Chinese traditional art auspicious beast patterns

Author: Wang Kansheng, Editor-in-Chief
Publisher:
Publishing Date: 2000-01-01
Features: China is the homeland of the dragon, and the Chinese people refer to themselves as 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 craft and folk art decorations in chronological order of dynasties, introducing the evolution of the shapes and styles of dragon decorations. These dragon motifs primarily come from rubbings of unearthed artifacts, architectural structures, and utensils, as well as meticulous copies from murals, clothing, and other sources. The book collects over 300 dragon motifs and more than 30 color illustrations, with each plate accompanied by dating, origin, 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 animal 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 metal ring and plaque 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 (shaped like a turtle, loves to carry heavy loads, later became the turtle base of stone steles), Chiwen (shaped like an animal, loves to gaze, later became the beast head on rooftops), Taotie (loves to eat, stood on the lid of a tripod), Chenba (loves water, hence placed on bridge pillars), Jinli (shaped like a lion, loves fire and smoke, hence placed on incense burners), and Jiaotu (shaped like a snail or clam, loves to close, hence placed at the entrance). The legend of "Nine Dragons Born" was even more widely circulated among the Miao people, 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 often portray dragons as anthropomorphized beings. 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 of 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, rescued a dragon princess in distress and later married 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 a dragon princess. Through these dragon myths, people promote virtue and suppress evil, reflecting 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 over their heads 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 are found in all directions, once used to pray for favorable weather and bountiful harvests. Due to the dragon representing the character, philosophy, and life ideals of different social groups, dragon motifs have long been a popular element in sports and cultural activities, with dragon boat racing and dragon dances being the most widespread. The history of dragon boats can be traced back to the time when King Mu of Zhou rode a dragon boat for a journey. Emperor Yang of the Sui Dynasty also traveled south by dragon boat along the Grand Canal. An ancient lacquered coffin unearthed in Changtai Pass, Xinyang, Henan, features a scene 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, historical records from the Han Dynasty mention them, as do Han Dynasty stone carvings. Today, dragon dance performances are still held on grand and festive occasions. Postscript: Dragons have appeared since the primitive society. Through the long-term creativity and decorative practices of the Chinese people, the artistic image of the dragon has gradually been refined. As a symbol of traditional Chinese culture, the dragon reflects the creative talent 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, resulting in a tragic loss. Although feudal rulers in China once used the dragon to proclaim their lineage and status, the dragon has always been a widely circulated cultural and artistic theme in society and among the people. 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 women. Even in the luxurious decorations of imperial courts, the craftsmanship of artisans is evident. Long before 5,000 to 6,000 years ago, the Chinese had already 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, lasted for only about 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 also 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 book compiles 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. Recently, scholars have conducted extensive studies on the topic. With limited knowledge and the urgency of completing this book, errors and omissions are inevitable. We sincerely hope for the readers' corrections. Some photographs and illustrations in this book are selected from Gong Ning's Comprehensive Patterns of Chinese Historical Objects (China Light Industry Press, Taibei, Nantian Publishing House) and Pu Anquan's 300 Examples of Dragon Patterns (China Light Industry Press). Special thanks are extended to the authors. Sincerely, The Editor