DragonFolklore

From the Spring Festival to the Lantern Festival, dragon-lantern dancing (耍龙灯 / 舞龙) is practiced across vast areas of both urban and rural China. The Spring Festival dragon dance, also known as the “dragon-lantern dance,” is a traditional folk entertainment with distinctive Chinese cultural characteristics. Because legend holds that dragons can summon clouds, bring rain, avert calamity, and bestow blessings, the Dragon came to symbolize auspiciousness; people therefore perform dragon dances to pray for peace and abundant harvests.

During the performance, dancers raise the long dragon high and low, following a “pearl” as they execute a wide range of movements—twisting, swinging, lifting, kneeling, leaping, and shaking. To the lively beat of gongs and drums, amid firecrackers and fireworks, the dragon coils and whirls through the air. What began as a ritual act of worship gradually evolved into a festive folk dance for entertainment and celebration. Today, dragon dancing has become a large-scale customary activity combining entertainment, festivity, competition, and physical exercise.

During the Lantern Festival, many regions also observe the custom of floating or displaying dragon lanterns. People fashion dragon-shaped lanterns from paper, light candles inside them, and either set them afloat on rivers or hang them before the doorway, praying for favorable weather, peace, and good fortune in the coming year.

The second day of the second lunar month is popularly known as “the Dragon Raises Its Head” (龙抬头, Lóng Táitóu) and is also called the Spring Plowing Festival, Agricultural Festival, Azure Dragon Festival, or Spring Dragon Festival. It is a traditional Chinese folk festival and one of the annual observances most closely connected with the Dragon.

Origins of “The Dragon Raises Its Head”

The expression “the Dragon raises its head” is connected with ancient Chinese astronomy. In traditional astronomy, the positions of the sun, moon, and stars and the progression of the seasons were understood through the Twenty-Eight Mansions. Seven of these—Jiao, Kang, Di, Fang, Xin, Wei, and Ji—form a complete dragon-shaped constellation known as the Eastern Azure Dragon (东方苍龙七宿), with Jiao Mansion resembling the Dragon’s horn. After the spring winds arrive in the second lunar month, the “Dragon Horn” star begins to rise above the eastern horizon at dusk, hence the expression “the Dragon raises its head.” At this moment, yang energy rises, spring rains approach, and all living things begin to revive, signaling the beginning of agricultural work. As the “Dragon raises its head” in the heavens, spring slowly descends upon the human world: the earth turns green again, and spring plowing begins from south to north.

Folk legend further holds that the Dragon, having slept through winter, raises its head and ascends to Heaven on this day; hence the observance is also known as the Dragon-Head Festival. The Comprehensive Gazetteer of Chinese Customs: Seasonal Records of Shouchun (《中华全国风俗志·寿春岁时记》) records: “On the second day of the second month, incense is burned beside the water to worship the Dragon deity.”

Shaving the Dragon’s Head

The custom of “shaving the Dragon’s head on the second day of the second lunar month” is among the most widespread practices associated with the festival. Chinese folk belief commonly holds that having one’s hair cut on this day brings good luck and the favor of fortune. A popular saying goes: “On the second day of the second month, shave the Dragon’s head, and you’ll be full of spirit all year.” A child’s haircut is called shaving the “happy head”, taking advantage of the auspicious moment when the Dragon raises its head to pray for the child’s healthy growth and future distinction. Each year on this day, barbershops are filled with customers.

Eating “Dragon Foods”

Food eaten on the second day of the second lunar month is likewise closely associated with the Dragon, with dishes named after its imagined features and symbolic meanings. Dumplings are called “Dragon Ears” in Jilin, “Dragon Horns” in Hebei, “placing the Dragon’s Eyes” in Inner Mongolia, and “Dragon Teeth” in Beijing; rice is called “Dragon Offspring”; wontons are “Dragon Eyes”; noodles are called “supporting the Dragon’s whiskers” in Jilin or “lifting the Dragon’s head” in Hebei; spring pancakes are called “eating Dragon scales”; and steamed cakes patterned like scales are known as “Dragon-Scale Cakes.” In Beijing, spring pancakes are especially common on this day and are called “eating Dragon scales”; more elaborate meals pair them with hecai, a stir-fry of shredded lean meat with spinach, bean sprouts, garlic chives, and other vegetables, wrapped into a roll before eating.

Regional Taboos

The Dragon Raises Its Head Festival is also surrounded by many regional taboos. In Shandong, all household work is suspended, especially needlework at night, lest one “injure the Dragon’s eyes.” In southern Shanxi, the day is believed to be when the Azure Dragon is most active, so people avoid drawing water from rivers and wells lest they “bring back Dragon eggs.” In northern Shanxi, the custom known as “the Money-Controlling Dragon” is popular, expressing wishes for wealth in the coming year. In coastal regions, cutting the “Dragon’s head” on the second day of the second month has long been customary. In the Yangtze River Delta, people observe the custom of releasing dragon lanterns. In northern China, people traditionally avoid fetching drinking water from rivers before sunrise so as not to offend the Dragon deity. In the countryside around Liuyang, carrying urine buckets is taboo for fear of inviting drought; violators were traditionally required to sponsor a shadow-puppet performance as an offering to the gods. In some regions, pushing a millstone is forbidden for fear of crushing the Dragon’s head, and allowing a water bucket to strike the rim of a well is avoided lest it injure the Dragon’s head.

The Custom of Roasting Beans

In rural areas, people eat roasted popcorn and soybeans on the second day of the second month. A folk saying goes: “On the second day of the second month, eat beans; people stay healthy and the fields yield abundantly.”

The third day of the third lunar month is observed by some of China’s ethnic groups as a Dragon-Worship Day. Villagers gather at Dragon King temples to perform rituals, praying that the Dragon King will prevent drought and ensure favorable weather. During the ceremony, villagers of all ages assemble beside a clear pond; a Buddhist ritual specialist lights incense and candles, chants scriptures, and sets a sheet of paper bearing a painted dragon afloat on the water, after which the crowd bows in worship and pigs and chickens are slaughtered as offerings.

Dragon-boat racing (龙舟竞渡) is the most important folk activity of the Dragon Boat Festival and already existed during the Warring States period. It is especially prominent in the water towns of Jiangnan, where grand dragon-boat races are held every year during the festival.

Origins of Dragon-Boat Racing

There are several explanations for the origins of dragon-boat racing.

The commemoration of Qu Yuan—the most widely circulated explanation: the Southern and Northern Dynasties text Records of the Seasons of Jingchu (《荆楚岁时记》) records that dragon-boat races on the fifth day of the fifth month commemorated Qu Yuan’s death by drowning himself in a river. The Tang work Anecdotes of the Sui and Tang Dynasties (《隋唐嘉话》) states that after Qu Yuan entered the river, local people rowed desperately in an attempt to save him, a practice that later developed into dragon-boat racing. The Song poet Zhang Lei wrote: “The race still mourns a grievance a thousand years old; once the loyal soul departed, how could it return?” Su Shi likewise wrote in Qu Yuan’s Pagoda: “The custom he left became the race; mournful cries split the mountains of Chu.”

The commemoration of Wu Zixu: Records of the Seasons of Jingchu also states that the custom was associated with Wu Zixu in the eastern Wu region. In Suzhou and Jiaxing, the Dragon Boat Festival is also used to commemorate him.

The commemoration of Cao E: in Zhejiang, dragon-boat racing is also associated with the filial daughter Cao E, famous for entering the river in search of the body of her drowned father.

The King Goujian of Yue explanation: the Southern Song work Extensive Records of Seasonal Customs (《岁时广记》), citing Traditions of the Yue Region (《越地传》), states: “Racing began with King Goujian of Yue, stemming from the customs of cutting the hair and tattooing the body; the people were skilled in water and fond of warfare.”

Cultural Meaning of Dragon-Boat Racing

Wen Yiduo argued that dragon-boat racing was connected with the watery environment of the ancient Wu and Yue regions, whose inhabitants in remote antiquity cut their hair and tattooed their bodies “to resemble the sons of dragons.” Some scholars also believe dragon-boat racing originated in primitive rituals intended to drive away evil and send off pestilence. Whatever its precise origin, the practice expresses hopes for agricultural abundance, favorable weather, the expulsion of harmful forces, and the averting of calamity. Today, dragon-boat racing has been included in China’s national intangible cultural heritage and has also developed into a competitive sporting event.

On the sixth day of the sixth lunar month, folk custom includes “airing the Dragon robe.” Legend holds that when the Tang monk Xuanzang returned from his journey to the Western Regions, his scriptures were soaked by seawater during the voyage home. On the sixth day of the sixth month, he took them out to dry, turning the date into an auspicious day. People therefore air clothing and books on this day, believing that anything dried under the sun then will remain free of insects through spring and autumn. The custom remains widespread, and a folk rhyme says: “On the sixth day of the sixth month, the sun glows red; air your clothes, and insects will not breed.”

In the seventh lunar month, some regions of China—especially among the Tujia—perform a ritual known as dancing the straw dragon to drive away rice blight. To the sound of gongs, drums, and firecrackers, the dragon-dance troupe performs its movements. When the dance ends, the straw dragon is carried to a stream and burned, symbolizing “sending the Dragon back to the sea.” Each year in the seventh and eighth lunar months, Tujia communities fashion dragons from rice straw and dance them through the fields to drive off rice disease and insect pests. Afterwards, the straw dragon is burned or sent into the water, symbolically carrying the calamities away.

Among the Miao of western Hunan, there is a traditional festival known as the “Dragon-Watching Gathering” (看龙场). Counting from Grain Rain in the third lunar month, the first Chen day (辰日) is called the “First Dragon-Watching Day”; twelve days later, another Chen day arrives and is observed as the “Second Dragon-Watching Day”; the sequence continues through the third. On each Dragon-Watching Day, the Miao hold large-scale rituals and festive activities.

The grandest festival of the Maonan people is the “Dragon-Dividing Festival” (分龙节), held on the first Chen day after the summer solstice each year. Its central purpose is to worship the Dragon King as the deity who governs water and to pray that he will distribute rainfall evenly and ensure favorable weather. The festival reveals both the broad diffusion of Dragon culture among China’s ethnic groups and its adaptation to local traditions.

The Naxi of Lijiang in Yunnan observe the traditional “Dragon King Gathering” (龙王会), also known as the Black Dragon Pool Gathering or Dragon-Worship Festival, around the fifteenth day of the third lunar month. The celebration lasts approximately one week and centers on the Black Dragon Pool in Lijiang.

The Miao Dragon-Boat Festival is formally celebrated from the twenty-fourth to the twenty-seventh day of the fifth lunar month, especially in Taijiang and Kaili in southeastern Guizhou. During the festival, Miao communities stage grand dragon-boat competitions.

In traditional folk culture, Chen days (辰日)—Dragon days—carry special significance. Rituals and celebrations connected with the Dragon are often held on such days. Because “Chen” is bound to the Dragon within the zodiacal system, the Chen day is regarded as the Dragon’s own “birth-sign day”, and worshipping the Dragon on such a day is considered especially efficacious.

The Dragon is a totem of the Chinese nation and a symbol of auspicious majesty. As early as primitive society, it was regarded as a divine being capable of communicating between Heaven and Earth. Over thousands of years of development, zodiac imagery became a cultural treasure formed through the long accumulation of Chinese civilization, and the Dragon emerged as one of the deepest and most enduring totems of the Chinese people. Chinese people refer to themselves as “sons and descendants of the Dragon” and “descendants of the Dragon.” These expressions convey both cultural identification with and pride in the Dragon, and they also embody a broader Chinese national spirit. “Descendants of the Dragon” is therefore more than a cultural label: it is a form of spiritual identity. The Dragon’s image has permeated every level of society, becoming a powerful cultural deposit and a force of collective cohesion.

Formation of Dragon King Belief

With the transmission of Buddhism into China, Buddhist ideas merged with indigenous traditions, and the aquatic divine being Nāga came to be translated as “Dragon.” Daoism likewise developed a wide range of Dragon King figures, including the Dragon Kings of the Four Seas. Over time, wherever there was water—rivers, lakes, seas, ponds, pools, or wells—legends arose of a resident Dragon King, and temples dedicated to these deities were established accordingly. The Dragon King as a controller of water became a widespread folk belief. The “Dragon King Chapter” of the Daoist Scripture of the Supreme Cavernous Abyss Divine Incantations (《太上洞渊神咒经》) describes a land stricken by drought where “the five grains do not ripen and people, in twos and threes, do not know what to do”; the Primordial Celestial Worthy then descends on five-colored clouds together with the Dragon Kings of the heavens, proclaiming the true teaching, saving living beings, and bringing timely torrential rain to moisten the land.

Dragon King Temples and Worship

Dragon King temples are found throughout China. Whenever wind and rain fall out of balance—whether through prolonged drought or unceasing rain—people visit Dragon King temples to burn incense and make petitions, asking the Dragon King to regulate the waters and restore favorable weather. The aim of Dragon King worship is to prevent drought, ensure regular rain, and secure adequate water supplies. In coastal areas, Dragon worship merged with fishing traditions, producing customs summarized as “worship the Dragon King before going to sea, thank the Dragon King after a good catch, and rely on the Dragon King when praying for rain.” In 1724, the second year of the Yongzheng reign, the Qing court formally conferred new titles upon Dragon Kings, and their worship became increasingly institutionalized. During the Ming and Qing dynasties, Dragon King temples also developed into sites connected with water-management administration.

Dragon-Worship Rituals

Dragon-worship ceremonies vary by region. In many places, a Buddhist ritual specialist chooses an auspicious day in the third lunar month. Villagers gather beside a clear pond, incense and candles are lit, scriptures are chanted, and a sheet of paper bearing the image of a dragon is floated on the water; the gathered people then bow in worship, followed by the ritual slaughter of pigs and chickens as offerings. Ceremonial procedures may include the Three Offerings—incense and candles, prepared dishes, and yellow rice wine—as well as purification and ritual dress. Dragon-worship customs such as the Xieyang Festival of fishermen in Daishan, Zhejiang, and the Wuhan High Dragon performance have been included in China’s national intangible cultural heritage list.

Chinese folk belief recognizes the Dragon Kings of the Four Seas—the Dragon Kings of the East, South, West, and North Seas. Each has its own responsibilities, while together they govern the waters beneath Heaven. Beyond them lies a still larger pantheon including the Dragon Kings of the Five Directions and the Dragon Kings of the Heavens. In folk imagination, wherever there is water, a Dragon King is present to regulate rainfall. People believe Dragon Kings can summon clouds, bring rain, avert calamities, and bestow blessings, making them powerful symbols of auspiciousness.

Within the ancient Chinese system of the Four Symbols / Four Divine Creatures, the Azure Dragon (青龙) stands foremost alongside the White Tiger, Vermilion Bird, and Black Tortoise. The Azure Dragon guards the east and corresponds to spring and Wood; the Vermilion Bird guards the south and corresponds to summer and Fire; the White Tiger guards the west and corresponds to autumn and Metal; and the Black Tortoise guards the north and corresponds to winter and Water. Among the Four Divine Creatures, the Azure Dragon represents the east, spring, Wood, growth, and new life. As spring revives the myriad beings and plants begin to sprout, the Azure Dragon, deity of the east, becomes a symbol of life force itself.

The Dragon is a quintessential cultural symbol of the Chinese nation, jointly created, shared, and transmitted by its many peoples. Building on the broader tradition of Dragon culture, different ethnic groups developed distinctive forms of Dragon belief.

Miao: festivals such as the Dragon-Watching Gathering and Dragon-Boat Festival. The Dragon-Watching Gathering is organized around Chen days, revealing a dual reverence for both the Dragon and Chen calendrical time.

Maonan: the Dragon-Dividing Festival, held on the first Chen day after the summer solstice and centered on worship of the Dragon King as deity of water.

Naxi: the Dragon King Gathering, also called the Black Dragon Pool Gathering, a traditional festival devoted to worshipping the Dragon King.

Hani: during Dragon worship, light-colored clothing must never be worn, and the pig slaughtered for the ritual must have completely black hair. Such strict color requirements reflect the distinctive ceremonial norms of Hani Dragon belief.

Tujia: the custom of dancing the straw dragon to drive away rice blight. After the performance, the straw dragon is burned, symbolizing “sending the Dragon back to the sea.”

Every Year of the Dragon gives rise to some of the richest and most ceremonious expressions of blessing: “Great Fortune in the Year of the Dragon,” “May All Go as You Wish in the Year of the Dragon,” “May the Year of the Dragon Bring Blessings”; “Dragons Move Majestically” (龙行龘龘), describing the magnificent bearing of dragons in flight; “Dragon Leaps and Tiger Bounds” (龙腾虎跃), describing vigorous action and great achievement; “the Spirit of the Dragon-Horse” (龙马精神), referring to radiant vigor and abundant energy; “the Carp Leaps over the Dragon Gate” (鱼跃龙门), symbolizing career success or social advancement; “the Flying Dragon Is in Heaven” (飞龙在天), suggesting great accomplishment; “the Golden Dragon Presents Auspiciousness”, and “the Auspicious Dragon Bestows Blessings.”

The Dragon is a symbol of justice, nobility, and honor. Its image embodies a spirit of drawing strengths from many sources, benefiting all beings, seeking common ground while preserving difference, and living in harmonious coexistence. In folk belief, dragons can summon clouds and rain, avert calamity, and bestow blessings, and are therefore auspicious beings. This is why Chinese communities perform dragon dances to pray for peace and abundant harvests. In architecture, the Dragon likewise functions as an auspicious symbol: traditional roofs and eaves often feature paired dragons, dragon-finial ornaments, and related motifs intended to ward off evil and disaster.

“The Carp Leaps over the Dragon Gate” (鲤鱼跳龙门) is one of China’s most famous auspicious legends. According to tradition, a carp that swims upstream and successfully leaps over the Dragon Gate on the Yellow River transforms into a dragon. The story symbolizes rapid advancement and success in one’s career, making it one of the most popular inspirational symbols in Chinese folk culture.

The Dragon also plays an important role in wedding customs. “Dragon and Phoenix Present Auspiciousness” (龙凤呈祥) is one of the most classic motifs in Chinese marriage culture: the Dragon represents the male, the Phoenix the female, and their union symbolizes harmony between husband and wife and a happy marriage. Objects such as hardwood table lamps carved with dragons, phoenixes, and the Double Happiness character express this same wish for a joyful and harmonious union.

Folk paper-cutting preserves forms deeply rooted in China’s ancient cultural tradition. Hanging New Year prints and paper-cuts with festive and auspicious meanings is customary in many regions, and the paper-cut dragon is an important form within this tradition. Dragon paper-cuts appear in many configurations—flying dragons, coiled dragons, cloud dragons, circular dragons—and are often paired with auspicious clouds, the character for fortune, and other favorable motifs.

Dragon-dance props are themselves refined works of folk craftsmanship. The dragon body brings together calligraphy, painting, paper-cutting, carving, paper-frame construction, sculpture, and performance. Making a dragon lantern requires multiple processes such as framing, pasting, and painting, making it a concentrated expression of traditional folk craft.

Dragon imagery frequently appears on the roof ridges and eaves of palaces and temples. Paired-dragon roof decorations, dragon finials (龙吻) at the ends of ridges, dragon columns, and dragon walls are among the most common forms of Dragon ornament in traditional Chinese architecture. These designs are not merely decorative; they also symbolize warding off evil, averting disaster, and protecting the household or compound.

The dragon boat is the most distinctive folk craft associated with the Dragon Boat Festival. Its prow is carved in the shape of a dragon’s head, the stern in the shape of a dragon’s tail, and the hull is decorated with scale patterns. The Yuan-dynasty painting Competing for the Prize in Dragon Boats (《龙舟夺标图》) by Wu Tinghui shows that the dragon boat had already developed a highly complete form and that large numbers of people participated in the races.

The Wuhan High Dragon (武汉高龙) is an important performance tradition connected with Dragon worship and has been included in China’s national intangible cultural heritage list. It is distinguished by especially tall dragon props and highly skilled dance techniques and has become a unique symbol of Dragon culture in the Wuhan region.

Avoid ancestor worship involving burning paper: people born in the Year of the Dragon are said to avoid burning paper offerings for ancestors during their zodiac year. Because the Dragon is regarded as an upright and powerful mythical creature, offending it is believed to upset cosmic order and cause dramatic fluctuations in fortune. Thus, in such a year, incense may be offered to ancestors but paper offerings should not be burned.

Avoid marriage: people born under the Dragon are traditionally advised to avoid marriage or engagement during their own zodiac year. Folk belief holds that the zodiac year brings the influence of Tai Sui, which is thought not to favor festive occasions; a happy event might therefore invite misfortune.

Avoid long-distance travel: people are advised not to travel excessively during the zodiac year, whether for business, tourism, or visiting relatives.

Wear red: the custom of wearing bright red undergarments during one’s zodiac year is widespread across China. Wearing a red cord for protection is also common.

Pay attention to safety: people born under the Dragon are sometimes said to be more prone to accidents during their zodiac year and are therefore advised to avoid sharp objects and tools.

In traditional zodiac marriage culture, people born under the Dragon are said to be in conflict with the Dog—the Chen–Xu clash (辰戌相冲)—and in a harm relationship with the Rabbit—the Chen–Mao harm (辰卯相害). Folk sayings include “Dragon and Rabbit do not reach the end together” and “Dragon and Dog are not a good match.” Dragon with Dragon is also said to form a self-punishment relationship (辰辰自刑), leading to the folk belief that one should avoid marrying someone of the same age during a Dragon zodiac year. There is also the expression “Dragon and Tiger Fight,” suggesting that a Dragon–Tiger pairing may be unfavorable.

A common saying claims that “Dragon years are inauspicious.” Among the Han and some other groups, there are taboos associated with zodiac years, especially the Dragon and Tiger years, because dragons and tigers are regarded as fierce beings capable of harming people. Some regions also observe a “Dragon-Phoenix Day,” on which agricultural labor and needlework are avoided. The Dragon Raises Its Head Festival likewise has many taboos: needlework is avoided lest one injure the Dragon’s eyes; buckets should not strike the rim of a well lest the Dragon’s head be injured; and millstones should not be pushed lest the Dragon’s head be crushed.

To counteract the perceived misfortune of one’s zodiac year, people born under the Dragon may follow several folk practices: wearing a Pixiu amulet, believed to draw wealth from all directions; wearing a red cord for protection; and keeping the home clean and orderly, avoiding the accumulation of clutter and sometimes placing auspicious fengshui objects in the house.

Laudatory expressions—the largest group—include: “Dragon Leaps and Tiger Bounds” (龙腾虎跃), describing energetic action and great achievement; “the Spirit of the Dragon-Horse” (龙马精神), describing vitality and radiant energy; “Dragon Flies, Phoenix Dances” (龙飞凤舞), describing powerful, flexible calligraphy; “Dragon Walk, Tiger Step” (龙行虎步), describing dignified bearing; “Dragon Coils, Tiger Crouches” (龙盘虎踞), describing strategically formidable terrain; “Dragon Bearing, Phoenix Grace” (龙章凤姿), describing extraordinary appearance; “the Carp Leaps over the Dragon Gate”, symbolizing success; “the Flying Dragon Is in Heaven”, symbolizing great accomplishment; “Riding the Dragon, the Ideal Son-in-Law” (乘龙快婿), meaning a highly satisfactory son-in-law; “Hope One’s Son Becomes a Dragon” (望子成龙), meaning hope that one’s child becomes outstanding; “Add the Pupils to the Painted Dragon” (画龙点睛), meaning to make the crucial finishing point in speech or writing; “Crouching Tiger, Hidden Dragon” (卧虎藏龙), referring to a place full of outstanding talent; and “Cloud Dragon, Wind Tiger” (云龙风虎), a metaphor for heroes and exceptional figures.

Reverential or neutral expressions include “Dragon Pool, Tiger Den” (龙潭虎穴), meaning an extremely dangerous place; “a Group of Dragons Without a Leader” (群龙无首), meaning a group without leadership; and “Lord Ye Loves Dragons” (叶公好龙), describing someone who claims to love something but is frightened by the reality of it.

Many proverbs revolve around the Dragon: “A Dragon cannot move without clouds”, meaning that even great power requires the right conditions; “Dragon begets Dragon, Phoenix begets Phoenix”, meaning children resemble their parents; “It is hard to paint the bones of a Dragon or Tiger, and hard to know the heart behind a human face”, meaning that a person’s true intentions are difficult to fathom; “Floodwater washes into the Dragon King’s temple—one family fails to recognize its own”, referring to people on the same side mistakenly opposing one another; “Even a powerful Dragon cannot suppress the local snake”, meaning outsiders cannot easily overpower entrenched local forces; “No fierce Dragon crosses the river”, meaning only the capable dare venture into difficult territory; and “A mountain need not be high; if an immortal dwells there, it becomes renowned. Water need not be deep; if a Dragon dwells there, it becomes numinous,” from Liu Yuxi’s Inscription on a Humble Dwelling (《陋室铭》).

Dragon-related xiehouyu (歇后语) are lively and humorous: “The Dragon King moves house—really formidable (‘leaving the sea’)”; “The Dragon King goes to sea—stirs up wind and waves”; “The Dragon King goes to battle—raises clouds and brings rain”; “The Dragon King’s assistants—shrimp soldiers and crab generals”; “Selling water before the Dragon King—showing off before an expert”; “The Dragon King seeks a bride—there is affection in the water”; “The Dragon King passes wind—there is both wind and rain”; “The Dragon King takes a nap—the common people suffer”; “The carp leaps over the Dragon Gate—it rises in rank”; and “Lord Ye loves dragons—his words and heart do not match.”

Within popular zodiac personality lore, people born under the Dragon are given distinctive characterizations. Positive traits include extraordinary bearing, strong leadership, lofty ambition, abundant talent, confidence, and decisiveness. Negative traits include arrogance, lack of practicality, and impatience. A folk verse summarizes the idealized image: “The Chen Dragon bears an imposing air; its talent has no equal beneath Heaven. Its heart holds ambitions that reach the clouds; wealth and honor descend from Heaven.”

In the “Song of the Twelve Zodiac Animals”, the Dragon appears as follows: “The Rat goes first, followed by the old yellow Ox; the Tiger gives a roar and the Rabbit trembles all over; the Dragon swims through the sky, the Snake twists on the ground…” The Dragon occupies fifth place in the zodiac song and is one of the animals that most strongly captures children’s imagination.

A nursery rhyme for the second day of the second lunar month goes: “Second day of the second month, the Dragon raises its head; the great granary fills, the small granary overflows.” It expresses hopes for an abundant harvest. Another says: “Second day of the second month, the Dragon raises its head; children and adults alike should have their hair cut.” This haircut rhyme is especially widespread in northern China. A third says: “Second day of the second month, don’t lie in bed; if you do, you’ll press down on the Dragon’s head,” encouraging children to rise early.

“Dragon-Lantern Dancing” is a children’s game that imitates adult dragon dancing. Several children form a line: the first carries the “dragon head,” made of paper or cloth, while those behind hold the “dragon body,” connected with strips of cloth or rope. They run and weave around a courtyard, imitating the movements of a dragon dance.

“Dragon Catches People” is a children’s chasing game. One child plays the “Dragon,” while the others are “little fish.” The Dragon chases the fish, and anyone caught becomes a Dragon. The game is simple, lively, and develops running ability.

“Adding the Pupils to the Painted Dragon” is a children’s drawing game. A dragon without eyes is drawn on paper, and participants are blindfolded and asked to add the eyes. The person who places them most accurately wins. The game derives from the famous idiom “adding the pupils to the painted Dragon.”

Dragon kites: dragon-shaped kites are among children’s favorite kites. Their long bodies and multicolored scales make them appear like real dragons soaring through the sky.

Dragon lanterns: dragon-shaped lanterns carried by children during the Lantern Festival, made from paper, plastic, and other materials in many forms.

Clay dragons: brightly colored, exaggerated dragon-shaped clay toys commonly sold at temple fairs.

Cloth dragons: dragon-shaped dolls sewn from fabric, often among the first material objects through which children become familiar with the Dragon.

The Shijing (《诗经》, Book of Songs) contains several passages involving Dragon imagery. Zhou Song: Zai Jian (《周颂·载见》) says: “Dragon banners shine resplendently; harmonious bells ring clear,” describing flags decorated with dragon motifs fluttering in the wind. Shang Song: Chang Fa (《商颂·长发》) states: “Xiang Tu was mighty; beyond the seas all was ordered.” Although the Dragon is not mentioned explicitly here, traditions associating the Shang people with Dragon totemism have been seen as faintly reflected in the Shijing.

In the Qian hexagram of the Yijing (《易经》), the Dragon is the central image: “Hidden Dragon, do not act”—the Dragon should not yet display its power while still concealed; “Dragon appearing in the field”—the Dragon emerges into the open; “The noble person is vigorous all day long and remains watchful in the evening”—the Qian hexagram uses the Dragon as a metaphor for the exemplary person; “Perhaps leaping in the abyss”—the Dragon moves within the depths; “Flying Dragon in Heaven”—the Dragon soars in the sky; and “The overreaching Dragon has regrets”—a Dragon that rises too high will encounter remorse. Through the six states of the Dragon, the Qian hexagram metaphorically presents six stages of life, representing one of the highest philosophical expressions of Dragon culture.

Dragon-themed painting has flourished throughout Chinese history. Chen Rong’s Nine Dragons (《九龙图》) of the Song dynasty, by one of China’s greatest dragon painters, depicts nine dragons surging through clouds and mist with overwhelming force. His Ink Dragon (《墨龙图》) is another celebrated work, using gradations of ink to suggest the Dragon’s elusive transformations. During the Ming and Qing dynasties, court painters produced large numbers of dragon paintings for palace decoration and imperial ceremonial use.

Dragons are ubiquitous in traditional Chinese architecture. Dragon finials (龙吻 / 鸱吻) at the ends of roof ridges are said to be capable of spouting water and preventing fire; dragon columns in palaces and temples feature coiling dragons wrapped around the shafts, their heads projecting outward; dragon walls are screen walls decorated with dragon imagery, such as the Nine-Dragon Wall in Beijing’s Beihai Park; and dragons in caisson ceilings appear in the circular decorative centers of palace and temple roofs, where coiling dragons are frequently painted.

The character “Dragon” (龙) itself is one of the most frequently written characters in Chinese calligraphy. Calligraphers across the ages have delighted in writing it. Expressions such as “Dragon flies, Phoenix dances” and “the brush moves like Dragons and Snakes” reflect the way the very form of the Dragon became inseparable from artistic movement and calligraphic energy.