Throughout the old world, people had feared creatures with the body of a large lizard, snake-like eyes, large wings, and that can emit fire from their mouth. They was thought to be the embodiment of evil, greed, lust, violence, and the dark side of humanity. These mythical creatures are called dragons, but the dragon have a different reputation in the Eastern world. In China it was highly respected in the kingdom, a fairly common motif in eastern art for its heavenly related background. Unlike western mythology the dragon in Chinese legends is not considered as an evil creature, they do not bring death nor despair. Instead of being associated with hellfire, they are believed to be associated with water, having natural control over water, rain, floods, and hurricanes. A pleased dragons would bring a rainfall for harvest or unlike an angered one could muster up devastating weather. They weren't thought to be demons, but as deities of rain, to bring protection from fire. The Chinese dragon represents power, good luck for people who are worthy, and strength. The Emperor of China in the Zhou and Qing Dynasty adopted the dragon as a symbol of imperial power. There were different version of the dragon symbol to represent ranking, to showcase how they did that was by the number of claws the dragon had. The son of Heaven; the emperor is given five claws; four claws were to nobles; and ministers or assigned people were given three claws. These were minor physical changes of how the dragon used to look like. Chinese dragons do not have the same physical features as western dragons. In ancient Chinese art the look of the dragon went through various changes. "Snake – like figures have been found painted on pottery dating to the Shang d... ... middle of paper ... ...istory, 2007. Print. "Chinese Dragons Legends of the Dragon Types of Dragons The Dragon PearlThe Jiulong Baguazhang Dragons." Dragons of China. N.p., n.d. Web. 29 Apr. 2014. Forbes, Andrews. The Illustrated Book of Dragons and Dragon Lore. N.p.: Cognoscenti, 2013. Print. "Nine Sons of The Dragon King." Beyond Calligraphy. N.p., n.d. Web. 29 Apr. 2014. "椒图." _互动百科. N.p., n.d. Web. 29 Apr. 2014. "龙生九子." - 搜狗百科. N.p., n.d. Web. 29 Apr. 2014. Visser, Marinus Willem De. The Dragon in China and Japan. Amsterdam: J. Müller, 1913. Print. Williams, C. A. S., and C. A. S. Williams. Chinese Symbolism and Art Motifs: An Alphabetical Compendium of Antique Legends and Beliefs, as Reflected in the Manners and Customs of the Chinese. Rutland, VT: C.E. Tuttle, 1988. Print. Yang, Lihui, and Deming An. Handbook of Chinese Mythology. Santa Barbara, CA: ABC-CLIO, 2005. Print.
The site of Emperor Haung’s tomb is located in Lintong, Shaanxi province, near the city of Xi’an in China (Kesner 1995). After its completion in 210 BCE, it was covered by earth mined from an area near the Wei River, sealing it away from the outside world for over two thousand years (Swart 1984). While ancient historians wrote of the unbelievable tomb, hidden under a massive pile of earth, many modern historians simply did not believe it to be true. However, between 1932 and 1970, five figures of kneeling servants were found near where the tomb mound was thought to be (Swart 1984). The mausoleum itself was eventually unearthed in 1974 by farmers who were digging wells and accidentally broke into a vast pit containing life-sized statues of about 6,000 soldiers and horses. A group of Chinese archaeologists were assigned to excavate the site and dig up its ancient treasures. In 1976, two more underground pits were found with about 1,500 more soldiers and horses (Swart 1984). Other than the clay soldiers and horses, brass figures were discovered...
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
Being able to possess ancient dynasty objects has been seen as a sign of the legitimate ruler. Qianlong as the commissioner and the subject of this painting, intentionally representing himself of Han Chinese culture seems to communicate one message to the viewers just as what he once expressed about himself: ‘I, having grown up in the court and studied for twenty years, am in reality a scholar.’ Therefore, him, as the emperor, understands, protects and restores Han Chinese culture, and possesses the true treasures of Chinese culture, is the ultimate ruler of China.
Firstly, auspicious phenomenon mentioned before is known as ruiying in Chinese. It is believed to be blessings and a mean of communication from Heaven in form of strange and wonderful responses towards, in this case, Emperor Huizong.
Cao Xueqin’s Story of the Stone is a classic in Chinese literature, showcasing the life and exploits of the wealthy Jia clan during the feudal era. Through Cao’s depiction, the reader is afforded a glimpse into the customs and lifestyle of the time. Chinese mode of thought is depicted as it occurred in daily life, with the coexisting beliefs of Confucianism and Taoism. While the positive aspects of both ideologies are presented, Cao ultimately depicts Taoism as the paramount, essential system of belief that guides the character Bao-yu to his eventual enlightenment.
China has seen many changes throughout the course of their development, yet one aspect about their culture has tended to see continuity over the centuries. The practice of ancestor veneration has been present for thousands of years in Chinese culture. Looking at this single theme from China in 1600 compared to earlier periods, it is not hard to see that China has seen great continuity when it comes to honoring their ancestors. Religion, politics, and the economics of China may have changed over the years, but ancestor veneration has persisted and has even been shaped by these aspects.
Liu, Jiahe, and Dongfang Shao. “Early Buddhism and Taoism in China (A.D. 65-420).” Buddhist-Christian Studies 12 (1992): 35–41. JSTOR. Web. 7 Nov. 2013.
Dragons represent human greed but amplify this sin tenfold as this is a monstrous creature whose only interest is in gathering gold and hoarding it. Before Christianity rebranded dragons simply as a manifestation of Satan, they were the ultimate embodiment of power, ferocity, and mystery.
Dragons are very popular mythical beings because they are capable of flying, swimming, and walking on land. This makes a Dragons attack much easier because he can exploit the weaknesses of his victims by using earth’s natural elements earth, air, fire, and water. Dragons have sharp teeth and a tongue shaped like an arrow. These creatures can breathe fire, but some cultures believed they spit ice or another venomous substance. All a dragons power is in its long, scaly tail.
They brought with them from their Chinese culture; writing, stone craftsmanship, and human sacrifice. Many of their stone sculptures bear an uncanny resemblance to the Asian people of the time. The feathered serpent that was one of the gods that was worshiped is striking familiar to the Chinese dragons that adorn many Chinese art pieces.
(blackdrago.com) “Dragon images have been found on the Ishtar Gate of Babylon, on scrolls from China, in Egyptian hieroglyphs and Ethiopian sketches, on the prows of Viking ships, in bas relief on Aztec temples, on cliffs above the Mississippi River and even on bones carved by Inuits in climates where no reptile could live.” (McNeil) Stories of dragons can be found all through history. Over five thousand years ago, ancient Sumerian cultures had dragon legends in their religions. Modernly, few still believe dragons exist, they can still be found in our movies, books and video
...at maintain the harmony of the universe (Philosophy and Theory). This concept of balanced equilibrium is seen many times in Chinese mythology and applies well to real life aspects, especially with the notions of good and evil, and how the two interact in a given person or thing. Mythology in China also tends to show a discouragement towards violence, a main belief of Daoism and Shintoism. This religious concept aims to promote peace in society, where time usually wasted on trivial matters like arguments and war could be spent protecting nature and appeasing spirits (Collier 25). Religion in Chinese mythology has set certain guidelines in which followers of a given faith were expected to act accordingly based on the concepts they learned from legends. It has proved to be one of the more influential factors in the daily actions of those affected by Chinese traditions.
“Dragons. Four fully grown, enormous, vicious-looking dragons were rearing on their hind legs inside an enclosure fenced with thick planks of wood, roaring and snorting- torrents of fire were shooting into the dark sky from their open, fanged mouths, fifty feet above the ground on their outstretched necks.” (p286)
"Holy Mencius (Chinese): Book 3 - Part 3." Holy Mencius (Chinese): Book 3 - Part 3. Ishwar, n.d. Web. 12 Nov. 2013. .
Weightman, Barbara A. "Chapter 15." Dragons and Tigers: A Geography of South, East and Southeast Asia. Hoboken, NJ: Wiley, 2011. 423. Print.