By University of Alberta Museums
Objects from the Mactaggart Art Collection.
Pair of Cast Bronze Door Panels (1890) by Okazaki SesseiUniversity of Alberta Museums
How Does a Thunderstorm Make You Feel?
People in Ancient China connected the flashes of light, echoes of noise, and spectacular power of thunderstorms to a mythical creature – the dragon (龍, long).
Dragons can control rain, exhale cloud vapour, fly high in the atmosphere and dive deep into bodies of water. They are also shapeshifters with mysterious power -- revered by people to this very day.
For thousands of years, legends about the dragon have spoken of their wisdom, benevolence, and supply of good fortune.
The auspicious power of the dragon has secured its position as a popular symbol throughout the Ming (1368-1644) and Qing (1644-1911) dynasties to the present day.
What Does a Dragon Look Like?
No later than the first century, in the Han Dynasty (206 BCE - 220 CE), the scholar Wang Fu (78-163) answered this question. He described nine anatomical components of a dragon...
Black Cut Velvet Panel (c. 1875-1900) by unknownUniversity of Alberta Museums
…head of a camel, antlers of a deer, eyes of a rabbit (also translated as “demon”), ears of a cow…
…neck of a snake, belly of a clam, scales of a carp…
…claws of a hawk, and footpads of a tiger.
Dragons are often paired with other symbols to reinforce their power. They are frequently depicted as chasing or holding a flaming pearl, which is associated with wisdom, power, and energy.
Rather than breathing fire, as western dragons do, Chinese dragons are surrounded by the flames of enlightenment, which are a Buddhist symbol.
Origins and Early Depictions
Archeological objects from the Warring States Period (c. 475 - 221 BCE), such as jade sculptures, represent dragons as snake-like creatures with a body that curls back on itself. This type of dragon, called a kuilong, is flattened and only viewed from the side.
As a design on various types of material culture, kuilong remained popular for centuries. This silk tapestry weave robe, which was made in Tibet using Chinese silk, demonstrates the various ways kuilong adorned textiles.
Silk Tapestry Weave Tibetan Chuba Robe for a Man (c. 1662-1722) by unknownUniversity of Alberta Museums
This roundel, which mirrors the one on the other side of the torso, consists of three kuilong woven on a gold background. These kuilong are curvilinear with cloud-like edges, and they appear to be interacting with each other.
In contrast, these two kuilong are more geometric and rectilinear. They resemble the wood latticework used to cover windows in Chinese architecture. With their mouths open, these kuilong appear to be having an animated conversation.
Two Embroidered Silk Dragon Roundels from a Robe Embroidered Silk Dragon Roundel from a Robe (c. 1593-1619) by unknownUniversity of Alberta Museums
Dragon Symbolism in the Ming Court (1368-1644)
Dragons have been revered for their power for thousands of years, making them a natural symbol for rulers in ancient China, as well as an auspicious emblem in material culture. The dragon was a symbolic representation of the emperor and thus was synonymous with authority.
This roundel depicting a five-clawed dragon, was cut from a robe possibly owned by an emperor in the Ming Dynasty.
In 1759, Emperor Qianlong (1711–1799), issued a new edict about dragon motifs on imperial costumes, which was published in Huangchao Liqi Tushi (“Illustrated Regulations of the Ceremonial Paraphernalia of the Imperial Qing dynasty”).
Album Leaf from Illustrations of Costumes from the Qianlong Court (c. 1785) by Huang Dao, Men Yingzhao, and Jiang RenshuUniversity of Alberta Museums
According to the regulations, there should be nine five-clawed dragons on ceremonial court robes, including three on the front and back, one on each shoulder, and another under the front left flap.
The composition of designs on court robes remained largely unchanged until the end of the Qing Dynasty. As seen on both of these objects, nine five-clawed dragons hover in the “sky” section of the robe, above mountains, rolling ruyi-shaped waves, and a standing water hem. This design very closely follows the regulations set out in the Huangchao Liqi Tushi.
Even though the use of the dragon motif was restricted through the Ming (1368-1644) and Qing (1644-1911) dynasties, civilians and lower-ranking courtiers still coveted dragon designs. Modified dragon motifs helped to avoid violating bans while satisfying market needs.
Silk Canopy with the Brocade Fragment of a Collar from a Formal Court Robe by unknownUniversity of Alberta Museums
One such variation is the four-clawed dragon, or mang, which the emperor permitted lower-ranking officials to use on their garments. The two mang on this silk canopy are positioned within a brocade four-lobe pattern, which was originally intended to be made into a robe.
In 1526, Emperor Jiajing (1507-1567) reinforced regulations from the Collected Statutes of the Great Ming (1393-1587) around wearing dragons: "Officials and citizens within and outside the Beijing capital, were forbidden from wearing colourful brocades with restricted colours and patterns, including four-claw mang woven for women's robes." Another mythical beast - qilin - was used to adorn the clothing and material culture instead.
Framed Embroidered Blue Silk Crepe Fragment from a Robe (c. 1625-1675) by unknownUniversity of Alberta Museums
As seen on this patchwork embroidered robe fragment two qilin ascend and descend in a manner similar to the previous brown canopy.
Qilin have hooves instead of claws and also have shorter and stockier bodies than dragons. This design, with peonies and other auspicious symbols in the background, appears more feminine in style and may have been intended to become a robe for a woman.
Two Silk Tapestry Weave Panels Silk Tapestry Weave Panel (c. 1900) by unknownUniversity of Alberta Museums
Anthropomorphic Figures
Sometimes dragons are depicted as more human-like, or anthropomorphized, with active postures and expressions. This tapestry panel shows a playful dragon doing a sort of dance with his hands in the air.
The Virtuous Dragon
Anthropomorphism can also be used to reinforce virtues or lessons. This tapestry fragment shows a strong, powerful four-clawed dragon (mang) climbing the clouds. This image represents a popular Chinese proverb, “bubu gao sheng” (步步高升), which means achieving success step-by-step.
Silk Tapestry Weave Hanging (c. 1644-1661) by unknownUniversity of Alberta Museums
A Flight of Dragons
A group of dragons emerging in the sky can be interpreted as an auspicious symbol of social order.
This tapestry hanging features multiple dragons floating in the sky, surrounded by clouds, with rocks and waves below. Groups of dragons speak to the harmonious organization of a leader presiding over his subordinates, which corresponds to Confucianism.
To see more objects from the Echoes of Thunder: Unveiling the Mythical Chinese Dragon exhibition, please visit our search site.
You are all set!
Your first Culture Weekly will arrive this week.