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DRAGON MYTHOLOGY. A mythological animal of Chinese origin, and a

member of the  NAGA (Sanskrit) family of serpentine creatures who protect Buddhism.

Japan's dragon lore comes predominantly from China. Images of the reptilian dragon arefound throughout Asia, and the pictorial form most widely recognized today wasalready prevalent in Chinese ink paintings in the Tang period (9th century AD). Themortal enemy of the dragon is the Phoenix, as well as the bird-man creature known asKarura. In contrast to Western mythology, Asian dragons are rarely depicted asmalevolent. Although fearsome and powerful, dragons are equally considered just,

 benevolent, and the bringers of wealth and good fortune. The dragon is also considereda shape shifter  who can assume human form and mate with people.

Dragons figure importantly in folk beliefs throughout Asia,and are dressed heavily in Buddhist garb. In India, the

 birthplace of Buddhism around 500 BC, pre-Buddhist snakeor serpentine-like creatures known as the  NAGA wereincorporated early on into Buddhist mythology. Describedas “water spirits with human shapes wearing a crown ofserpents on their heads” or as “snake-like beings resembling clouds,” the  NAGA areamong the eight 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 forseven days. This motif is found often in Buddhist art from India, represented by imagesof the Buddha sitting beneath Mucilinda’s hood and coils. (Above paragraph adapted

from  book by M.W. De Visser .)

In China, however, dragon lore existed independently for centuries before theintroduction of Buddhism. Bronze and jade pieces from the Shang and Zhou dynasties(16th - 9th centuries BC) depict dragon-like creatures. By at least the 2nd century BC,images of the dragon are found painted frequently on tomb walls to dispel evil.Buddhism was introduced to China sometime in the 1st and 2nd centuries AD. By the9th century AD, the Chinese had incorporated the dragon into Buddhist thought andiconography as a protector of the various Buddha and the Buddhist law. These traditionswere adopted by the Japanese (Buddhism did not arrive 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 Zentemples, moreover, have a dragon painted on the ceiling of their assembly halls. See

 below photos.

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DRAGON SYMBOLISM - ORIGINS IN CHINAFOUR GUARDIANS OF FOUR COMPASS DIRECTIONS 

Click any image above to jump to that creature (takes you to another page). 

In both Chinese and Japanese mythology, the dragon is one of  Four LegendaryCreatures guarding the four cosmic directions (Red Bird - S, Dragon - E, Tortoise - N,and the Tiger  - W). The four, known as the Four Celestial Emblems, appear duringChina's Warring States period (476 BC - 221 BC), and were frequently painted on thewalls of early Chinese and Korean tombs to ward off evil spirits. The Dragon is theGuardian of the East, and is identified with the season spring, the color green/blue, theelement wood (sometimes also water), the virtue propriety, the Yang male energy;supports and maintains the country (controls rain, symbol of the Emperor's power). TheGuardian of the South, the Red Bird (aka Suzaku, Hō-ō, Phoenix), is the enemy of thedragon, as is the bird-man Karura. Actually, the Phoenix is the mythological enemy ofall  Naga, a Sanskrit term covering all types of serpentine creatures, including snakesand dragons. The Dragon (East) and Phoenix (South) both represent Yang energy, butthey are often depicted as enemies, for the Dragon represents the element wood, whilethe Phoenix signifies the element fire. However, they're also often depicted together inartwork as partners. The Dragon is the male counterpart to the female Phoenix, andtogether they symbolize both conflict and wedded bliss -- the emperor (dragon) and the

empress ( phoenix). For many more details, see the Phoenix  page and Four Guardians ofthe Compass  page.

Excerpt from "Myths & Legends of Japan" by F. Hadland Davis. The Dragon has the head of a camel, horns or a deer,eyes of a hare, scales of a carp, paws of a tiger, andclaws resembling those of an eagle. In addition it haswhiskers, a bright jewel under its chin, and a measureon the top of its head which enables it to ascend toHeaven at will. This is merely a general description

and does not apply to all dragons, some of whichhave heads of so extraordinary a kind that theycannot be compared with anything in the animalkingdom. The breath of the Dragon changes intoclouds from which come either rain or fire. It is able to expand or contract its body, andin addition it has the power of transformation and invisibility. The ancient ChineseEmperor Yao was said to be the son of a dragon, and many rulers of that country weremetaphorically referred to as dragon-faced." <end excerpt by Hadland>.

TYPES OF DRAGONS 

In both Chinese and Japanese mythology, the dragon is closely associated with thewatery realm, and in artwork is often surrounded by water or clouds. In myth, there arefour dragon kings who rule over the four seas (which in the old Chinese conception

Dragon water fountainat Ryūtakuji Temple 

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limited the habitable earth). In China, a fifth category of dragon was added to these four,for a total of five dragon types:

1.  Celestial Dragons who guard the mansions of the gods2.  Spiritual Dragons who rule wind & rain but can also cause flooding

3.  Earth Dragons who cleanse the rivers & deepen the oceans4.  Treasure-Guarding Dragons who protect precious metals & stones5.  Imperial Dragons; dragons with five claws instead of the usual four

NUMBER OF CLAWSFive, Four, Three Claws

 According to most sources, the dragon of China and Japanresemble each other, with the exception that the Japanese

dragon has only three claws, while that of the CelestialKingdom (China) has five. 

www.khandro.net Much has been made of these distinguishing characteristicsamong Asian dragons. There is an iconographic conventionin which the common dragon has only four claws. The five-clawed dragon, in contrast, is reserved for the Chineseimperial family, while the colonial type (such as theJapanese dragon) has only three claws.

Another View of Claws, From Wikipedia 

Chinese or Korean imperial dragons have five toes on eachfoot; Indonesian dragons have four and Japanese dragonshave three. To explain this phenomenon, Chinese legendstates that although dragons originated in China, the further away from China a dragon went thefewer toes it had, and dragons only exist in China, Korea, Indonesia, and Japan because if theytravelled 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 grewand as a result, if they went too far they would have too many toes to continue to walk properly.These theories are rejected in Korea and Indonesia. Another interpretation: according to severalsources, including official documents from earlier times, ordinary Chinese dragons had four toes-- but the Imperial Dragon had five. It was a capital offense for anyone other than the emperor touse the five-clawed dragon motif. Korean sources seem to disagree (or perhaps agree) with thistheory, as the Imperial dragon in Gyeongbok Palace has seven claws, implying its superiority

over the Chinese Dragon. Of course, this dragon image is hidden in the rafters of the palaceand not entirely in view, even to those who know it is there, suggesting that while the ancientKoreans viewed it as superior, they also knew that it would be offensive to the Imperial ChineseCourt.

Five-clawed dragon atKenchō-ji Temple (Kamakura, Japan)

See above for details.Painted in the 1990s.

Here, Japanese dragoniconographcy does not

abide with traditionalChinese notions aboutthe number of claws. 

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 Unryū, Cloud Dragon. Ceiling Painting, Late 1990s, Kenchō-ji Temple, Kamakura

Painted by artist Koizumi Junsaku on 48 panels. Took about three years to create, and measuresapprox. 10 meters by 12 meters in size. Photo Courtesy Kenchōji Web Site. 

Close-up of above Kenchō-ji Temple ceiling painting.Founded in 1251, this temple was the chief monastery for the five great Zen monasteries that thrived in the

Kamakura era (1185-1333). It became the center of Zen Buddhism thanks to strong state patronage,and was home to the first landscape garden laid out in the Zen style. However, unlike many other Zen temples

in Japan, Kenchō-ji never had its own dragon painted on the ceiling of its assembly hall. This painting wascommissioned 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 event’s promotional poster. 

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COLOR OF DRAGON ROBES 

A yellow dragon is said to have presented the Chinese with a scroll inscribed withmystic characters, and this tradition is said to be the legendary origin of the Chinesesystem of writing. In China, yellow dragon robes are reserved for the Emporer and hisfamily. The dragon is also used as a symbol for the Chinese Emperor, the Son ofHeaven. In earlier times, the color of a dragon robe reflected the rank of its wearer.Yellow for the Emperor and Empress, apricot for the Crown Prince, and golden yellowfor the emperor’s other wives.

DRAGON SYMBOLISM

DRAGON MOTIFS ON IMPERIAL ROBES

SEE STORIES BY KYOTO NATIONAL MUSEUM 

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DRAGON LORE FROM JAPANOrigin of Dragon’s Japanese NameIn Japanese mythology, the Dragon King's Palace (Ryūgū 竜宮) is

said to be located at the bottom of the sea, near the Ryūkū (Ryukyu)

琉球 Islands (Okinawa), and it belongs to Ryū jin (Ryujin)竜神, the

Japanese name for the dragon king. The palace is also known as the“Evergreen Land.” In his book Japanese Poetry, Professor B. H.Chamberlain says the Japanese word for Dragon Palace (Ryūgū) islikewise the Japanese pronunciation of the southernmost Ryūkū

islands. He writes about one ode in the Man'yōshū万葉集 (Japan's

oldest anthology of verse compiled in the 8th century), which saysthe orange was first brought to Japan from the “Evergreen Land” lying to the south. The many-storied palace is built from red andwhite coral, guarded by dragons, and full of treasure, especially theTide Jewels, which control the ebb and flow of tidal waters. Fish andother sea life serve Ryūjin as vassals, with the turtle acting as thedragon’s main messenger. On the north side of the palace there isthe Winter Hall, where snow falls all the time. On the eastern side

lies the Hall of Spring where butterflies visit cherry blossoms whilethe nightingale sings. On the southern side of the palace is theSummer Hall where crickets chirp in the warm evening. Finally, onthe western side is the Autumn Hall where the maple trees glow inbright colors. For a human, a day in this palace is like 100 years onearth.

DRAGON LORE FROM JAPANOrigin of Japan’s First Emperor, Tale of Hōri.Tale of Hōri (Hori, Houri, Hoori). Long ago, the Dragon King’s

daughter Toyotama-hime豊玉姫命 (Princess Rich Jewel) married a

hunter named Hōri no Mikoto 火遠理命 (also known as

Yamasachibiko山幸彦), who lived with her for three years in her

underwater kingdom. Lonely for the site of his own country, however,Hōri returned to the upper world, but not before discovering that Toyotama was with child. The

son she bore him later sired four children, one of whom was Kamuyamato Iwarebiko 神日本磐余

彦, the first human emperor of Japan, 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 Ruddy Plenty) and Konohana Sakuya

Hime 木花之佐久夜毘売. Ninigi was the grandson of sun goddess  Amaterasu (Japan’s supreme

Shintō deity). Hōri and his children thus trace their line back to Japan’s earliest gods andgoddesses. For an extended version of the Hōri tale, which includes many older  Shintō namesfor the various deities involved, please click here. This site also offers the tales of Toyotama andof Ninigi, plus a family tree of the ancient gods and goddesses of Japan.

DRAGON LORE FROM JAPANThe Dragon, Enoshima Island, and Goddess BenzaitenBelow text courtesy of "Myths and Legends of Japan" by F. Hadland Davis, first

 published in 1913. Near Kamakura in a certain cave 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 sea, rivers, music, poetry, learning, and art) wasdetermined to put a stop to this monster's unseemly behavior, and having caused a great

Ryū-ō竜王 (Dragon King)

Sanskrit = Naga-Raja7th Century

Hōryū-ji Temple 

Ryū 

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earthquake she hovered in the clouds over the cave where the dread dragon had taken uphis abode. Benzaiten then descended from the clouds, entered the cavern, married thedragon, and was thus able, through her good influence, to put an end to the slaughter oflittle children. With the coming of  Benzaiten there arose from the sea the famous islandof Enoshima (near Kamakura), which has remained to this day sacred to Benzaiten, the

Goddess of the Sea. <end Hadland quote> This story first appeared in the EnoshimaEngi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’smessenger is a snake, and the dragon is classified as a type of serpent (known inSanskrit as the  Naga). This legend has variations. According to Wikiipedia: “Thegoddess rejected the dragon's proposal and made it understand that it (the dragon) had

 been doing wrong by plaguing the villagers. Ashamed, the dragon promised to cease itswrong-doing. It then faced south (devotedly facing the island where Benzaiten lived)and changed into a hill. To this day, the hill is known as Dragon's Mouth Hill (Tatsu-no-

kuchi yama龍の口山). <end quote>

DRAGON LORE FROM JAPANHōjō Clan (Regents of Kamakura), Hōjō Family Crest & the Dragon 

 According to legend, Tokimasa Hōjō 北条時政 (1138-1215), the

first Hō jō regent of the Kamakura shōgunate, visited a cave onEnoshima Island (near Kamakura). He prayed to the dragon livingin the cave to grant prosperity to the Hō jō clan. The wish was

granted, and even today a statue of the dragon is enshrined withinthe cave. As a token of this promise, the dragon left behind threescales, which are reportedly the origin of the three triangles of the

Hōjō family crest, known as the Mitsu Uroko 三つ鱗 (three scales).

DRAGON LORE FROM JAPAN 

Rain from Ryūjin (Rain from the Dragon King). In both China and Japan, the dragonis associated closely with rain, storms, and clouds, and it is the dragon who producesrain. In the Heian Period (794-1185), two Buddhist temples -- Tō ji (East Temple) andSai-ji (West Temple) -- shared control of Japan’s religious world, and an interestinglegend grew out of the power struggle between the two temples. Envious of  Kūkai 空海 

(774-835), for his fame as head of Tō ji Temple, a priest named Shubin守敏 of Sai-ji

Temple used a charm to entrap Ryūjin in a jar, thereby causing an extensive drought.Challenged by Shubin to a contest at Shinsen Garden, Kūkai dispelled the curse ofShubin, and set the Ryūjin free to cause rain to fall.

Mitsu Uroko三つ鱗 

Hōjō Family Crest 

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DRAGON LORE FROM JAPANTale of Urashima 

Once there was a young fisherman named Urashima浦

島, who caught a tortoise in his nets. But as tortoises 

are said to live thousands of years, Urashima thought it best to set the creature free. Little did he know, but this

turtle was Otohime乙姫, the dragon king's daughter, in disguise. (Note: In Japanese

mythology, the turtle is the messenger of the dragon.) The turtle-princess invited theyoung man to her father's court where she appeared to him in the shape of a beautifulwomen, and married him. After three days, Urashima felt a strong desire to visit hisaging parents. But 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 lovedones had long since departed, Urashima was stricken with grief, and desired to return tothis dragon wife. Not knowing how to return to the dragon palace, Urashima opened the

magic box (Tamate Bako玉手箱, or Box of the Jewel Hand) his wife had given him as

a keepsake of their love. But she had told him never to open the box. When he openedthe box, hoping to find a way back to her, he immediately lost his youth, became oldand wrinkled, and fell dead upon the ground.

DRAGON LORE FROM JAPANTale of Tide Jewels & Empress Jingū 

Ryūjin (dragon deities) control the tidal flows with the magical Tide Jewels (the Flood

Tide Jewel and the Ebb Tide Jewel). Long ago the Empress Jingu 神功天皇 planned aninvasion of Korea. She prayed to Ryū jin and sent Isora (the Spirit of the Seashore) tothe dragon king’s temple to request the Tide Jewels. There he was given the Tide Jewelsto present to the empress. With the magic jewels in hand, the empress set sail with herfleet to Korea. When she saw the Korean fleet sail out to confront them, she quicklythrew the Low Tide Jewel into the sea, and the tide receded immediately, beaching theKorean fleet. As the Koreans jumped out of their vessels onto the mudflats, the empressthrew the High Tide Jewel into the water and a tidal wave came along, drowning all theKorean fighters. The Japanese fleet was carried by the tital wave to the Korean coast,into the harbor, and to victory. Later on, after Empress Jingū’s son has grown into a fairand wise boy, legend says that Ryūjin personally presented the little prince (Prince Ōjin

応神) with the Tide Jewels.

DRAGON LORE FROM JAPANGod of Fire Fighters -- Dragon Tattoos 

http://208.55.77.56/alterasian/arttattooirezumi4.html Perhaps the most ubiquitous of all Japanese mythological beasts tattooed in the West isthe dragon. Dragons are clearly very alluring creatures, and it is as common to see atattoo of a dragon in Britain as it is in Japan. Because the dragon can live in both air andwater, it is believed to offer protection from fire. For this reason it was often chosen byEdo-period fire fighters who tattooed themselves superstitiously for protection in their

work. For photos of many dragon tattoos,  please click here (outside site). 

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DRAGON LORE FROM CHINAThe Carp Who Became a Dragon The carp (Jp. = Koi 鯉) transforming into a dragon

is a common artistic theme from old China. Thistheme 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 “DragonGate” at the headwaters of China’s Yellow River.The gods are very impressed by the feat, andreward the few successful carp by turning theminto powerful dragons. The story symbolizes thevirtues of courage, effort, and perseverance, whichcorrespond to the nearly impossible struggle ofhumans to attain Buddhahood. In modern Japan,

temples and shrines commonly stock their gardenponds with carp, which grow to enormous sizes ina variety of colors. Says JAANUS: Koi-no-Takinobori is the Japanese name for a Chineselegend of a carp that became a dragon afterswimming up a waterfall at the headwaters of theYellow River. This auspicious theme, a parable ofeffort and success, is linked to the Japanese BoysDay 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 by ukiyo-e浮世絵 artists. <end JAANUS quote> 

Censer of leaping carp transforming into dragon. Unknownartist. China 17th century, Ming Dynasty. Photo Courtesy

Phoenix Art Museum.See Shachihoko page for related story. 

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Dragon Star ConstellationFrom "Encyclopedia of Myth and Legend:Chinese Mythology" by Derek Walters 

In complete contrast to Western mythology, however, dragons arerarely depicted as malevolent. They may be fearsome and very

 powerful, and all stand in awe of the dragon-kings, but they areequally considered just, benevolent, and the bringers of wealth andgood fortune. There are, of course, legends of the various immortals

 battling against evil dragons, but such monsters would be foreignones. Local dragons are to be respected, feared, and petitioned as onewould petition a just and honest ruler. For this reason, the dragonsymbol is the sign of authority, being worn on the robes of theImperial family and nobility.

Dragons are generally considered to be aquatic, living in lakes, rivers

and the sea, the larger the expanse of water, the more powerful thedragon. Nevertheless, there are dragons which inhabit the heavens,one quarter of the sky being called the Palace of the Green Dragon, inreference to the stars which in Chinese astronomy constitute theConstellation of the Dragon. Even so, the appearance of the Dragonconstellation is said to herald the rainy season (end quote from Walters).

28 Moon Lodges, 28 Lunar MansionsAn ancient astrological grouping from India and China that refers to 27 or 28 points thatthe moon passes through in one month and the associated star constellations found inthe cosmic background. Each of these points (constellations) is associated with a deity.

The 28 are divided into four clusters, with each cluster made up of seven constellations.The four clusters represent the four cardinal directions (north, south, east, west). Eachcluster is associated with one of  Four Celestial Emblems (turtle, red bird, dragon, whitetiger ), a Buddhist guardian deity (the Four Heavenly Kings), a season, a color, andnumerous other attributes. See 28 Moon Lodges page for full details.

EAST

Seven Lunar Mansions of the Blue-Green Dragon(Two Common Japanese Groupings for Seven Eastern Moon Lodges)  

SEIRYUU青龍 (Dragon)

East, Blue-Green

Spring, Wood 

GROUPING ONE - CHINA, JAPAN

Chinese | Sanskrit Names

Eastern Moon LodgesSource: Shukuyō-kyō 宿曜経 

GROUPING TWO - JAPAN

Deities in GENZU MANDALA 現 曼荼

羅 Shingon/Tendai Deities (Celestial Females)Jp. Reading | Chinese | (Sanskrit) | Deity Name 

1 Kakushuku角宿 Citrā  1 Bōshuku昴宿 (Krttika)作者天 

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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  7 Ryūshuku柳宿 (Aslesa)不染天 

DRAGON’S BUDDHIST COUNTERPART = JIKOKUTEN 持 天 

Star Chart by Steve Renshaw & Saori Ihara 

KEY TO BELOW LIST (corresponds to left column above)Chinese | Meaning | Jp. Star Reading | Sanskrit Spelling | (Western Constellation 

1.角, Horns (perhaps Angle, Corner), Su Boshi, Citrā (Alpha Vir, Spica) 

2.亢, Neck, Throat, Ami Boshi, Niṣṭyā or Svāti (Kappa Vir, Virgo) 3.氐, Root or Shoulder, Tomo Boshi, Viśākhā) (Iota Lib, Alpha Lib, Libra) 

4.房, Chamber or Breasts, Soi Boshi, Anurādhā (Delto Sco, Pi Scho, Libra)

5.心, Heart, Nakago Boshi, Rohiṇī or Jyeṣṭhaghnī or Jyeṣṭhā (Sigma Sco, Antares) 

6.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-day North Star (Polaris), butrather Thuban, a star in the constellation known as Draco or Dragon. Draco is the 8thlargest of the conventional constellations curving from the "pointers" of the Dipper(Ursa Minor) to brilliant Vega. To the observer of today, there is no bright star in theconfiguration. Yet, the passages in the great pyramid at Gizeh (Egypt) once acted aschannels for the light of the star that is called 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 great Khmer (Cambodian) Buddhistshrine was built in alignment with this celestial formation. However, in 1,150 CE theconstellation of the Dragon was upside down over the site's medieval buildings, butimpressively, in the era of 10,500 BC, traces of the very earliest structures theremirrored the Dragon constellation exactly.

The transition from one ruling celestial system to another is marked in the mythologiesof the world by accounts of the overthrow of Titans (Greek) or Ashuras (Indian) byGods or Devas. Naturally, this displacement had to be justified, and so the serpentineheavenly Mother, Tiamat of the early Mesopotamians, is considered by devotees of thenewer deity, Marduk, as an evil draconian monster.

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 The flying dragon whose abode is the heavens is universally recognized as a symbol ofthe Chinese culture and its people. Chinese refer to themselves as “Descendents of theDragon.”

It is believed that on rare occasions dragons have the power to transform themselvesinto handsome humans who, male or female, can mate with people. For example,former Japanese Emperor Hirohito claimed descent from Princess Fruitful Jewel,daughter of a sea Dragon King. It is this belief that lies at the root of the dragon, whichis often used in Asia as the crest or emblem of a royal house.

HACHIDAI RYUU-OU八大竜王 

EIGHT GREAT 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 eightdragon kings, each with many followers, who assembled at Eagle Peak to hear the LotusSutra as expounded by the Historical Buddha. According to the Kairyuo Sutra (Sutra of theDragon King of the Sea), dragons are often eaten by giant man-birds called Garudas, theirnatural enemy. The Phoenix is another enemy of the dragon. Nanda Ryuuou, who is onemember of the Hachidai group, can sometimes represent the whole set, as he does in the

Hokke Mandala 法華曼荼羅.

Dragon, Wood Carving on Gateat Engakuji Temple in Kita-Kamakura 

NOTE: The below text comes from the wonderful research of the JapaneseArchitecture & Art Net User System (JAANUS). A visit to their onlinedictionary is highly recommended. Over 8000 entries. Below text reproducedwith their permission. Thank you JAANUS. The photos presented below,however, are not from JAANUS, but rather from my own photos and web crawling.

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Dragon Mythology

Jp. = Ryū, Ryu, or Ryuu龍; Also written竜; Chn. = Lóng or Long 

Mythological animal and cosmological symbol of Chinese origin. The beginnings ofdragon myths are obscure, but belief in such a creature predates written history. Theimage of the reptilian dragon as known today throughout East Asia had achieved itsform by the 9th century Tang ink painting. Typically the dragon is covered with scales,has a long serpentine body with a scalloped dorsal fin, claw-like feet and pointed tail. Itsface is distinguished by small horns, large eyes with bushy brows, flaring nostrils, longwhiskers and sharp teeth. The dragon is associated with water, and is often shownemerging from vapor and clouds to produce rain. Living in the sky it is consideredclosely related to heaven, and from early times was used as a symbol of imperial power.In addition to serving as a deity of rain and of Heaven, the blue-green dragon (seiryuu

青竜) is the directional symbol of the east, and thus one of the guardian animals of the four

directions (shishin四神). Dragons figure importantly in popular folk beliefs and Taoism,

often serving as a vehicle for immortals. By the 9th century, the Chinese had

incorporated the dragon into Buddhist thought and iconography as a protector of thevarious Buddha and the Buddhist law. For example, the character for dragon龍 is often

found in temple names. The earliest representations of dragon-like creatures are Shangand Zhou period (ca. 16th - 9th centuries BCE) bronzes and jades bearing abstractanimal or monster designs. By the Warring States or Han period (ca. 8th century BC to3rd century AD), dragons were frequently painted on tomb walls to ward off evil spirits.Beginning in the late Tang period (9th century), the dragon was painted in ink

monochrome (suibokuga水墨画). The so-called " Nine Dragons Hand Scroll" 

(Kyuuryuuzukan九竜図巻, 1244, Museum of Fine Arts, Boston) by Chen Rong 陳容 

(Jp: Chin You, act. 1235-58) exemplifies ink painting of the subject in the Song period.

 Nine Dragons Hand Scroll (Detail) -九龍圖卷 (陳容)

Chinese, Southern Song dynasty, dated 1244Chen Rong, Chinese, first half of the 13th century

Photo courtesy Museum of Fine Arts, Boston 

Large-scale dragon compositions came to be 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, late 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 as the crown of the Dragon King (Ryū-ō龍王 or

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竜王, one of the Hachibushuu 八部衆). Japanese dragon painting reached its apogee in

the late 16c-early 17c paintings by Kanou and Kaihou artists (Kanouha 狩野派,

Kaihouha海北派). It is often suggested that these dragon paintings were intended as

symbols of heroic leadership because the dragon calling forth rain is a metaphor for theenlightened ruler seeking able ministers.

Dragon Painting

 by Kano Tsunenobu狩野常信 (Kanou School)

16th - 17th Century; Photo courtesy of:www.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 werelater adopted into stories of the Buddha's 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 beneath the sea theyguard treasures, such as jewels and Buddhist texts. Particularly when termed DragonKings (ryuuou), they may appear independently in paintings, or they may be shown ingroups or as attendants to Buddhist deities. When water is shown in a Buddhist

 painting, there will often be a dragon in it. Ryuu appear in the Shougyou Mandara 請雨

経曼荼羅, which was used in esoteric rituals for making rain. 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. There is also a group of eight 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 shownentirely as dragons, as humans with snake's tails, or as humans (usually in Chinese

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Text courtesy JAANUS. A type of bugaku mask

(bugakumen舞楽面). Also called 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 beast with a dragon

 perched on its head. Classification (for terms see

 bugaku舞楽): a dynamic dance (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 dance celebrates the victory

of Prince Lanling (also known as Changgung長恭 of

Pohai北斉 (Manchuria) over the Zhou. Legends vary

 but either the handsome and kind prince donned thegruesome Ryouou mask himself and frightened hisenemy into submission, or his father's ghost appearedwearing the mask. Others trace the dance back to Indiansources, either to the play NAGANANDA (Joy of theSerpents) or to images of Eight Dragon Kings (Hachidai

ryuuou八大竜王), especially Shagara沙羯羅 (Jp:

Sakara). Following this tradition, folk festivals in Japansince the 13 century often incorporate the dance ofRyouou as a rain prayer, for dragons are associated withwater and the east. This last function may account, in

 part, for the great popularity of the dance; which dates back to at least to the Heian period. The sharp nose,

 bulging, rotating eyes (dougan動眼) and gaping mouth

with huge teeth and dangling chin (tsuriago吊顎) are

given a concentrated aggressive intensity by thewrinkles that line the face and the carved strands ofheavy hair above the forehead. The gold face andmetallic eyes are set off by the green hair andvermillion mouth. Tuffs of animal hair suggestive ofeyebrows and moustache add an uncanny realism. Ontop perches a crouching dragon. The dragons on top areof two kinds. Some, like the one on the late 12c Ryouou

at Itsukushima Jinja厳島神社 appear as separate

figures seated on the head, with chest raised and limbsdistinct. Many of these were carved separately and then attached to the mask. Other

dragons, such as the one on the 13c Ryouou at Tsurugaoka Hachimanguu 鶴岡八幡宮 

in Kamakura form 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, it still retains the flavor of (8c) sculpture. Many ofthe 64 extant old Ryouou masks are preserved in the countryside and were made after

the 13c for folk festivals. Most have simplified constructions (eg. no movable eyes) orcarving. Some show a patternization and distortion of the original model (Tendaiji 天台

 Ryū-ō竜王 (Dragon King) Mask.

Wood, H = 33.3 cm. 13th Century. Tsurugaoka

Hachimangū 鶴岡八幡宮 in Kamakura. Photo Source. 

Ranryō-ō蘭陵王 Mask.

Wood Modern. Photo Source. 

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寺, Iwate prefecture; Hakusan Jinja白山神社, Niigata prefecture), while some have

added elaborations such as sharp teeth set into the dangling chin (Ooboshi Jinja 大星神

社, Aomori prefecture) and metallic embellishments on the dragon (Tesshuuji 鉄舟寺,

Shizuoka prefecture). <END JAANUS QUOTES>

Kurikara  倶利迦羅 Text courtesy JAANUS.  Also known as Kurika矩里迦, a transliteration of

Sanskrit ”Kulika,” the name of a dragon-king (see above) mentioned in Indian

legends. In this connection he is also known as Kurikara Ryuu 倶利迦羅龍 

("Dragon Kurikara"), sometimes with the addition of ou王, to read "Dragon King

Kurikara." Kurikara could also be an abbreviated transliteration of Kulika raja("King Kulika"), or of Kulika-nagaraja ("Dragon King Kulika").

In Esoteric Buddhism he is regarded as a manifestation of  Fudou

Myou-ou 不動明王 and is also known as Kurikara Fudou倶利迦

羅不動 or Kurikara Myou-ou倶利迦羅明王. He assumes the form

of a flame-wreathed snake or dragon coiled around an uprightsword, with his open mouth about 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 non-Buddhist heretic in the course of which

Fudou transformed himself first into a sword and then into the dragon Kurikaraand threatened to devour the sword into which the heretic had changed himself. Alternatively the dragon and sword are sometimes said to represent the nooseand sword held by Fudou and images of Kurikara may be used as a substitutefor  Fudou as for example on the lid of a lacquered sutura box from the Heian

period belonging to Taimadera 当麻寺 (Nara Prefecture), where he is flanked by

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 small shrine (zushi厨子) is thought

to date from the Kamakura period, although temple tradition holds that the

sword (42.2cm) was brought back to Japan by Kuukai 空海 (774-835 AD). Thelargest completely wooden image (183.2cm), dating from the late Heian period 

(11c-12c), is kept at Kotakeji小武寺, Ooita prefecture. The "Kurikara pattern"

(kurikara-monmon倶利迦羅紋々) is also a popular motif in tattoos (irezumi 入

墨). For more on Kurikara Fudou, please see Dr. Gabi Greve’s sites, one and

two. 

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 Woodblock by Utagawa Kunisada II, 1860

Courtesy of  Ukiyo-eWoodblockPrints.com 

LEARN MORE 

  Buddhist-Artwork.com. Dragon statues are available for purchase at our sister site.

  Dragon: One of Four Celestial Emblems of Ancient China 

  Shachihoko, Naga, Makara, Makatsu. Serpentine-like sea monster related to thedragon.

  28 Lunar Mansions and the Dragon 

  Dragon in Taiwan 

  View Star Charts of the Dragon Constellation (outside site)

  JAANUS. Dragon Origins in China. A special thanks to JAANUS, the JapaneseArchitecture & Art Net User System, for allowing me to quote above text. Avisit to their online dictionary is highly recommended. Over 8000 entries. The

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