Cool Drawings of Dragons Tribunal

DRAGON Character for Dragon Ryū or Ryu = Japan; Lóng or Long = China ORIGIN = People's republic of china Protector of Buddhist Law Symbol of Purple Power Guardian of Eastern Direction Controller of Rain & Tempests Guardian of the Tide Jewels Bringer of Wealth & Fortune Magical Shape Shifter ASSOCIATIONS East, Leap, Blue / Green Woods, Water, Yang Free energy Clouds, Rain, Storms Messenger = Turtle Seven Eastern Lunar Mansions Member of the TENBU Member of the HACHIBUSHUU Member of the NAGA (Sanskrit) One of Four Angelic EMBLEMS SPELLINGS FOR THE DRAGON SANSKRIT, CHINESE, JAPANESE Naga (Sanskrit for all serpentine creatures, including the dragon) Lóng, Long 龍 (Chinese for dragon) Qinglóng or Qinglong 青龍 (Chinese = blue/dark-green dragon) Seiryū, Seiryu 青龍 (Jp. = blue/green dragon) Ryū, Ryu, Ryuu 龍 or 竜 (Japanese) Tatsu 辰 (Japanese) Ryū-ō, Ryu-o, Ryuu-ou 龍王, 竜王. Dragon Kings (Japanese) Ryūjin, Ryujin, Ryuujin 龍神, 竜神 (Japanese) Yong 용 (Korean) DRAGON MYTHOLOGY. A mythological animal of Chinese origin, and a member of the NAGA (Sanskrit) family of serpentine creatures who protect Buddhism. Nippon's dragon lore comes predominantly from China. Images of the reptilian dragon are institute throughout Asia, and the pictorial grade about widely recognized today was already prevalent in Chinese ink paintings in the Tang period (9th century Advertisement). The mortal enemy of the dragon is the Phoenix, as well every bit the bird-human fauna known as Karura. In contrast to Western mythology, Asian dragons are rarely depicted equally malevolent. Although fearsome and powerful, dragons are equally considered only, benevolent, and the bringers of wealth and practiced fortune. The dragon is likewise considered a shape shifter who tin assume human being grade and mate with people. Dragons effigy importantly in folk beliefs throughout Asia, and are dressed heavily in Buddhist garb. In India, the birthplace of Buddhism around 500 BC, pre-Buddhist serpent or serpentine-similar creatures known as the NAGA were incorporated early on into Buddhist mythology. Described as "h2o spirits with human shapes wearing a crown of serpents on their heads" or equally "snake-like beings resembling clouds," the NAGA are among the 8 classes of deities who worship and protect the Historical Buddha. Even before the Historical Buddha (Siddhartha, Guatama) attained enlightenment, the NAGA King Mucilinda (Sanskrit) is said to have protected Siddhartha from wind and rain for 7 days. This motif is institute ofttimes in Buddhist art from India, represented by images of the Buddha sitting beneath Mucilinda's hood and coils. (Above paragraph adjusted from volume by M.W. De Visser.) In Cathay, however, dragon lore existed independently for centuries before the introduction of Buddhism. Bronze and jade pieces from the Shang and Zhou dynasties (16th - ninth centuries BC) depict dragon-like creatures. Past at least the 2nd century BC, images of the dragon are institute painted often on tomb walls to dispel evil. Buddhism was introduced to Communist china one-time in the 1st and 2d centuries AD. By the 9th century Advertizing, the Chinese had incorporated the dragon into Buddhist thought and iconography equally a protector of the various Buddha and the Buddhist police. These traditions were adopted past the Japanese (Buddhism did not get in in Japan until the mid-6th century Ad). In both China and Japan, the character for "dragon" (龍) is used often in temple names, and dragon carvings adorn many temple structures. Most Japanese Zen temples, moreover, take a dragon painted on the ceiling of their assembly halls. See beneath photos. Dragon, Ceiling Painting at Tenryū-ji Temple 天龍寺, Kyoto. Rinzai Zen Sect. Tenryū-ji is too a World Heritage Site. This ceiling painting was first created in 1899, and restored in 1997. It measures about 18 meters beyond. Fatigued on Japanese paper attached to ceiling plates (tiles). Photo scanned from temple catalog. Tenryū translates straight as "Heaven Dragon." Close-up of higher up Tenryū-ji ceiling painting DRAGON SYMBOLISM - ORIGINS IN Mainland china FOUR GUARDIANS OF 4 COMPASS DIRECTIONS Click any image in a higher place to spring to that creature (takes you to another page). In both Chinese and Japanese mythology, the dragon is one of Iv Legendary Creatures guarding the four cosmic directions (Red Bird - S, Dragon - E, Tortoise - Northward, and the Tiger - W). The four, known as the Four Celestial Emblems, appear during China's Warring States period (476 BC - 221 BC), and were frequently painted on the walls of early Chinese and Korean tombs to ward off evil spirits. The Dragon is the Guardian of the East, and is identified with the season bound, the color green/blue, the element wood (sometimes also water), the virtue propriety, the Yang male person energy; supports and maintains the country (controls rain, symbol of the Emperor's power). The Guardian of the South, the Reddish Bird (aka Suzaku, Hō-ō, Phoenix), is the enemy of the dragon, as is the bird-man Karura. Really, the Phoenix is the mythological enemy of all Naga, a Sanskrit term covering all types of serpentine creatures, including snakes and dragons. The Dragon (Eastward) and Phoenix (South) both represent Yang energy, merely they are often depicted as enemies, for the Dragon represents the element wood, while the Phoenix signifies the element fire. Nonetheless, they're likewise often depicted together in artwork equally partners. The Dragon is the male counterpart to the female Phoenix, and together they symbolize both conflict and wedded bliss -- the emperor (dragon) and the empress (phoenix). For many more details, see the Phoenix page and 4 Guardians of the Compass page. Dragon water fountain at Ryūtakuji Temple Excerpt from "Myths & Legends of Nihon" by F. Hadland Davis. The Dragon has the head of a camel, horns or a deer, optics of a hare, scales of a carp, paws of a tiger, and claws resembling those of an eagle. In addition it has whiskers, a bright jewel under its chin, and a measure out on the top of its head which enables information technology to ascend to Heaven at will. This is merely a general clarification and does not use to all dragons, some of which have heads of and so extraordinary a kind that they cannot exist compared with annihilation in the animal kingdom. The breath of the Dragon changes into clouds from which come up either pelting or burn down. Information technology is able to expand or contract its trunk, and in addition it has the ability of transformation and invisibility. The ancient Chinese Emperor Yao was said to be the son of a dragon, and many rulers of that country were metaphorically referred to every bit dragon-faced." <end excerpt past Hadland>. TYPES OF DRAGONS In both Chinese and Japanese mythology, the dragon is closely associated with the watery realm, and in artwork is often surrounded by water or clouds. In myth, there are iv dragon kings who dominion over the four seas (which in the old Chinese conception limited the habitable globe). In Mainland china, a 5th category of dragon was added to these four, for a full of 5 dragon types: Celestial Dragons who guard the mansions of the gods Spiritual Dragons who rule current of air & pelting but can also crusade flooding Globe Dragons who cleanse the rivers & deepen the oceans Treasure-Guarding Dragons who protect precious metals & stones Imperial Dragons; dragons with five claws instead of the usual four V-clawed dragon at  Kenchō-ji Temple (Kamakura, Nippon) See in a higher place for details. Painted in the 1990s. Here, Japanese dragon iconographcy does not abide with traditional Chinese notions about the number of claws. NUMBER OF CLAWS Five, 4, Iii Claws According to most sources, the dragon of Communist china and Japan resemble each other, with the exception that the Japanese dragon has only three claws, while that of the Angelic Kingdom (China) has v. www.khandro.cyberspace Much has been made of these distinguishing characteristics among Asian dragons. In that location is an iconographic convention in which the mutual dragon has only four claws. The 5-clawed dragon, in contrast, is reserved for the Chinese royal family unit, while the colonial type (such every bit the Japanese dragon) has simply three claws. Another View of Claws, From Wikipedia Chinese or Korean imperial dragons accept five toes on each foot; Indonesian dragons have four and Japanese dragons have iii. To explain this miracle, Chinese legend states that although dragons originated in Cathay, the further abroad from Cathay a dragon went the fewer toes it had, and dragons only exist in China, Korea, Indonesia, and Japan because if they travelled further they would have no toes to continue. Japanese legend has an opposing story, namely that dragons originated in Japan, and the further they traveled the more toes they grew and as a result, if they went also far they would have also many toes to continue to walk properly. These theories are rejected in Korea and Republic of indonesia. Some other interpretation: according to several sources, including official documents from before times, ordinary Chinese dragons had iv toes -- but the Imperial Dragon had five. It was a capital letter criminal offence for anyone other than the emperor to employ the 5-clawed dragon motif. Korean sources seem to disagree (or perhaps agree) with this theory, as the Imperial dragon in Gyeongbok Palace has seven claws, implying its superiority over the Chinese Dragon. Of course, this dragon epitome is subconscious in the rafters of the palace and not entirely in view, even to those who know it is in that location, suggesting that while the aboriginal Koreans viewed it equally superior, they as well knew that it would be offensive to the Royal Chinese Court. Unryū, Cloud Dragon. Ceiling Painting, Late 1990s, Kenchō-ji Temple, Kamakura Painted by artist Koizumi Junsaku on 48 panels. Took most three years to create, and measures approx. ten meters by 12 meters in size. Photograph Courtesy Kenchōji Web Site. Close-upwardly of higher up Kenchō-ji Temple ceiling painting.  Founded in 1251, this temple was the principal monastery for the five great Zen monasteries that thrived in the Kamakura era (1185-1333). Information technology became the center of Zen Buddhism cheers to potent state patronage, and was home to the first mural garden laid out in the Zen fashion. Still, different many other Zen temples in Japan, Kenchō-ji never had its ain dragon painted on the ceiling of its associates hall. This painting was deputed to celebrate the 750th anniversary of the temple's founding, and was unveiled in a public viewing in May & June 2003. This photo is from the outcome's promotional poster. COLOR OF DRAGON ROBES A yellow dragon is said to have presented the Chinese with a whorl inscribed with mystic characters, and this tradition is said to be the legendary origin of the Chinese system of writing. In China, yellowish dragon robes are reserved for the Emporer and his family. The dragon is also used as a symbol for the Chinese Emperor, the Son of Heaven. In earlier times, the colour of a dragon robe reflected the rank of its wearer. Xanthous for the Emperor and Empress, apricot for the Crown Prince, and gilded yellow for the emperor's other wives. Ryū-ō 竜王 (Dragon Rex) Sanskrit = Naga-Raja 7th Century Hōryū-ji Temple Ryū DRAGON LORE FROM JAPAN Origin of Dragon's Japanese Name In Japanese mythology, the Dragon Rex's Palace (Ryūgū 竜宮) is said to be located at the lesser of the sea, near the Ryūkū (Ryukyu) 琉球 Islands (Okinawa), and information technology belongs to Ryūjin (Ryujin) 竜神, the Japanese name for the dragon rex. The palace is also known as the "Evergreen Land." In his book Japanese Poetry, Professor B. H. Chamberlain says the Japanese give-and-take for Dragon Palace (Ryūgū) is likewise the Japanese pronunciation of the southernmost Ryūkū islands. He writes almost one ode in the Man'yōshū 万葉集 (Japan's oldest anthology of verse compiled in the eighth century), which says the orange was beginning brought to Nippon from the "Evergreen Country" lying to the south. The many-storied palace is built from red and white coral, guarded by dragons, and full of treasure, particularly the Tide Jewels, which control the ebb and flow of tidal waters. Fish and other body of water life serve Ryūjin as vassals, with the turtle acting equally the dragon's master messenger. On the north side of the palace at that place is the Winter Hall, where snow falls all the time. On the eastern side lies the Hall of Leap where butterflies visit cherry blossoms while the nightingale sings. On the southern side of the palace is the Summer Hall where crickets chirp in the warm evening. Finally, on the western side is the Autumn Hall where the maple trees glow in bright colors. For a homo, a twenty-four hour period in this palace is like 100 years on earth.    DRAGON LORE FROM Japan Origin of Nippon'due south First Emperor, Tale of Hōri. Tale of Hōri (Hori, Houri, Hoori). Long ago, the Dragon King'southward daughter Toyotama-hime 豊玉姫命 (Princess Rich Precious stone) married a hunter named Hōri no Mikoto 火遠理命 (too known as Yamasachibiko 山幸彦), who lived with her for 3 years in her underwater kingdom. Lonely for the site of his own land, however, Hōri returned to the upper world, but not before discovering that Toyotama was with child. The son she bore him later sired 4 children, one of whom was Kamuyamato Iwarebiko 神日本磐余彦, the outset human emperor of Nihon, who is now known as Jinmu Tennō 神武天皇. Incidentally, Hōri himself was the child of Ninigi 邇邇芸尊 (Rice Ear Red Plenty) and Konohana Sakuya Hime 木花之佐久夜毘売. Ninigi was the grandson of sun goddess Amaterasu (Nihon'southward supreme Shintō deity). Hōri and his children thus trace their line dorsum to Japan's primeval gods and goddesses. For an extended version of the Hōri tale, which includes many older Shintō names for the various deities involved, please click here. This site also offers the tales of Toyotama and of Ninigi, plus a family unit tree of the ancient gods and goddesses of Japan. DRAGON LORE FROM JAPAN The Dragon, Enoshima Island, and Goddess Benzaiten Below text courtesy of "Myths and Legends of Japan" by F. Hadland Davis, first published in 1913. Near Kamakura in a certain cavern there lived a formidable dragon, which devoured the children of the village of Koshigoe 腰越. In the 6th century AD, Benzaiten (the Buddhist goddess of the bounding main, rivers, music, poesy, learning, and art) was adamant to put a stop to this monster's unseemly behavior, and having caused a great earthquake she hovered in the clouds over the cavern where the dread dragon had taken up his abode. Benzaiten then descended from the clouds, entered the cavern, married the dragon, and was thus able, through her expert influence, to put an end to the slaughter of piddling children. With the coming of Benzaiten there arose from the body of water the famous isle of Enoshima (near Kamakura), which has remained to this mean solar day sacred to Benzaiten, the Goddess of the Sea. <terminate Hadland quote> This story first appeared in the Enoshima Engi 江ノ島縁起, written in 1047 AD by Japanese Buddhist monk Kokei 皇慶 (977?-1049). The link between Benzaiten and the dragon is not surprising, as Benzaiten's messenger is a snake, and the dragon is classified as a blazon of ophidian (known in Sanskrit equally the Naga). This legend has variations. According to Wikiipedia: "The goddess rejected the dragon'due south proposal and fabricated information technology sympathise that information technology (the dragon) had been doing wrong by plaguing the villagers. Ashamed, the dragon promised to stop its wrong-doing. Information technology and then faced southward (devotedly facing the isle where Benzaiten lived) and changed into a hill. To this day, the colina is known as Dragon'southward Mouth Hill (Tatsu-no-kuchi yama 龍の口山). <end quote> Mitsu Uroko 三つ鱗 Hōjō Family unit Crest DRAGON LORE FROM Nippon Hōjō Clan (Regents of Kamakura), Hōjō Family Crest & the Dragon According to legend, Tokimasa Hōjō 北条時政 (1138-1215), the showtime Hōjō regent of the Kamakura shōgunate, visited a cave on Enoshima Isle (near Kamakura). He prayed to the dragon living in the cave to grant prosperity to the Hōjō clan. The wish was granted, and even today a statue of the dragon is enshrined within the cavern. Equally a token of this hope, the dragon left behind three scales, which are reportedly the origin of the three triangles of the Hōjō family unit crest, known as the Mitsu Uroko 三つ鱗 (iii scales). DRAGON LORE FROM JAPAN Rain from Ryūjin (Rain from the Dragon King). In both Cathay and Japan, the dragon is associated closely with pelting, storms, and clouds, and information technology is the dragon who produces pelting. In the Heian Menses (794-1185), two Buddhist temples -- Tōji (East Temple) and Sai-ji (West Temple) -- shared command of Nihon'south religious globe, and an interesting fable grew out of the ability struggle betwixt the 2 temples. Envious of Kūkai 空海 (774-835), for his fame as caput of Tōji  Temple, a priest named Shubin 守敏 of Sai-ji Temple used a amuse to entrap Ryūjin in a jar, thereby causing an all-encompassing drought. Challenged by Shubin to a contest at Shinsen Garden, Kūkai dispelled the curse of Shubin, and ready the Ryūjin complimentary to cause rain to fall. DRAGON LORE FROM Nippon Tale of Urashima Once in that location was a immature fisherman named Urashima 浦島, who caught a tortoise in his nets. But as tortoises are said to live thousands of years, Urashima thought information technology all-time to set the beast costless. Little did he know, but this turtle was Otohime 乙姫, the dragon rex'south daughter, in disguise. (Note: In Japanese mythology, the turtle is the messenger of the dragon.) The turtle-princess invited the fellow to her father'south court where she appeared to him in the shape of a beautiful women, and married him. After three days, Urashima felt a strong desire to visit his crumbling parents. Merely when he returned to his land, he discovered that 300 years had passed (one day in the dragon kingdom represents 100 years for humans). Since all his loved ones had long since departed, Urashima was stricken with grief, and desired to return to this dragon wife. Non knowing how to render to the dragon palace, Urashima opened the magic box (Tamate Bako 玉手箱, or Box of the Gem Hand) his wife had given him every bit a keepsake of their love. But she had told him never to open up the box. When he opened the box, hoping to observe a style back to her, he immediately lost his youth, became former and wrinkled, and brutal expressionless upon the ground. DRAGON LORE FROM JAPAN Tale of Tide Jewels & Empress Jingū Ryūjin (dragon deities) control the tidal flows with the magical Tide Jewels (the Overflowing Tide Gem and the Ebb Tide Jewel). Long agone the Empress Jingu 神功天皇 planned an invasion of Korea. She prayed to Ryūjin and sent Isora (the Spirit of the Seashore) to the dragon king's temple to request the Tide Jewels. In that location he was given the Tide Jewels to present to the empress. With the magic jewels in mitt, the empress set canvass with her armada to Korea. When she saw the Korean fleet sheet out to confront them, she quickly threw the Low Tide Gem into the sea, and the tide receded immediately, beaching the Korean fleet. As the Koreans jumped out of their vessels onto the mudflats, the empress threw the High Tide Jewel into the water and a tidal wave came along, drowning all the Korean fighters. The Japanese fleet was carried by the tital moving ridge to the Korean coast, into the harbor, and to victory. Later on, after Empress Jingū's son has grown into a fair and wise boy, legend says that Ryūjin personally presented the trivial prince (Prince Ōjin 応神) with the Tide Jewels. DRAGON LORE FROM JAPAN God of Burn down Fighters -- Dragon Tattoos http://208.55.77.56/alterasian/arttattooirezumi4.html Perchance the nigh ubiquitous of all Japanese mythological beasts tattooed in the West is the dragon. Dragons are clearly very alluring creatures, and it is as common to see a tattoo of a dragon in Britain as it is in Japan. Because the dragon can live in both air and water, it is believed to offer protection from burn down. For this reason information technology was often chosen past Edo-menstruation fire fighters who tattooed themselves superstitiously for protection in their work. For photos of many dragon tattoos, please click hither (outside site). Censer of leaping bother transforming into dragon. Unknown artist. China 17th century, Ming Dynasty. Photo Courtesy Phoenix Art Museum. Encounter Shachihoko page for related story. DRAGON LORE FROM People's republic of china The Carp Who Became a Dragon The carp (Jp. = Koi 鯉) transforming into a dragon is a common artistic theme from old Red china. This theme is based on a Chinese legend (Jp. = Koi-no-Takinobori 鯉の滝登り) wherein carp swim, against all odds, up a waterfall known as the "Dragon Gate" at the headwaters of China's Yellow River. The gods are very impressed by the feat, and reward the few successful carp by turning them into powerful dragons. The story symbolizes the virtues of courage, effort, and perseverance, which correspond to the nearly incommunicable struggle of humans to attain Buddhahood. In mod Japan, temples and shrines commonly stock their garden ponds with carp, which grow to enormous sizes in a variety of colors. Says JAANUS: Koi-no-Takinobori is the Japanese proper noun for a Chinese legend of a carp that became a dragon later pond up a waterfall at the headwaters of the Xanthous River. This auspicious theme, a parable of effort and success, is linked to the Japanese Boys Mean solar day Festival (5th day of fifth month) when carp streamers (koinobori 鯉のぼり) are displayed. The theme was depicted in Edo period art, as for example in the painting by Maruyama Oukyo 円山応挙 (1733-95; Daijouji 大乗寺, Hyogo) or prints past ukiyo-e 浮世絵 artists. <end JAANUS quote> Dragon Star Constellation From "Encyclopedia of Myth and Legend: Chinese Mythology" by Derek Walters In complete contrast to Western mythology, however, dragons are rarely depicted as malevolent. They may be fearsome and very powerful, and all stand in awe of the dragon-kings, but they are equally considered just, benevolent, and the bringers of wealth and expert fortune. In that location are, of course, legends of the diverse immortals contesting against evil dragons, but such monsters would exist foreign ones. Local dragons are to be respected, feared, and petitioned as one would petition a just and honest ruler. For this reason, the dragon symbol is the sign of authority, being worn on the robes of the Imperial family and nobility. Dragons are mostly considered to be aquatic, living in lakes, rivers and the ocean, the larger the expanse of h2o, the more powerful the dragon. However, at that place are dragons which inhabit the heavens, i quarter of the sky being called the Palace of the Green Dragon, in reference to the stars which in Chinese astronomy constitute the Constellation of the Dragon . Even so, the advent of the Dragon constellation is said to herald the rainy season (end quote from Walters). 28 Moon Lodges, 28 Lunar Mansions An ancient astrological grouping from India and China that refers to 27 or 28 points that the moon passes through in i month and the associated star constellations found in the cosmic background. Each of these points (constellations) is associated with a deity. The 28 are divided into iv clusters, with each cluster fabricated up of vii constellations. The 4 clusters represent the four cardinal directions (north, south, east, due west). Each cluster is associated with one of 4 Celestial Emblems (turtle, scarlet bird, dragon, white tiger), a Buddhist guardian deity (the Four Heavenly Kings), a season, a color, and numerous other attributes. See 28 Moon Lodges page for full details. E Seven Lunar Mansions of the Blue-Green Dragon (Two Common Japanese Groupings for Seven Eastern Moon Lodges) SEIRYUU 青龍 (Dragon) Eastward, Blue-Green Spring, Forest Grouping ONE - CHINA, Japan Chinese | Sanskrit Names Eastern Moon Lodges Source: Shukuyō-kyō 宿曜経 GROUPING 2 - Nippon Deities in GENZU MANDALA 現図曼荼羅 Shingon/Tendai Deities (Celestial Females) Jp. Reading | Chinese | (Sanskrit) | Deity Name one Kakushuku 角宿 Citrā 1 Bōshuku 昴宿 (Krttika) 作者天 2 Kōshuku 亢宿 Niṣṭyā (or Svāti) 2 Hisshuku 畢宿 (Rohini) 木者天 3 Teishuku 氐宿 Viśākhā 3 Shishuku 觜宿 (Mrgasiras) 烏頭天 4 Bōshuku 房宿 Anurādhā 4 Sanshuku 参宿 (Ardra) 米湿天 5 Shinshuku 心宿 Rohiṇī, Jyeṣṭhaghnī 5 Seishuku 井宿 (Punarvasu) 服財天 6 Bishuku 尾宿 Mūlabarhaṇī (or Mūla) 6 Kishuku 鬼宿 (Pusya) 増益天 7 Kishuku 箕宿 Pūrva-Aṣādha seven Ryūshuku 柳宿 (Aslesa) 不染天 DRAGON'S BUDDHIST COUNTERPART = JIKOKUTEN 持国天 Star Chart by Steve Renshaw & Saori Ihara Fundamental TO Below List (corresponds to left cavalcade in a higher place) Chinese | Meaning | Jp. Star Reading | Sanskrit Spelling | (Western Constellation ane. 角, Horns (perhaps Bending, Corner), Su Boshi, Citrā (Blastoff Vir, Spica) 2. 亢, Neck, Pharynx, Ami Boshi, Niṣṭyā or Svāti (Kappa Vir, Virgo) 3. 氐, Root or Shoulder, Tomo Boshi, Viśākhā) (Iota Lib, Alpha Lib, Libra) iv. 房, Chamber or Breasts, Soi Boshi, Anurādhā (Delto Sco, Pi Scho, Libra) 5. 心, Middle, Nakago Boshi, Rohiṇī or Jyeṣṭhaghnī or Jyeṣṭhā (Sigma Sco, Antares) half-dozen. 尾, Tail, Ashitare Boshi, Mūlabarhaṇī or Mūla (Mu Sco, Scorpius) 7. 箕, Basket, Mi Boshi, Pūrva-Aṣādhā (Gamma Sgr, Eta Sgr, Sagittrius) DRACO LORE More on Dragon Star Constellation. Text courtesy Khandro.net. Around 1,800 BC, the celestial indicator (the "pole star") was not the modern-24-hour interval North Star (Polaris), only rather Thuban, a star in the constellation known every bit Draco or Dragon. Draco is the 8th largest of the conventional constellations curving from the "pointers" of the Dipper (Ursa Pocket-sized) to brilliant Vega. To the observer of today, there is no bright star in the configuration. Nevertheless, the passages in the great pyramid at Gizeh (Egypt) once acted as channels for the light of the star that is chosen Thuban. It is now known that those pyramids were oriented to Orion and, at the time of the building of the Sphinx, to Leo. It has been demonstrated that Angkor Wat, the not bad Central khmer (Cambodian) Buddhist shrine was built in alignment with this celestial formation.  Notwithstanding, in ane,150 CE the constellation of the Dragon was upside down over the site's medieval buildings, merely impressively, in the era of 10,500 BC, traces of the very earliest structures at that place mirrored the Dragon constellation exactly. The transition from one ruling celestial organization to another is marked in the mythologies of the world by accounts of the overthrow of  Titans (Greek) or Ashuras (Indian) by Gods or Devas. Naturally, this displacement had to be justified, and so the serpentine heavenly Female parent, Tiamat of the early Mesopotamians, is considered by devotees of the newer deity, Marduk, as an evil draconian monster. The flying dragon whose dwelling house is the heavens is universally recognized as a symbol of the Chinese civilisation and its people. Chinese refer to themselves equally "Descendents of the Dragon." It is believed that on rare occasions dragons have the power to transform themselves into handsome humans who, male person or female, tin mate with people. For instance, former Japanese Emperor Hirohito claimed descent from Princess Fruitful Jewel, daughter of a sea Dragon Male monarch. It is this conventionalities that lies at the root of the dragon, which is often used in Asia as the crest or emblem of a purple house. HACHIDAI RYUU-OU 八大竜王 Eight Peachy DRAGON KINGS IN BUDDHIST LORE Hachidai Ryuu-ou (Eight Great Dragon Kings) are mentioned in the Lotus Sutra (HOKEKYOU 法華経) and they appear sometimes in Japanese artwork. These eight are dragon kings said to live at the bottom of the sea, apparently in reference to the eight dragon kings, each with many followers, who assembled at Eagle Peak to hear the Lotus Sutra as expounded by the Historical Buddha. According to the Kairyuo Sutra (Sutra of the Dragon King of the Sea), dragons are often eaten by giant man-birds chosen Garudas, their natural enemy. The Phoenix is another enemy of the dragon. Nanda Ryuuou, who is one member of the Hachidai grouping, tin can sometimes represent the whole set, as he does in the Hokke Mandala 法華曼荼羅. Dragon, Wood Etching on Gate at Engakuji Temple in Kita-Kamakura NOTE: The below text comes from the wonderful research of the Japanese Architecture & Art Net User System (JAANUS). A visit to their online dictionary is highly recommended. Over 8000 entries. Beneath text reproduced with their permission. Give thanks yous JAANUS. The photos presented beneath, however, are not from JAANUS, merely rather from my own photos and spider web crawling. Dragon Mythology Jp. = Ryū, Ryu, or Ryuu 龍; Also written 竜; Chn. = Lóng or Long Mythological beast and cosmological symbol of Chinese origin. The beginnings of dragon myths are obscure, just conventionalities in such a creature predates written history. The prototype of the reptilian dragon as known today throughout Eastern asia had achieved its form by the 9th century Tang ink painting. Typically the dragon is covered with scales, has a long serpentine torso with a scalloped dorsal fin, claw-similar anxiety and pointed tail. Its face is distinguished by small horns, large eyes with bushy brows, flaring nostrils, long whiskers and sharp teeth. The dragon is associated with h2o, and is ofttimes shown emerging from vapor and clouds to produce rain. Living in the sky it is considered closely related to sky, and from early times was used as a symbol of imperial power. In improver to serving equally a deity of pelting and of Sky, the blueish-dark-green dragon (seiryuu 青竜) is the directional symbol of the east, and thus 1 of the guardian animals of the iv directions (shishin 四神). Dragons figure importantly in popular folk behavior and Taoism, often serving as a vehicle for immortals. By the 9th century, the Chinese had incorporated the dragon into Buddhist thought and iconography equally a protector of the various Buddha and the Buddhist law. For example, the character for dragon 龍 is oftentimes found in temple names. The earliest representations of dragon-like creatures are Shang and Zhou period (ca. 16th - 9th centuries BCE) bronzes and jades bearing abstruse animal or monster designs. By the Warring States or Han menstruation (ca. 8th century BC to 3rd century AD), dragons were oftentimes painted on tomb walls to ward off evil spirits. Commencement in the late Tang period (9th century), the dragon was painted in ink monochrome (suibokuga 水墨画). The so-called "9 Dragons Hand Scroll" (Kyuuryuuzukan 九竜図巻, 1244, Museum of Fine Arts, Boston) past Chen Rong 陳容 (Jp: Mentum Yous, act. 1235-58) exemplifies ink painting of the subject in the Vocal menstruum. Nine Dragons Paw Curlicue (Detail) - 九龍圖卷 (陳容) Chinese, Southern Song dynasty, dated 1244 Chen Rong, Chinese, kickoff one-half of the 13th century Photo courtesy Museum of Fine Arts, Boston Large-scale dragon compositions came to exist painted on the walls of imperial buildings and of temples. In painting for the Zen 禅 sects, especially, depictions of dragons and tigers (ryuuko-zu 竜虎図) were frequently paired. The famous ink paintings by Muqi 牧谿 (Jp: Mokkei, belatedly 13th century) at Daitokuji 大徳寺, Kyoto, served as the model for countless later Japanese painted versions. Dragons came to Japan much before ink painting. Examples are found in handscrolls, such as "Charicatures of Animals" Choujuugiga 鳥獣戯画 and Kegon Engi 華厳縁起. In Buddhist painting a dragon appears equally the crown of the Dragon King (Ryū-ō 龍王 or 竜王, one of the Hachibushuu 八部衆). Japanese dragon painting reached its apogee in the late 16c-early 17c paintings past Kanou and Kaihou artists (Kanouha 狩野派, Kaihouha 海北派). It is oft suggested that these dragon paintings were intended as symbols of heroic leadership because the dragon calling along rain is a metaphor for the aware ruler seeking able ministers. Dragon Painting by Kano Tsunenobu 狩野常信 (Kanou School) 16th - 17th Century; Photo courtesy of:  world wide web.honmonji.or.jp/05topic/06info/reihoden/kanou/tokubetutenji.html DRAGIN KINGS, Ryū-ō 龍王 or 竜王 Text courtesy JAANUS. Pre-Buddhist snake or dragon deities (Skt = naga), which were later adopted into stories of the Buddha'due south life and into texts honoring the Buddha and propagating his teachings, are also called ryuu-ou 龍王. They live in water and have the power to control rain. In stories ryuu demand Buddhist treasures, especially relics, sometimes in exchange for quelling storms. In their kingdoms below the body of water they guard treasures, such equally jewels and Buddhist texts. Peculiarly when termed Dragon Kings (ryuuou), they may appear independently in paintings, or they may exist shown in groups or as attendants to Buddhist deities. When water is shown in a Buddhist painting, there will often be a dragon in information technology. Ryuu appear in the Shougyou Mandara 請雨経曼荼羅, which was used in esoteric rituals for making pelting. Individual ryuu include: Nanda 難陀, Bananda (or Batsunanda) 跋難陀, Sakara (or Shagara) 娑竭羅, Manasu 摩那斯 (or Manashi), and Zennyo 善女. In that location is as well a group of 8 dragons, the hachidai ryuuou 八大竜王, who are mentioned in the Lotus Sutra (HOKEKYOU 法華経) and also appear in art. Nanda Ryuuou, who is one of this set, may represent the whole, as he does in the Hokke Mandara 法華曼荼羅. The ryuuou may be shown entirely as dragons, equally humans with snake'due south tails, or as humans (usually in Chinese dress) with dragons or ophidian hoods or another indication of identity. If multiple heads are shown, they may bespeak the identity of the ryuu. Illustrations of the Lotus Sutra may show the Dragon Princess, who, in the Devadatta chapter, achieves enlightenment. Famous images of ryuuou include that of Zennyo Ryuuou 善女龍王 of Kongoubuji 金剛峯寺, Wakayama prefecture, painted past Jouchi 定智 in 1145, and that of Nanda Ryuuou 難陀龍王 (as a honjibutsu 本地仏 of the deity of Kasuga Taisha 春日大社) of Hasedera 長谷寺, Nara, carved by Shunkei 舜慶 in 1316. Ryō-ō, Ryou-ou 陵王 Text courtesy JAANUS. A type of bugaku mask (bugakumen 舞楽面). Besides chosen Raryouou 羅陵王, Ranryouou 蘭陵王 (King Lanling), and Ryuuou 竜王 (Dragon King). A bugaku 舞楽 dance and the mask (bugakumen 舞楽面) of a golden animal with a dragon perched on its head. Classification (for terms see bugaku 舞楽): a dynamic trip the light fantastic toe (hashirimai 走舞) of the Left (sa-no-mai 左舞) originally from either Southeast Asia (Rin'yuugaku 林邑楽) or China (Tougaku 唐楽) performed by one person dressed in a fringed tunic and pantaloons (ryoutou shouzoku 裲襠装束). According to some the trip the light fantastic celebrates the victory of Prince Lanling (as well known as Changgung 長恭 of Pohai 北斉 (Manchuria) over the Zhou. Legends vary but either the handsome and kind prince donned the gruesome Ryouou mask himself and frightened his enemy into submission, or his father'due south ghost appeared wearing the mask. Others trace the dance back to Indian sources, either to the play NAGANANDA (Joy of the Serpents) or to images of Eight Dragon Kings (Hachidai ryuuou 八大竜王), specially Shagara 沙羯羅 (Jp: Sakara). Following this tradition, folk festivals in Japan since the 13 century oftentimes comprise the dance of Ryouou as a rain prayer, for dragons are associated with water and the due east. This last role may business relationship, in office, for the keen popularity of the dance; which dates back to at least to the Heian period. The sharp nose, jutting, rotating eyes (dougan 動眼) and gaping mouth with huge teeth and dangling chin (tsuriago 吊顎) are given a concentrated ambitious intensity past the wrinkles that line the face up and the carved strands of heavy pilus above the forehead. The gold face up and metal optics are set off by the greenish hair and vermillion oral fissure. Tuffs of creature hair suggestive of eyebrows and moustache add an uncanny realism. On elevation perches a crouching dragon. The dragons on superlative are of two kinds. Some, like the one on the late 12c Ryouou at Itsukushima Jinja 厳島神社 announced as separate figures seated on the head, with chest raised and limbs distinct. Many of these were carved separately and so fastened to the mask. Other dragons, such as the ane on the 13c Ryouou at Tsurugaoka Hachimanguu 鶴岡八幡宮 in Kamakura grade an integral part of the mask, like an elaborate crown that is carved simultaneously with the face out of the same block. A dry lacquer (kanshitsu 乾漆) Ryouou at Fujita 藤田 Art Museum in Osaka may well be the only 8c bugaku mask preserved today. Although damaged, information technology still retains the flavor of (8c) sculpture. Many of the 64 extant quondam Ryouou masks are preserved in the countryside and were fabricated after the 13c for folk festivals. Nigh have simplified constructions (eg. no movable eyes) or carving. Some show a patternization and distortion of the original model (Tendaiji 天台寺, Iwate prefecture; Hakusan Jinja 白山神社, Niigata prefecture), while some take added elaborations such as sharp teeth set into the dangling chin (Ooboshi Jinja 大星神社, Aomori prefecture) and metal embellishments on the dragon (Tesshuuji 鉄舟寺, Shizuoka prefecture).  <Terminate JAANUS QUOTES> Kurikara　倶利迦羅 Text courtesy JAANUS. Besides known equally Kurika 矩里迦, a transliteration of Sanskrit "Kulika," the name of a dragon-male monarch (see higher up) mentioned in Indian legends. In this connectedness he is also known as Kurikara Ryuu 倶利迦羅龍 ("Dragon Kurikara"), sometimes with the improver of ou 王, to read "Dragon King Kurikara." Kurikara could also be an abbreviated transliteration of Kulika raja ("Male monarch Kulika"), or of Kulika-nagaraja ("Dragon King Kulika"). In Esoteric Buddhism he is regarded every bit a manifestation of Fudou Myou-ou 不動明王 and is also known every bit Kurikara Fudou 倶利迦羅不動 or Kurikara Myou-ou 倶利迦羅明王. He assumes the grade of a flame-wreathed serpent or dragon coiled around an upright sword, with his open oral fissure nigh to swallow the tip of the weapon, which is called the "Kurikara sword" (kurikara-ken 倶利迦羅剣). According to the KURIKARA RYUU DARANIKYOU 倶利迦羅龍王陀羅尼経, this manifestation of Fudou had its origins in a contest between Fudou and a not-Buddhist heretic in the grade of which Fudou transformed himself first into a sword and then into the dragon Kurikara and threatened to devour the sword into which the heretic had changed himself. Alternatively the dragon and sword are sometimes said to represent the noose and sword held by Fudou and images of Kurikara may be used every bit a substitute for Fudou as for instance on the lid of a lacquered sutura box from the Heian flow belonging to Taimadera 当麻寺 (Nara Prefecture), where he is flanked past Fudou 's two attendants Kongara Douji 矜羯羅童子 and Seitaka Douji 制た迦童子. Early statuary representations are rare: that kept at Ryuukouin 龍光院 (Mt. Kouya 高野, Wakayama prefecture) inside a modest shrine (zushi 厨子) is idea to date from the Kamakura flow, although temple tradition holds that the sword (42.2cm) was brought dorsum to Japan by Kuukai 空海 (774-835 AD). The largest completely wooden image (183.2cm), dating from the belatedly Heian period (11c-12c), is kept at Kotakeji 小武寺, Ooita prefecture. The "Kurikara blueprint" (kurikara-monmon 倶利迦羅紋々) is besides a popular motif in tattoos (irezumi 入墨).  For more on Kurikara Fudou , please see Dr. Gabi Greve's sites, i and two. Woodblock by Utagawa Kunisada II, 1860 Courtesy of Ukiyo-eWoodblockPrints.com Larn More than Buddhist-Artwork.com. Dragon statues are bachelor for purchase at our sister site. Dragon: 1 of Four Celestial Emblems of Ancient China Shachihoko, Naga, Makara, Makatsu. Serpentine-like sea monster related to the dragon. 28 Lunar Mansions and the Dragon Dragon in Taiwan View Star Charts of the Dragon Constellation (outside site) JAANUS. Dragon Origins in Cathay. A special thanks to JAANUS, the Japanese Compages & Fine art Internet User System, for assuasive me to quote above text. A visit to their online lexicon is highly recommended. Over 8000 entries. The photos presented here, however, are not from JAANUS, just rather from my own photos and web itch. A Dictionary of Chinese Buddhist Terms. With Sanskrit & English Equivalents. Plus Sanskrit-Pali Index. By William Edward Soothill & Lewis Hodous. Hardcover, 530 pages. Published by Munshirm Manoharlal. Reprinted March 31, 2005. ISBN 8121511453. Ghosts, Demons & Spirits in Japan (by Norman A. Rubin) Dragons in Art and on the Web (by Tim Spalding). Hundreds of links and photos. Dragon Calligraphy by Yamaoka Tesshu (hosted past Gabi Greve) Myths and Legends of Japan. Author Frederick Hadland Davis. Courier Dover Publications. 1912 (Republished 1992). ISBN 0486270459, 9780486270456 Creature Motifs in Asian Fine art: An Illustrated Guide to Their Meanings and Aesthetics. Author Katherine K. Ball. Courier Dover Publications, 2004. (Offset published 1927) An Encyclopedia of Myth and Legend: Chinese Mythology. Writer Derek Walters. 1993. Myths of China and Japan. Author Donald A. Mackenzie. 2005. Butsuzō-zu-i 仏像図彙, the "Collected Illustrations of Buddhist Images." Published in 1783 (Genroku 元禄 3). 1 of Japan's first major studies of Buddhist iconography. Hundreds of pages and drawings, with deities classified into approximately 80 (lxxx) categories. Modern-twenty-four hour period reprints are bachelor at this online store (J-site). A History of Japanese Religion. Edited past Kazuo Kasahara. Kosei Publishing Company, 2002. Translated by Paul McCarthy and Gaynor Sekimori. 648 pages. Sixteen distinguished experts on Japanese religion approach the topic from modern perspectives. Topics range from prehistoric times up until the early postwar years. Click here to read review of book past scholar Paul L. Swanson. Buddhism: Flammarion Iconographic Guides , by Louis Frederic, Printed in French republic, ISBN 2-08013-558-nine, First published 1995. A highly illustrated volume, with special significance to those studying Japanese Buddhist iconography. Includes many of the myths and legends of mainland Asia too, but its special strength is in its coverage of the Japanese tradition. Hundreds of accompanying images/photos, both B&W and color. A useful addition to your enquiry bookshelf. UNCONFIRMED RESEARCH. Hoshi-no-tama (star brawl). In Japanese artwork, dragons are sometimes depicted with a pearl or ball under its mentum. Those who obtain information technology can force the dragon to assistance them. I theory says that the dragon "reserves" some of its magic in this ball when information technology shape shifts. ū  ā ō Ō

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