Xinyang, Henan, features patterns of a king riding a dragon boat. In folk culture, dragon boat races are held on the Dragon Boat Festival (the fifth day of the fifth lunar month) to commemorate Qu Yuan. As a result, the image of dragon boats has also become a theme in painting and craft decorations. Regarding dragon dances, records from the Han Dynasty and stone carvings from that era exist. Today, various dragon dance performances are still held on grand and festive occasions. Postscript: Dragons have appeared in primitive society. Through long-term creation and decorative practices by the Chinese people, the artistic image of the dragon has gradually been refined. As a symbol of traditional Chinese culture, the dragon reflects the creativity and wisdom of the Chinese people. However, during a certain period, due to the simplistic and treatment of national culture, the cultural and artistic forms of the dragon were dismissed as feudal dross, leading to a tragic loss. Although feudal rulers in China once used the dragon to claim their lineage and status, the dragon has always been a widely spread cultural and artistic theme in society and folk culture. Relying on their wisdom, imagination, and skills, the people have created dragon art rich in national sentiment, life characteristics, and mythical charm. "The ability to paint dragons and embroider phoenixes" has long been a pride of Chinese rural women. Even in luxurious court decorations, the craftsmanship of artisans is evident. Long before 5,000 to 6,000 years ago, the Chinese had created dragon art in crafts such as painted pottery and jade ware. At that time, the belief in dragons had evolved from natural worship and primitive ancestor worship to a higher form of ancestor god worship. The feudal society, however, has only existed for over two thousand years, showing that the art of the dragon has a long history, passed down through generations without interruption. The image of the dragon is diverse and magical. The people regard the dragon as a supernatural force, symbolizing happiness and auspiciousness, a belief deeply rooted in folk customs. Wherever there are people of Chinese descent in the world, the image of the dragon naturally flourishes. This illustrated collection organizes representative dragon motifs from craft decorations in chronological order and introduces their historical evolution. Through specific images, one can also understand the similarities and differences in decorative styles across different historical periods, serving as a reference for traditional craft and decorative design methods. There is much room for further research on dragon art. Academia has recently conducted extensive studies on this topic. The editor's knowledge is limited, and the book was completed in haste, so errors and omissions are inevitable. We sincerely hope readers will point them out. Some photographs and illustrations in this book are selected from Gong Ning's Comprehensive Patterns of Chinese Historical Objects (China Light Industry Press, Taipei: Nantian Publishing House) and Pu Anquan's 300 Examples of Dragon Patterns (China Light Industry Publishing House). Special thanks are extended to the authors. The editor humbly acknowledges.