This gallery includes depictions of creatures and beings of Chinese Mythology, especially dragons, across different mediums. These include fabric, ink, casting, ceramics, jewelry, and sculpture. Also, these pieces span across the imperial Chinese dynasties, from Xia to Qing. This is a period of time spanning thousands of years, from 2070 BC to 1912 AD. Enjoy the journey into the imagination of ancient artists, poets, royalty and civilians alike.
Pendant in the form of two facing dragons, 475-221 B.C.E., From the collection of: Smithsonian's National Museum of Asian Art
The subject of this pendant are the two dragons, facing each other with open mouths towards the fiery pearl that floats between them. This piece is symmetrical, leading movement towards the center of the pendant, creating a focus on the pearl. When a person would wear it, however, the curved lines of the dragons created a focus on the wearer, giving a sense of elegance – and perhaps royalty – to said wearer.
Object with dragon and phoenix, -1/1, From the collection of: Smithsonian's National Museum of Asian Art
The subjects of this small object are the dragon and phoenix, symbols of the emperor and empress, wrapped around it. Smooth, organic lines create a natural feel and texture to the carving of these creatures. These lines also create dynamic shape, giving a lively feel to these creatures as they interact on the object.
Seated Monkey King, -1/1, From the collection of: Smithsonian's National Museum of Asian Art
The subject of this small carving is Sun Wukong, also known as the Monkey King. Worn with age, the saturation of the gold and red pigment has faded slightly. With carved smooth lines and edges, this created a sort of natural movement and flow along the folds of this mythical hero’s robe.
Jar (Ping) with Dragon and Clouds, Unknown, Yuan dynasty, 1279-1368, From the collection of: Los Angeles County Museum of Art
The subject of this medium-sized jar is the dragon painted on it, twisting and flying amongst painted clouds. With sweeping organic lines, it creates the movement of the dragon flying in the skies of Ancient China. These lines also create a rather smooth texture, the scales of the dragon in pleasant rows and the clouds lightly fluffy.
Wine Jar with Eight Immortals, Unknown, 1271-1368, From the collection of: Brooklyn Museum
The subject of this wide-mouthed wine jar is the Eight Immortals of Daoism and the instruments they used in their journey of crossing the rolling seas. The jar is mostly glazed in a pale blue-green leaving the figures of the Eight Immortals without glaze. This creates a large contrast, also creating a focus on the eight figures.
Vase Decorated with Phoenix Motif, Jingdezhen kilns, Late 14th century, From the collection of: The Baltimore Museum of Art
The subject of this tall vase is the depiction of a phoenix, wings spread and feathers flowing, taking shelter among branches and leaves. Soft, organic lines and shapes provide a natural movement to the art, making it seem as though the phoenix has taken flight to the trees. The blue pigment with the ceramic base creates a focus to the detail, but the space the phoenix takes up makes the creature a central focus.
Jar with Incised Dragon Design, Jingdezhen kilns, Late 16th century, From the collection of: The Baltimore Museum of Art
The subject of this small jar is the depiction of a dragon flying above the waves of the ocean. Decorations surround the dragon, bringing the focus to it. The space between the dragon and its decorations is enameled a rather soothing green, creative negative space and bringing out the yellow of the majestic creature and its surroundings.
The Goddess Chang'e in the Lunar Palace, Artist: Formerly attributed to Zhou Wenju, 16th-17th century, From the collection of: Smithsonian's National Museum of Asian Art
The subject of this silk fan painting is the moon goddess, Chang’e, in her palace on the moon. The smooth lines and shapes of natural entities contrast greatly with the sharp lines and shapes of the architecture of the palace, creating an unearthly feel. The colors used created focus upon Chang’e and her palace. Among the greens and browns of nature stands the figure of Chang’e, contrasting it with her robe of pinks and blues. Among the blue of the sky and off-white of the clouds, the golds, purples, pinks, blues, reds, and greens of the Lunar Palace stand out, mystical and harmonious.
A Daoist fairy standing on waves, Artist: Formerly attributed to Zhou Wenju, 1644-1911, From the collection of: Smithsonian's National Museum of Asian Art
The subject of this silk painting is the fairy gracefully walking across the waves. The lines are smooth and organic, creating dynamic shape. The color used, while varied, is rich in saturation. Also, color is used only on the fairy, bringing emphasis to her figure while the background fades from the viewer’s perspective.
Emperor's Twelve-Symbol Dragon Robe, Unknown, Qing dynasty, Daoguang period, 1821-1850, From the collection of: Los Angeles County Museum of Art
The subjects of this robe of silk and metal string are the various Imperial Dragons and small symbolic emblems that pleasantly float amongst patterned clouds. The robe is near-perfect in symmetry, differing in small – yet important – details. It bears a triadic color harmony of the primary colors with details punctuated with black and white. Of these colors, the ones that stand out the most are the colors of the Emperor – blue and yellow – which creates a subliminal focus on the Emperor himself.
Credits: All media
This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
