Silver Dragon Flower

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Silver Dragon Flower

ぎんりょうそう （銀竜草） Monotropastrum globosum



©
http://plaza.rakuten.co.jp/kisaraneko/diary/20050727/


一般には其の花を 錫杖草 と言う名前で呼ぶのは、きんりょうそう と言い難いからでしょうか。

銀竜草も ぎんりょうそう，　ぎんりゅうそう　と発音するんですよ。
http://www.geocities.co.jp/NatureLand/7258/ohanashi/gin.html

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The achlorophyllous plant Monotropastrum globosum

is a mono-specific species in the Monotropoideae distributed in East Asia from the Himalayas to Japan and must depend on fungal root symbionts for the supply of carbon sources.

This study was conducted to identify the fungal symbionts associated with M. globosum. A total of 29 individuals were collected at 5 different forests in the central Japan. The root system of M. globosum was intermingled within and among individuals forming root balls.

The pattern of root branching was simple and found to be less than third order lateral roots. On a light microscopy, fungal penetration pegs were frequently observed at the outer cortical cells as well as the presence both of fungal sheath and Hartig net. This confirmed that M. globosum forms monotropoid mycorrhizas. Ten mycorrhizal types were classified based on morphological differences observed on the surface layer of fungal sheaths. Among them, fungal symbionts of 3 types possessed net prosenchyma- or felt prosenchyma-like fungal arrangements with characteristic shapes of cystidia and were considered belonging to the genus Russula.

In addition, one type may also be colonized by Russula sp. because of a distinctive hyphal arrangement forming regular synenchyma with intracellular latex. Laticiferous hyphae were distributed over the fungal sheath of one type suggesting that causal fungus would be a member of Lactarius. These results indicate that fungal symbionts associated with M. globosum are partly specialized in members of the Russulaceae.

© Y. Matsuda, A. Yamada
http://www.waite.adelaide.edu.au/Soil_Water/3ICOM_ABSTs/Abstracts/M/Y.%20Matsuda.htm


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Click HERE to see more photos of this flower.


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Daruma Museum, Japan

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BACK TO THIS :
LINKS to more of my Dragon Art Collection

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Altar Cloth in Brocade. Uchishiki
Family Buddhist Altar, Butsudan
http://dragondarumamuseum.blogspot.com/2008/05/altar-cloth.html

Amulets and Talismans
clay bells, ema votive tablets, hariko papermachee dolls . . .
http://omamorifromjapan.blogspot.com/2011/09/tatsu-dragon-info.html

Anchin and Kiyohime. The legend of Dojo-Ji
and then she turned into a dragon ...
http://dragondarumamuseum.blogspot.com/2008/06/anchin-and-kiyohime.html

Belt (obi)
Silk Embroidery and Weaving Patterns
http://dragondarumamuseum.blogspot.com/2006/03/belt-obi.html

Belt Hook
Jade, 19th cent. China
http://dragondarumamuseum.blogspot.com/2006/03/belt-hook.html

Bingata, Dyeing from Okinawa (Ryukyu)
Various types, wall hanger, shirt, stamp and introductory TEXT.
http://dragondarumamuseum.blogspot.com/2006/03/bingata.html

Blue Dragon Hermit. Mamiya Eiju (1871-1945)
Painting of Daruma san
http://dragondarumamuseum.blogspot.com/2006/06/blue-dragon-hermit.html

Bowl, Blue&White , Dragon Design, China
AntiqueTica.com Thailand
http://dragondarumamuseum.blogspot.com/2006/02/bowl-01.html

Calligraphy
by Tesshu Yamaoka Tesshu
http://darumamuseumgallery.blogspot.com/2007/07/dragon-calligraphy.html

Camphor wood carving
ogon kuzu
http://dragondarumamuseum.blogspot.com/2008/06/camphor-wood.html

Carpet, Flying Dragon over Mount Meru, Wanli period,
The Textile Gallery / EXTERNAL LINK
http://www.textile-art.com/tg/16074.html

Carpets, Rugs, from China
CYBER RUG CENTER
http://dragondarumamuseum.blogspot.com/2006/02/carpet-01.html

Ceiling Painting
Kenninji Temple, Kyoto (Kennin-Ji)
http://dragondarumamuseum.blogspot.com/2006/04/ceiling-02.html

Ceiling Painting, with LIST to all Nari-Ryuu
Meguro Fudo Temple, Tokyo.
http://dragondarumamuseum.blogspot.com/2006/03/ceiling-painting.html

Ceiling painting at Koya san
＜第三十六番　高野山　南院＞
http://fudosama.blogspot.com/2005/02/kinki-pilgrimage.html

Chinese Dragons
Roof Dragons and many more, link to Wikimedia
http://dragondarumamuseum.blogspot.com/2006/01/chinese-dragons-03.html

Chinsee character (kanji)
taito, with 84 strokes, dragon and clouds
http://dragondarumamuseum.blogspot.com/2009/05/chinese-character-taito.html

Clappers (hyooshigi)
From a Zen Temple in Takahashi, Japan
http://dragondarumamuseum.blogspot.com/2006/02/clappers.html

Clouds and Dragon, Unryuu
also BANKIN, sheet metal work
http://dragondarumamuseum.blogspot.com/2008/03/clouds-and-dragon.html

Clouds, Dragon riding Clouds
Celadon and embroidery
http://dragondarumamuseum.blogspot.com/2009/04/nine-dragons-and-clouds.html

Door Stucco Sculptures
Katsuyama, Japan. Two Dragons and Two Lions.
http://dragondarumamuseum.blogspot.com/2006/12/door-sculptures.html

Double Dragon
YOM CHI TAEKWON-DO
http://dragondarumamuseum.blogspot.com/2006/06/double-dragon-01.html

Doucai Dragon Bowls
http://dragondarumamuseum.blogspot.com/2006/10/doucai-dragon-bowls.html

Dragon Wheel, dragon vehicle (ryuusha, ryusha)
Part of a Pagoda Final Decoration (soorin)
http://dragondarumamuseum.blogspot.com/2007/03/dragon-wheel-ryuusha.html

Dragonboat Race Nanaimo
Canada 2006. Poem by Angelika Kolompar
http://dragondarumamuseum.blogspot.com/2006/07/dragonboat-race-nanaimo.html

Dragons and Lotus Blossoms
Vietnamese Ceramics from the Birmingham Museum of Art
http://dragondarumamuseum.blogspot.com/2011/12/dragons-and-lotus-blossoms.html


Flagstaff
Gilt Bronze Dragon Head, Korea
http://dragondarumamuseum.blogspot.com/2006/03/flagstaff.html

Flower : Silver Dragon Flower
Monotropastrum globosum
http://dragondarumamuseum.blogspot.com/2006/06/silver-dragon-flower.html

Flute, Dragon flute - ryuuteki, ryuteki
gagaku court music and flutes
http://haikutopics.blogspot.com/2006/11/flute-fue.html


Glass Art Dragon Figures
From Thailand. Buddhist Artwork Com
http://dragondarumamuseum.blogspot.com/2006/07/glass-art.html

Hidden Dragon
The Chief Priest of Wudang Mountain. an interview
http://dragondarumamuseum.blogspot.com/2006/06/hidden-dragon.html

Hokusai, Katsushika Hokusai (1760・849)
Paintings, Woodblocks
http://dragondarumamuseum.blogspot.com/2006/03/hokusai.html

Incense Burner, Japanese Dragon motif, Silver
Hiro Antiques Sapporo, Japan
http://dragondarumamuseum.blogspot.com/2006/02/incense-burner-02.html

Incense Burner, Japanese Hirado Celadon Miniature
Alexander Fine Art
http://dragondarumamuseum.blogspot.com/2006/02/incense-burner.html

Incense Container, Red Oribe Pottery
By Kato Juemon
http://dragondarumamuseum.blogspot.com/2006/02/incense-container-01.html

Incense Stick Holder, Blue and White, China
AntiqueTica.com Thailand
http://dragondarumamuseum.blogspot.com/2006/02/incense-stick-holder-01.html

Jar, Blue and White, China TNM
Tokyo National Museum
http://dragondarumamuseum.blogspot.com/2006/02/jar-01.html

Kowloon, the legend of nine dragons
Hongkong
http://dragondarumamuseum.blogspot.com/2009/04/nine-dragons-and-clouds.html

LUCKY DRAGON. Atomic Fallout Tragedy
Daigo Fukuryumaru (the Fifth Lucky Dragon)
http://darumamuseumgallery.blogspot.com/2007/06/fifth-lucky-dragon.html

Legend : Minuma Dragon God, Japan
http://dragondarumamuseum.blogspot.com/2006/09/minuma-dragon-god.html

Moon Flasc, Doucai ceramic
http://dragondarumamuseum.blogspot.com/2006/10/doucai-dragon-bowls.html

Museum Dingling
Dragon robe, dragon crown of Emperor Shenzong of the Ming Dynasty (1368-1644) and his two empresses.
http://dragondarumamuseum.blogspot.com/2006/09/dingling-museum.html

Name plate, nameplate, Hyoosatsu, Hyosatsu
from wood, also some with Daruma
http://darumamuseum.blogspot.com/2008/06/hyoosatsu.html

Nichiren Dragon Legends
The 7 headed dragon & Kishimo Daimoku
http://dragondarumamuseum.blogspot.com/2006/03/nichiren.html

Oil Lamp, Porcelain
Hongwu period
http://dragondarumamuseum.blogspot.com/2006/07/oil-lamp.html

Painting : Kitamuki Unchiku, Calligrapher
Dragon and Tiger,
http://dragondarumamuseum.blogspot.com/2008/07/kitamuki-unchiku.html

Painting, Maruyama Okyo
from: MFA Boston, William Sturgis Bigelow Collection
http://dragondarumamuseum.blogspot.com/2006/04/soga-shohaku.html

Panel : Tiger and Dragon, China
Asianart.com
http://dragondarumamuseum.blogspot.com/2006/02/tiger-and-dragon.html

Panel, open carving (ranma) with Dragon
Welcome To Another Century New York City
http://dragondarumamuseum.blogspot.com/2006/02/panel-ranma.html

Park Encho En in Tottori, Japan
Chinese Park with many Dragon pieces
http://dragondarumamuseum.blogspot.com/2006/10/encho-en-chinese-park.html

Pillow
Freer and Sackler Galleries
http://dragondarumamuseum.blogspot.com/2006/03/pillow.html

Pond: White Dragon Pool
Yuyao, China Nature
http://dragondarumamuseum.blogspot.com/2006/07/white-dragon-pool-yuyao.html

Ring, Silver, India Including an article about Dragon Jewelery
Dragon Lore, Naga Raja, Ryuu-Oo　
http://fudosama.blogspot.com/2005/08/dragon-lore.html

Roof Dragons
from various temples in Japan
http://dragondarumamuseum.blogspot.com/2006/02/roof.html

Roof tile 01
"Carp Leaping form Dragon Gate"
http://dragondarumamuseum.blogspot.com/2006/06/roof-tile-01.html

Seal of the Fifth Dalai Lama, Tibet
Himalayan Art
http://dragondarumamuseum.blogspot.com/2006/02/seal-01.html

Seal, Soapstone, China
Hawkes, Asian Art United Kingdom
http://dragondarumamuseum.blogspot.com/2006/02/seal-02.html

Shadow Picture Art
Hachiroota, Nansoo-Boo and the Dragon of Lake Towadakoo
http://dragondarumamuseum.blogspot.com/2006/08/utsushi-e.html

Silk Dragons, Dragons of Silk
Exhibition
http://darumamuseumgallery.blogspot.com/2007/05/dragons-of-silk.html

Soga Shohaku, Painter
Various of his Dragons
http://dragondarumamuseum.blogspot.com/2006/04/soga-shohaku.html

Stone Garden at Temple Tofukuji (Toofuku Ji)
by Gardener Shigemori Mirei
http://darumamuseumgallery.blogspot.com/2007/06/kare-sansui.html

Sword Decoration
Tsuba Gilt Bronze Dragon
http://dragondarumamuseum.blogspot.com/2006/03/sword-decoration.html

Takada Keihoo, Painter
Ceiling paintings, Daruma ...
http://dragondarumamuseum.blogspot.com/2006/04/takada-keihoo.html

Tatsumi Inari Shrine, Kyoto
Woodblock Print by J. Rome
http://dragondarumamuseum.blogspot.com/2006/06/tatsumi-inari.html

Tea from China, Dragon Well Tea
http://dragondarumamuseum.blogspot.com/2008/05/dragon-well-tea.html

Teapots and Cups samples - teacup (chawan　茶碗)
Imperial Tea Court Company, S.Francisco
http://dragondarumamuseum.blogspot.com/2006/02/teapots-01.html

Tray, Mother of Pearl, China TNM
Tokyo National Museum
http://dragondarumamuseum.blogspot.com/2006/02/tray-01.html

Vase for Temple Flowers, Bronze
Kodo Arts
http://dragondarumamuseum.blogspot.com/2006/02/vase-01.html

Vase, Blue and White Porcelain, Red Dragons
Freer and Sackler Galleries
http://dragondarumamuseum.blogspot.com/2006/03/vase-02.html

Vase, Huaihaitang Collection
Ethereal Elegance: Exhibition 2008
http://dragondarumamuseum.blogspot.com/2008/03/vase-03.html

Woodblock Print
Yoshitoshi, Mt. Minobu
http://dragondarumamuseum.blogspot.com/2006/03/woodblock-yoshitoshi.html


BACK TO THIS :
LINKS to more of my Dragon Art Collection

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Double Dragon 02

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© Article & illustrations © Joumana Medlej
The Jade and the Chinese
http://www.cedarseed.com/air/jade.html

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Double Dragon pendant --
a stylized representation of two intertwined dragons.



The phoenix (which is supposed to only land on stones of jade) and the dragon were believed to be the life source of family clans, and so effigies of the two animal deities were carved in jade and worn as ornaments that symbolized a man's noble bearing. A saying derived from this practice: "The gentleman's morals are like jade." A delightful jade-vocabulary can be found in Chinese:

. Jade gold speech: Fine words.
. Jade wife: used to refer to your host's.
. Let your jade toes benignly approach: a courteous way of issuing an invitation.
. Jade Stalk: the male sexual organ.
. Jade Gate: the female sexual organ.
. To burn both jade and stone: complete devastation in war.
. Jade step: the imperial throne.
. Jade chariot: the imperial transport.
. To wear the jade: to serve in the Imperial bureaucracy.

Jade is also kown in China as the Dragon Stone, and interestingly, Chinese dragons are always represented with one or more water pearls.

In the Chinese Empire jade was considered the most noble of all gems; to the extent that it was simply designated under the name yü, "precious stone". Yü means "treasure" in Chinese the way "gold" means "wealth" in English. According to myth, the stone was born during a storm, and for this reason every home had jade in its foundations to keep lightning at bay. According to another myth, the stone was crystallized moonlight that came from the holy mountains. It was naturally the royal stone, and believed to be the incarnation of the cosmic principle. As such, it was said to possess the five essential virtues of Chinese philosophy: compassion, modesty, courage, justice and wisdom - but it was also credited with benevolence, knowledge, righteousness, virtuousness, purity, endurance, ingenuousness, morality and music.

A disciple of Confucius once asked him why men valued jade more than serpentine. "Is it because jade is scarce and serpentine is abundant?" Confucius replied:

"It is not, but it is because men of olden days regarded it as a symbol of the virtues. Its gentle, smooth, glossy appearance suggests charity of heart; its fine close texture and hardness suggests wisdom; it is firm and yet does not wound, suggesting duty to one's neighbor; it hangs down as though sinking, suggesting ceremony; struck, it gives a clear note, long drawn out, dying gradually away and suggesting music; its flaws do not hide its excellences, nor do its excellences hide its flaws, suggesting loyalty; it gains our confidence, suggesting truth; its spirituality is like the bright rainbow, suggesting the heavens above; its energy is manifested in hill and stream, suggesting the earth below; as articles of regalia it suggests the exemplification of that than which there is nothing in the world of equal value, and thereby is Tao itself."

As a tribute to its value, the classics of Chinese philosophy suggested the creation of a special ministry to manage the use of the stone.

Many elements of the Chinese language are connected to jade. The concept of "peace" and "friendship" is written "jade-silk" (yu-po) because a long time ago these two materials were used together during worship and diplomatic meetings. We can also note that the earliest character for magician (wu) represents pi discs, perhaps because they were the only ones entitled to perform rituals.

As for "ritual", it is written "to serve the gods with jade". Indeed, six ritual jade stones were used as offerings to the six directions in nature cults and funerary rites. The Liji or Book of Rites, compiled around 300 BC, states: "If a ruler perfectly observes the rites of the state, white jade will appear in the valley". The specifics of the sacrifice are also found in the Liji:
"To give grace to the sky, one needs a sky-blue pi, to the earth a yellow t'sung, to the east a green kuei, to the south a red ch'ang, to the west a white hu, to the north a black huang".

Bells and chimes used during ritual were also made of jade, for the clear tone it gives off when struck was said to banish evil. Tales circulated of magical varieties of jade: one that stayed warm in winter and cool in summer; "red fire jade" that gave off light and heat; and even one that glowed in the dark.

Although jade could not prevent death, it was believed that it could help preserve a body, and the above amulets were used to this end: a pi was placed under the deceased1s back, a t'sung on his stomach, a huang at his head, a ch'ang at his feet, a kuei at his left and a hu at his right. "If you place gold and jade in the nine orifices of a corpse, the latter will be preserved from putrefaction", wrote Ko Hung.

Jade was used for many other magical purposes; for instance jade bowls would be used in meals so that the energy of the stone would permeate the food. It was worn on the fist or around the neck; merchants and advisors of the Empire held it in their hand for advice during negociations. The black variety sculpted as a disk was used to invoke the dead.

Jade also brought rain, scared away demons and poisonous animals, brought honor and victory, quenched the thirst, and insured longevity if carved in the shape of a stork or bat. Jade liquor would even be prepared by mixing in a copper bowl jade, rice and dew, that were then boiled and filtered; this drink was supposed to purify the blood and help one bear heat, cold and hunger. In some regions of China, jade bracelets are still believed to protect from rheumatism.

© Joumana Medlej

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hisui 翡翠(ひすい) jade
ジェード【jade】

mutton-fat jade


Hetian Jade
Hetian Nephrite is mined in the high altitude Kunlun Mountains (4500 m) in the Xinjiang Uygur autonomous region of north-western China, near the Mongolian and Russian boarder. Hetian Nephrite is divided into two categories: 'Mountain Nephrite' and 'Seed Nephrite,' with the Seed Nephrite being more desirable. Varieties of Seed Nephrite are: black jade, blue-white jade, green jade, mutton-fat Jade, tang jade, white jade, and yellow jade. Mutton-Fat Jade is considered to finest with a 'greasy' delicate texture and bright color. Chinese Hetian nephrite is nearing depletion due to over-mining, and as such it has become very valuble.

Chinese Jade Classification
source : www.allaboutgemstones.com


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. Daruma from Agate and Jade (menoo to hisui) 　


Daruma Museum, Japan

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Hidden Dragon

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© Gene Ching, Kung Fu Magazine, 2003

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The Chief Priest of Wudang Mountain

The First English Interview with Taoist Grandmaster
Zhong Yun Long
by Gene Ching (with Yun Xiang Tseng)



Wudang Mountain
When Crouching Tiger, Hidden Dragon pushed martial arts movies into the Oscar spotlight, it also exposed one of China's most cherished martial treasures, Wudang Mountain. Nestled in the heart of the mainland in Hubei Province, Wudang Mountain is a famous center for Taoism and is believed to be the birthplace of Tai Chi Chuan. According to legend, Tai Chi (spelled Taiji in modern Mandarin) was created by an ancient Wudang master named Zhang San Feng, who was inspired by mystical visions he experienced on that mountain.

Today, the Taoist temples of Wudang are still active. In fact, Wudang's temples are protected as one of 730 registered World Heritage sites of the United Nations Educational, Scientific and Cultural Organization (UNESCO). Inside those temples, the internal styles of kung fu - Taiji, Xingyi and Bagua - are still practiced by robed Taoist priests. Now they are opening their doors to the public for the first time ever. The Chief Priest of the Wudang Zhang San Feng lineage is Grandmaster Zhong Yun Long. Priest Zhong was our guest during his first visit to America for our Anniversary Gala Benefit last year, and he granted us this first interview for English readers.

Priest Zhong is a peaceful soul with a deep, resonating voice, full lips and prominent cheekbones. There's a slow grace to his every gesture, which makes being in his presence a very calming experience. His thick black hair and shining complexion overshadow the broad shoulders of a seasoned martial arts master. Adorned in traditional Taoist cap and robe, Zhong was quite excited about his visit to America. He was very impressed with our environmental protection policies and was particularly fascinated by my low emission hybrid car. As a Taoist Priest defending one of China's natural wonders, he has a genuine concern for conservation.

Taiji is undoubtedly the most practiced form of martial arts in the United States today. Followers range from strapping young push hands champions to the elderly and afflicted. But according to Priest Zhong, we westerners have a very limited understanding of what Taiji really is. His mission is to reveal the true meaning behind the movements of this most precious treasure of China.

Origins of a Wudang Priest
"I was born in the year of the dragon in Huangxi City, Hubei. Many of my elders loved kung fu and that left a great impression on me. Although my father was a scholar who did not learn kung fu, my granduncle both inspired me and taught me a little. In the old countryside, fights often arose between clans, so everyone studied the martial arts. It was a required skill. So in the countryside where I was born, everyone loved kung fu and it was mandatory to study it. This was my inspiration, the city where I was raised. Everybody there loves kung fu, and for whatever reason everyone knew kung fu back then. That's why I fell in love with kung fu too."

"In 1978, when I was 13 years old, I began to formally study kung fu under a master named Tang Yun Yue in Jiangxi Rechang. Before that, I was exposed here and there, but I didn't really learn a great deal. Under my first master, I studied Yue family boxing and Yang family boxing. That's Yue as in the famous Song General Yue Fei, and Yang kung fu, not Yang Taiji. This Yang was another general from the Song Dynasty. According to legend, all the men in the family were generals that died in battle, so the women of the family had to become generals to defend the country against the Jin invasion. Anyway, I studied with that master for about six years, and then at 18, I went to Shaolin Temple to study for about six months."

"At 19, I came to Wudang to study formally. Mostly, I studied under masters Guo Gaoyi and Zhu Chende. Wang Kuangde also taught me a lot. At that time, Wudang was not as open as it is today. Not everybody could go there to study. They had rigid restrictions on who could be accepted as students. Then, in 1984, the Wudang Taoist Association was founded and that began to open things up. Before that, only the older Taoist priests lived in the temples. Due to China's turbulent recent history, there was a missing generation. All the masters from the last generation are very old. I am the part of the younger generation of priests to come in. It was the first time they recruited new blood for the Wudang Association and I was among the first recruits."

"In winter of 1985, the Wudang masters asked me to go down the mountain and spend three years to search for lost Wudang masters and schools. I first studied under Gansu Chen Ye and inherited WudangBashenmen (8 Immortal Gate.) In spring of 1986, I traveled to Lao Mountain in Shandong and studied Xuanmen Wuxue (dark gate martial study.) That autumn, I went to Zhongnan Mountain in Shaanxi to study Huan Yen Dan Ba (Taoist alchemy) under Gansu Li Yue. I continued my studies on Zhongnan Mountain through the spring of 1987, inheriting Wudang Xingyimen and Baguamen. Then in June I was ordered to return for the first Wudang open tournament."

Wudang in the Last Two Decades
"Back then, the living standard was very hard. The old masters were very strict. They only taught me in secret at night, so no one would see it during the day. There were no kung fu schools up there. The only people who could learn Wudang kung fu were formal priests. Wudang had very exacting rules about who you could teach and who you could learn from."

"But after 1988, these rules were loosened. Mr. Qiao Shi, a speaker of the Chinese Congress, visited Wudang and inspired the priests to open the door and spread Wudang martial arts to the world. So we changed the rules and started to teach outside. My old master and I performed for him during that visit. Mr. Qiao Shi saw that it was a great and mystical art. That’s why he said we needed to promote it. Of course, before he had visited, Wudang had already begun to open the door a little. In the old days, Wudang kung fu was not even shown to outsiders, but after the Wudang Taoist Association was formally established, we held two internal martial arts exhibitions in 1985 and 1986.

In 1987 we held our first annual lei tai (sparring ring) open tournament. After that I headed northeast continued my research, but I returned in autumn of 1988, and then competed in the National Farmers Athletic Events. In 1988 we began to teach outsiders, and the following year the first Wudang Taoist Martial Arts School was opened. That was the first time we had a school in the mountains teaching outsiders. Now we call it the Wudang Taoist Martial Arts Institute. I also accepted the duty of chief instructor for the Wudang Taoist Association from Guo Gaoyi then."

"When we first opened the school, we were only allowed to have 40 students a year. That’s all we could take and only Chinese students studied seriously then. Foreigners only came for a very short stays. By 1989, more foreigners came to study, but they all came for too short of a time to really learn. Even today, most come and learn a little Taijiquan or a little nourishing qigong. Those 40 students I referred to before stayed all year round to study. It was in 1989 that the association appointed me and Guo Gaoyi to be in charge of the Institute. So from 1989 to 2000, we limited the student body, but after 2000, we've opened up to even more."

"This is the only martial arts school on the mountain that is authorized by the Wudang Taoist Association where you can formally learn Taoist kung fu. Of course, there are eight or nine private schools at the bottom of the mountain where they teach standardized forms. China has a lot of standard competition forms. These schools are actually bigger than the Institute since they are doing it commercially with a great deal of advertising. We at the Taoist Martial Art Institute never advertise. And these days, we do accept foreigners. Several have studied over a year now, but more stay for three month sessions. Most only stay for a week or two."

"There are about 120 priests and 40 nuns currently registered with the Association. In order to be recognized, you must be registered. This certifies that you have met the requirements and passed the examinations. There is a Taoist college connected with Purple Cloud Temple (Wudang’s primary temple). The priests and nuns study martial arts, as well as the other aspects of Taoist culture like music, painting, calligraphy and astronomy. The excellence of some of the Wudang musicians has been recognized by the Wuhan Conservatory of Music.

"From 1995 to 2000, I was in charge of reception for the Wudang Taoist Association as well as the administrator for Purple Cloud Temple, but later I wanted to focus only on the development of Wudang martial arts, so I became president of the Wudang Taoist Martial Arts Institute. I am the 14th generation of the Zhang San Feng branch of Wudang, bearing the Taoist name Qing Wei. Now, there are no more 13 generation masters alive in my lineage. We only have 14, 15 and 16 generation now."

"Over the last two decades, I’ve participated in many national and international martial arts exchanges, competitions and championships. And I’ve had to answer a lot of challenges, both nationally and internationally. Since master Guo and Zhu have both passed on, I’ve gone on to represent Wudang martial arts in Southeast Asia, Europe and the United States as well as greeted Chinese politicians like Jiang Zemin, Qiao Shi and Li Reihuan. In 2001, we formed our demonstration group.

Then we went to represent Wudang at the Qimenpai Wulin Dahui (seven gate systems martial family gathering - Wudang, Shaolin, Emei Mountain, Hua Mountain, Kunlun Mountain, Kongdong and Tibetan.) This was held in Nanjing and organized with the cooperative efforts of Wudang and Shaolin. In 2002, I went to America and Macao. This year I went to Taiwan, which made the newspapers as I was being tested for SARS entering the country."

Wudang Kung Fu Defined
"Wudang kung fu is one of two main streams of Chinese martial arts. Shaolin kung fu is famous for its strength and explosive power, its external power. Wudang kung fu is exactly the opposite. Softness or yin power is used to overcome hardness. Stillness overcomes motion. Four ounces overcomes 1000 pounds.

Of course, it also has a hard part. There is external power. Wudang forms appear soft on the outside, but internally it is really hard. By hard, I mean qi, because internal forms cultivate qi. When you train in this, the qi is very strong and becomes hard inside. But on the outside, touching and seeing it, it is very soft. It’s also like lightning when it comes - fresh and electric. When it explodes, fajin (explosive power) is like thunder.

"These days, mainstream Wudang focuses on Taiji. But Taiji is the big brother, so to speak. Beneath Taiji are three concepts: Liangyi (literally "two gifts" but it can be analogous to "heaven and earth"), Taiji (literally "grand utmost") and Wuji (literally "void utmost.")

We say Zhang San Feng absorbed a hundred different styles. He took these specific styles, ideals and philosophies and focused them on the life nourishing culture that is Taoism to invent internal martial arts. According to Taoist beliefs, from Wuji arises Taiji, from Taiji arises Liangyi. Liangyi became sixiang (literally "four elephants" - this represents the four pillars or forms) and this created Bagua (eight trigrams, same as used in I Ching divination).

From this we say "one created two, two created three, three created ten thousand." This philosophy is the foundation of internal form. That’s why Liangyi, Taiji and Wuji are all under the Taiji umbrella."

"Yin and yang combined together in balance creates Taiji. When you separate yin and yang, we call it Liangyi. Liangyi separates the hard and the soft. Put them together and they become Taiji. Within the taiji is the Tao of life nourishing culture.

Before, I said that Zhang San Feng absorbed a hundred styles and mixed them with Taoist life nourishing culture. What is really meant by this is that our style has combined the methods of tuna (breathing methods), daoyin (stretching techniques), caibu (collecting and nourishing) and hunyuan (akin to qigong).

Now under Taiji there are three different levels, first Liangyi, then Taiji, then Wuji. But if you talk about the form itself, it also has different levels. First is tuna, the breathing method, second is caibu, collecting and nourishing, and third is called hunyuan. Hunyuan means combining yin and yang, so it’s an internal meditation method. These three levels comprise Taijiquan technique."

"We use internal power to support external movement. Through many years of study, Wudang has developed many internal forms. In different periods, each form had a different creator. And each creator had his own basic form to base the foundation of his style. At Wudang, we have a basic entry-level form called Wudang changquan (long fist) but this is not like Shaolin long fist. It trains the stances, hand techniques and body techniques, combining all of them together."
"It's very hard to say how many lineages there are at Wudang today. Through the centuries so many masters have created their own styles. When each master breaks through, when they attain a higher level, they become their own style. When they become their own style, they create another branch of the lineage. Most of the lineages are out in the community among the folk people of the country.

Today, there might be thirty or fifty of them, but the Wudang Zhang San Feng branch is the main stream. Now we still call it Wudang San Feng Pai (Pai means "school.") All of the others came out of the San Feng Pai - they were created and branched out. Under Wudang San Feng Pai are eight men (gates): Taiji, Xingyi (form mind), Bagua (eight trigrams), Baji (eight extremes), Baxian (eight immortals), Xuangong (mystic work), Liuhe (six harmonies) and Jiugong (nine directions). I still focus mainly on Taiji. Wudang Taiji consists of 15 forms. Then from that it also branches out into 18 weapons.

"I want to send a message to the readers that Taiji is not just the Taiji form itself, because it is misleading in the world today. People talk about Taiji and think Taiji is just the form. But as I told you, it's not just the form. It's the three main concepts, Liangyi, Taiji and Wuji. Not only are these in the form, they are the philosophy of daily life. Not only are these the daily philosophy, they are Taoist culture. It’s our ancient culture, our ancestor's culture.

The form you learn is not just for self defense.
It can also help you develop your intuition and your hidden potential. When you learn this - the style, the form or the internal technique - it can also help you slow the aging process and enjoy a longer, more prosperous life. Wudang Taoist culture is not only in martial arts, but also in learning qigong and nourishing life. This is very important.

Wudang Taoist culture is a treasure of our ancestors and our nation. Now Wudang Mountain has opened the doors. Not only me but all the masters of the mountain are willing to share this treasure with the world."

http://ezine.kungfumagazine.com/magazine/article.php?article=378



Dragon at Purple Cloud Temple



http://www.alexuk.com/travel/htk/index_14.htm

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Daruma Museum, Japan

Tiger Buddha

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Shakyamuni Buddha and the Tiger

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Ox, rabbit, rat, and tiger



"The ox, rabbit, rat, and tiger traveled together to the mountains and when it was too cold the ox carried the rabbit and rat on its back through the mountains and down to the sea. The tiger and the rabbit decided to walk around the sea and faced many dangers and hardships. But with the luck of the rabbit and the strength of the tiger, they reached the Jade City finishing fourth and third."

The Far East has a 12-year calendar system in which each year is named for an animal:
rat, ox, tiger, hare, dragon, snake, horse, sheep, monkey, bird, dog and pig.
The twelve are said to be those which came to attend Buddha when he passed into Nirvana.

Read more about Animal Mythology
© Copyright 1998-2006 Khandro.Net

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Buddha entering Nirvana

Fifty classes of beings assembled, from myriad bodhisattvas to infinite numbers of bees and insects ...

Buddha Sakyamuni lay down on his right side [dying] his head placed in the north and his feet south. His face facing west and his back east, he immediately entered four stages of meditation, and attained Parinirvana ...

Thereupon, the arhats, who were in the state of complete freedom from worldly attachment, forgot their rule of asceticism; bodhisattvas, who were making efforts to reach a higher state of bodhisattvahood, let go their wisom of knowing the brirthlessness of myriad beings. Guhyapada threw away his vajra staff and howled into the sky. Great Brahma threw away his net and collapsed on the ground.

The king of myriad lions threw himself on the ground and wailed. The water birds, wild geese, and ducks felt deep sorrow. Lion, tiger, boor, and deer all stood hoof-to-hoof, forgetting to attack one another. Gibbons and dogs saddened by grief dropped their heads; ... the great earth shook and quaked; the great mountains collapsed; plants and trees, groves and forest, all cried out their grief.
Myoe, Koben (1173-1232), Rules of Liturgy

Quote from a charming site about vegetables
© Yasai Nehan (Vegetable Nirvana)

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For one to become a lefthome person, one must have planted good roots in past lives.

One time Buddha Shakyamuni tested his student's ability to decide whether to accept an old man who asked to be a monk. An Arhat is capable of knowing a being's past lifetimes over many lifetimes. All of the Buddha's Arhat students doomed the old man as a prospect, because they thought that he had no connection with Buddhism in his past lives.

Shakyamuni then announced that many aeons ago, this old man was a woodchopper. One day when he ran into a tiger on the mountain, he climbed up a tree to escape, calling out, "Namo Buddha" (Homage to the Buddha) for help. With only those few words, the old man planted his good roots. In this life, he became a monk as he had wished and later attained his Arhatship.

Read the full story
Dharma Teaching. Master Chin Kung

© Master Chin Kung

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The Candle of the Latter Dharma, Attributed to Saicho

<>
However, the point under discussion here concerns the fact that in the Latter Dharma, there are only nominal Bhikshus. These nominal Bhikshus are the True Treasures of the world. There are no other field of merit where one can plant merit.
Furthermore, if someone were to keep the precepts in the Latter Dharma, this would be exceedingly strange indeed. It would be like a tiger in the marketplace.
Who could believe it?
<>
© Lotus Sutra Study Center

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Tiger, the Four Sleepers
Dragon Gallery

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Daruma Museum, Japan

Tiger Four Sleepers

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The tiger is well known in the art of China and even Japan.

Here is a Daruma riding a Tiger from my collection of Fushimi Clay Dolls.



The figure may in fact be Bukan.
虎に乗っているのは中国の禅僧豊干（ぶかん）

Bukan's name in Chinese is Feng-Kan and this Zen eccentric is maybe best known from the picture of the "Four Sleepers", Feng-Kan leaning on his tiger together with Han-shan and Shih-Te (Kanzan, Jittoku in Japanese). This picture is generally interpreted as symbolizing the absolute tranquillity of the universe for those who have attained Enlightenment. Bukan being in full controll of the tiger also signifies a human being in full control of its passions and emotions.

Since Bukan liked to ride his tiger around the monastery to shock other simpler folks, I guess the doll is indeed Bukan and not Daruma. But whoever he is, it's a beautifully made piece of folk art and a great item of my collection. The face of the tiger is just unique.

Read more : Clay Dolls from Fushimi, Bukan and Daruma

Gabi Greve, February 2006


. Tora トラ　- 虎　- 寅　Tiger Toys .


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The Four Sleepers, shisui　四睡

The Four Sleepers is a theme which shows Feng-kan and his tiger, and Han-shan and Shih-te all immersed in deep slumber. It seems to have enjoyed considerable popularity among Ch'an and Zen painters.

There seems to be no Chinese text which gives us a clue to the meaning of this unusual and appealing theme. In Japan, it is generally interpreted as symbolizing the absolute tranquillity of the universe for those who have attained Enlightenment.



The Four Sleepers
attr. to Mokuan Reien, 14 C. Muromachi

The painting bears a seal of the artist and a colophon reading as follows:

Old Feng-kan embraces his tiger and sleeps,
All huddled together with Shih-te and Han-shan
They dream their big dream, which lingers on,
While a frail old tree clings to the bottom of the cold precipice.
Shao-mu of the Hsiang-fu [temple] salutes with folded hands.

-from Zen Painting and Calligraphy
by J. Fontein and M.L. Hickman

© http://www.coldbacon.com/foursleepers.html

黙庵「四睡図」(前田育徳会)

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The Chinese Tang dynasty monk Fengkan was known for his odd habit of riding a tiger to shock his fellow monks at the Guoching Temple.



Attributed to KANO Motonobu (1476-1559)
Japan, 16th century
pair of hanging scrolls
H.56.0 cm, W.110.5 cm

The monk Shide ("shee-duh") was a man who Fengkan discovered and brought to the temple, and who himself recruited poet-to-be Hanshan by giving him leftover rice. The right hand scroll of this pair shows Fengkan sitting on the back of his tiger, while the left shows Shide holding a broom as Hanshan smiles.

Though there are many works of Zen ink painting showing these three characters, examples depicting them in a landscape background on a pair of scrolls are quite rare. These paintings have long been ascribed to Kano Motonobu(1476-1559), but the composition follows an older style related to folding screens painted with flowers and birds. The great tension found in this work demonstrates the strength of pictorial art in ink before the formulaic approach of the Kano school was developed.

© Fukuoka Art Museum
http://www.fukuoka-art-museum.jp/english/ec/html/ec03/01/bukan.html

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Zen Master Bukan with Tiger
by Ko Ryuko (1801-1859)
Dimensions (inches) : 15.00" (width) x 51.00" (height)



The Chinese Zen eccentric, Bukan, was a sidekick of Kanzan and Jittoku. Bukan had a pet tiger and often the four friends—Kanzan, Jittoku, Bukan, and the tiger—are portrayed as the "Four Sleepers," napping peacefully in Zen repose. Here, however, Bukan is by himself, hanging out deep in the mountains with his tiger buddy. Like Kanzan and Jittoku, Bukan represents Zen freedom and spontaneity, and harmony with (buddha-)nature.

About the Artist
Ko Ryuko, born in what is now Fukushima Prefecture, studied painting with the master Tani Buncho in Edo (now Tokyo). He later settled in Kyoto, where he became well-known as an artist. On occasion, Ryuko brushed Zenga and this is one of his most charming pieces.

© 2004 Shambhala Publications

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© Michael Hofmann BUKAN zenji
calligraphy : Jikihara Gyokusei
http://www.fsinet.or.jp/~ttstudio/hof-02.html


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可翁筆「豊干禅師図」



© Copyright 1996 the University Museum, the University of Tokyo

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Kanzan and Jittoku 寒山拾得 Daruma Museum

Tiger Archives of this DRAGON Gallery


Tiger a kigo for haiku トラ　とら　虎　寅

... World Kigo Database ...

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Pot sancai dragon handle

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© China Heritage Project, The Australian National University
CHINA HERITAGE NEWSLETTER

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Sancai pot



with a bowl-shaped mouth and double-dragon handles
unearthed from tomb no. 4 at Guanlin, Luoyang, Henan


Book Review:
Wang Guangyao, Zhongguo gudai guanyao zhidu
(China's ancient system of official kilns)
Excerpts

Many chapters in the history of Chinese pottery and porcelain technologies have been revised or rewritten over the past two decades in the light of discoveries and advances in ceramics archaeology. Recent finds of ancient ceramics in Xi'an, for example, have resulted in a modification of the history of Tang dynasty sancai (tricolour) porcelain firing (see pot above), while the discovery of porcelain ritual musical instruments in a tomb at Hongshan near Wuxi in 2004 have necessitated that the invention of proto-celadon be dated several centuries earlier than previously known, to the Spring and Autumn period (722-481 BCE).

The discovery in 1996 of the Tiger's Cave kiln site in Hangzhou, discussed at length in this book, has renewed study and debate regarding the Xiuneisi and other official kiln sites of the Southern Song dynasty (1127-1279).

Over the past twenty years, archaeological work has focused on the technical aspects of kiln firing, as well as on the delineation of kiln systems. The increasing sophistication of our knowledge of the location of production centres has resulted in a heightened awareness of the economic, social and ecological impact of the ceramics industry in ancient China.

Finds of Chinese ceramics also serve as evidence of an international trading system that predated the European rise to a position of global hegemony from the late 15th century onwards. Archaeological finds now also enable us to appreciate better the role Jingdezhen in Jiangxi province, as a ceramics production centre, played in a Chinese proto-industrial revolution which took place during the Ming and Qing dynasties.

Wang Guangyao, a scholar at the Palace Museum, has made important contributions to our increasingly complex and nuanced understanding of ancient Chinese kiln systems, and especially imperial kilns.

Wang Guangyao makes it quite clear that the official kilns are not to be identified as 'imperial kilns' (yuyao), a term only appropriate for specific institutions of the Ming and Qing dynasties. The imperial kiln of the Ming dynasty was termed Yuqi-chang,while that of the Qing was the Yuyao-chang.

The Ming dynasty Yuqi-chang was established in the 1st year of the Xuande reign (1426) and, although it was created on the basis of the guanyao system, it was not the logical result of the development of the official kiln system, but was, according to Wang Guangyao "an outcome of the strengthening of autocratic rule by Zhu Yuanzhang, Emperor Taizu of the Ming dynasty, effected during the struggle for the succession by his descendant Emperor Xuanzong in order to further strengthen imperial authority".

The yuyao constituted a new system within the official kiln system because it facilitated direct control by the emperor over porcelain production, and court officials were now sent to the kilns to supervise the manufacture of ceramics in person. Henceforth, the production of imperial porcelain became an integral system not previously seen and wholly different from the management of 'tribute porcelain' to be found in the Tang and Song dynasties.

It should also be pointed out that the imperial kilns did not monopolise innovations in the production of export wares either. It is widely argued that the development of blue and white porcelain was probably influenced by pottery tastes of the Middle East, as much as it depended on earlier breakthroughs in underglaze technology in China.

The improvements in blue and white wares were sustained by the evolution of a large export market in the Middle East and then later in Europe. Innovative blue and white porcelain items were not produced exclusively by official kilns; most of the Ming and Qing dynasty originality in both narrative and illustrated blue and white pieces was, in fact, initiated by civilian kilns addressing market demand.

Nevertheless, Wang Guangyao makes it clear that the ceramics traditions of China unfolded through a bifurcation between official and civilian kilns, and it is clear that state involvement in the development of metallurgy and of many handicrafts in China was significant from an early date. The control that the Ming and Qing courts exercised over handicraft production stands in dramatic contrast to the guild-based organisation of handicrafts in contemporary Europe, as do the nature, degree and scale of government and imperial patronage of arts and handicrafts in China.

Read more in the Newsletter, click the LINK given above.

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China Heritage Newsletter
has been appearing for over a year. Considering the style and substance of our publication, from this issue we are renaming the journal China Heritage Quarterly
http://www.chinaheritagequarterly.org/

Apart from our regular items, we are introducing a Bibliography section under New Scholarship. We believe that this will enrich the focus of the issue in which it appears.

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Daruma Museum, Japan

Tatsumi Inari

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Tatsumi Inari Daimyojin Shrine, Kyoto
Woodblock Print by J. Rome
The Shrine for the Great Dragon-Snake Deity



© Joshua Rome / Ronin Gallery
http://www.japancollection.com/uview.php?aid=83&y=1&amp;amp;amp;amp;amp;amp;amp;amp;amp;pid=403&pg=1&ppp=12

The title, "One for the Ladies", is refering to the geisha and maiko dancers and entertainers of the Gion quaters in Old Kyoto.

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辰巳大明神 Tastumi Daimyoojin

There once lived a badger close to the New Bridge in the Gion Quarters of the fair ladies and dancers. He caused them a lot of trouble when they tried to cross the river. To appease this tricky animal, they built this little shrine and prayed to him.



もっとも祇園らしい風情を残す町並みはやはり白川と新橋。
その折り返しのところに鎮座するのが辰巳大明神だ。
祇園のシンボルでもある赤い巽橋にはタヌキが棲んでいて，しばしば芸妓がだまされて川を渡るのが見かけられたとか。
そのタヌキをまつるのがこの神社で，ご利益は花街らしく伎芸の上達。いたずらタヌキは，悪さをしない約束にかわいいほこらを建ててもらったわけだ。いかにも祇園らしいのどかな話である。
http://www.edu.city.kyoto.jp/hp/yasaka-c/GionMap/tathumi.html

Tanuki - A Badger posing as Daruma
狸だるま ― 動物散歩
by Gabi Greve

Woodblock Artist Joshua Rome

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Tatsumi Inari at night
http://4travel.jp/pict/10838653.html

Women in Kimono dress in front of Tatsumi-Daimyojin shrine.
http://www.ab.cyberhome.ne.jp/~asanoxn/gion/photos/ls_gion_pnontocho.htm

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Dragon Art of Asia: Tatsu-Mi: Dragon and Snake as Zodiac Animals


Daruma Museum, Japan

Waterfalls

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There are many Dragon Waterfalls in Japan.
Here I will introduce some of them.

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龍ヶ滝（りゅうがたき） Dragon Waterfall
ryuu ga taki



Located near the village of Fuse, Shimane Prefecture. The area of these cliffs is also called "Dragon Cliffs".

この海岸には高さおよそ100メートルの断崖絶壁がそそり立っています。昔玉若酢命はここより上陸し、竜馬にまたがってこの壁を超えた。そこには蹄の跡が残っていたが、最近の崖崩れでこれは失われた。しかし、同じこの場所に幅約1メートルの黒い帯状の層（玄武岩）が垂直についている。これは、この神様の竜馬が触れて出来たものといわれ、地区の人は「馬の尻尾」と名付けている。

この一帯を「竜ヶ崎」「竜ヶ滝」「竜ヶ崖」というのも、この神様の竜馬にちなんでつけた地名だといわれている。

島根県隠岐郡布施村
© http://www.e-oki.net/kankou/look/fuse/ryuugataki.htm

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潜龍ヶ滝
長崎県北松浦郡吉井町
Senryugataki, Yoshii Village, Nagasaki Pref.



Photo taken by Hosomichi Takino on Sept. 4, 2004

Look at more photos on this LINK
© http://www13.big.or.jp/~sparrow/senryugataki-yoshii.htm

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. Ryumon Dragon Gate Waterfall Nara .
奈良県吉野町大字平尾龍門瀧 - 龍門岳
with a haiku by Matsuo Basho



O-Fudo-Sama in Japan: Waterfall Ascetism (taki shugyoo)
by Gabi Greve


. Nature and Dragon Names .

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Chinese Dragons 02

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© Crystalinks
http://www.crystalinks.com/chinadragons.html

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DRAGONS ~ WINGED SERPENTS



Dragons, Snakes, and Pearls are symbols for human DNA,
Fire representing soul sparks of light emanating from the flame of creation.

Dragons are winged beings portrayed in the ancient mythologies of most cultures. They link with winged gods from the heavens who came to Earth to create the human race and are very important symbology in the creational blueprint of our reality.

Much of dragon lore tells us that dragons were loathsome beasts and evil enemies to humankind. But dragons were born of a time other than men; a time of chaos; a time of creation out of destruction. The dragon is a fabulous and universal symbolic figure found in most cultures thought the world.

Some examples of the symbology of the dragon are:

- Gnostics: "The way through all things."

- Alchemy: "A winged dragon - the volatile elements; without wings - the fixed elements."

- Chinese: "The spirit of the way"' bringing eternal change.

- Guardian of the 'Flaming Pearl" symbol of spiritual perfection and powerful amulet of luck.

The early Chinese believed in four magical, spiritual and benevolent animals; the Dragon, the Phoenix, the Tortoise and the Unicorn. The Dragon was the most revered of all. In it's claws it holds an enormous magical pearl, which has the power to multiply whatever it touches. The ancients believed the "pearl" symbolized the most precious treasure; Wisdom.

Many legends say they were fabulous animals usually represented as a monstrous winged and scaly serpent or saurian with a crested head and enormous claws. - also - a monster, represented usually as a gigantic reptile breathing fire and having a lion's claws, the tail of a serpent, wings and scaly skin.

The various figures now called dragons most likely have no single origin, but spontaneously came to be in several different cultures around the world, based loosely on the appearance of a snake and possibly fossilized dinosaur remains. Mythology about dragons appear in the traditions of virtually all peoples back to the beginning of time - though dragons appeared in various forms.

Among their earliest forms, dragons were associated with the Great Mother, the water god and the warrior sun god. In these capacities they had the power to be both beneficent and destructive and were all-powerful creatures in the universe. Because of these qualities, dragons assumed the roles taken by Osiris and Set in Egyptian mythology.

By the time of the early Egyptian period a considerable dragon- and serpent-worshipping cult had developed. This cult gradually spread to Babylon, India, the Orient, the Pacific Islands, and finally the North American continent, as more and more cultures began to recognize and appreciate the special powers and intelligence of dragons. The cult reached its peak during the days of the Roman Empire and disappeared with the advent of Christianity.

The dragon's form arose from his particular power of control over the waters of the earth and gave rise to many of the attributes singled out by different peoples as the whole myth developed.

They were believed to live at the bottom of the sea, where they guarded vast treasure hoards, very frequently of pearls.

Rain clouds and thunder and lightning were believed to be the dragon's breath, hence the fire-breathing monster.

The significance of the dragon was its control over the destiny of mankind.

oooooooooooooooooooooooooooooo

As the myth developed in the western world, dragons came to represent the chaos of original matter with the result that with man's awakening conscience a struggle arose, and the created order constantly challenged the dragon's power. This type of dragon was considered by many to be the intermediate stage between a demon and the Devil and as such came into Christian belief.
However, in the Eastern world the dragon adopted a rather different significance. He was essentially benevolent, son of heaven, and controlled the watery elements of the universe.

Dragons have been an integral part of the culture of the Chinese, Koreans and Japanese peoples since the beginning of recorded history. In China they are used to mark the stairways over which only the Emperor could be carried. In Japan they are used in Buddhist temples both as decoration and as fountain heads for purification before worship. In many cases the dragon is combined with the phoenix to symbolize long life and prosperity. It is also combined with the tiger to represent heaven and earth or inyo (Yin and Yang).

The male dragon holds a war club in its tail while the female dragon holds a sensu or fan in its tail. One of the problems lies in that you cannot always see the tail or tell the difference between the fan or the war club.

The Chinese dragon is a central figure of both good and evil in their fables and legends. According to the Chinese the dragon originated in their middle kingdom and has always had five toes. The dragon by nature is a gregarious creature who wanders the earth.

However, the farther it goes from China, the more toes it loses. Hence, when it reached Korea it only had four toes and by the time it got to Japan it only had three. This also explains why it never made it to Europe or the Americas in that by the time it got that far it had lost all of its toes and could not walk.


The Japanese account of the dragon is very similar to that of the Chinese. The Japanese also believe that the dragon had its origins in their country. Again they know that the dragon has a tendency to travel and the farther it travels, the more toes it grows. By the time it reached Korea it had four and by the time it got to China it had five. Again this is the reason it never made it much farther than China. It kept growing toes and could not walk any further.

The Koreans tell a similar story of the dragon. They of course know that the dragon began with them. Probably just like they know that karate began in Korea. The Korean dragon has always had four toes. When the dragon travels East or North, it loses toes. When it travels South or West it gains toes. This explains why the Japanese dragon has three toes and the Chinese dragon has five toes. It also explains why the dragon never made it to Europe or the Americas. As it traveled West to Europe, it grew so many toes that it could no longer walk. As it traveled East to the Americas, it lost all of its toes and could no longer walk.

The Western type of dragon has been variously described, and individual dragons had their own unique forms. They appeared to be created from parts of various creatures, with the result that in general, they were described as having eagle's feet and wings, lion's forelimbs and head, fish's scales, antelope's horns and a serpentine form of trunk and tail, which occasionally extended to the head.

In parts of Africa where the dragon is also considered as an evil power, the monster was believed to be the result of the unnatural union of an eagle and a she-wolf.

The destructive powers of the dragon derived from it's fiery breath, which can devastate whole countries. Dragon's eyes also have this fiery red quality, sometimes believed to reflect the treasures they guarded.

Later traditions believed that misers would assume the form of dragons by constantly gloating over their treasure.

The dragon fears nothing except the elephant with whom he will engage in battle, entwining himself around the elephant and inflicting fatal blows. However, as the elephant finally collapses, his fall crushes the dragon to death.

The dragon is supposedly the enemy of the sun and the moon, both in Eastern and Western mythology, and is believed to be responsible for eclipses. These occur when the dragon is attempting to swallow either of the heavenly bodies; which accounts for the dragon's appearance in primitive astronomy.

In Armenian traditions, the fire and lightning god had powers to stay the dragon's control of the heavens, as could thunderbolts in Macedonian myth. A dead man was thought to become a dragon, while dragons were believed to be the guardians of treasures in burial chambers.

Because the dragon was the natural enemy of man, his death became the ultimate goal, consequently there are innumerable battles between gods and dragons, saints and dragons, and in the medieval world, knights and dragons.

In Greek legends, the dragon fought on the side of the Titans and attacked Athena, who flung him into the heavens, where he became a constellation around the Pole Star.

Hercules encountered, and killed the dragon Ladon while fulfilling his eleventh labor.

In Scandinavian literature, Beowulf was slain by a dragon.

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Read part one of this article!

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Daruma Museum, Japan

GokuRakuAn Dragons

Dragons at GokuRakuAn

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morning walk -
the Dragon spits fire
from the roof

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January 2006
My Home, GokuRakuAn

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Daruma Museum, Japan

Dragon in Asian Art <> TOP

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Mark Schumacher - Dragon God

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. ryū 龍 / 竜　dragon legends .
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© Mark Schumacher, Dragon Images of Japan
http://www.onmarkproductions.com/html/dragon.shtml

The most detailed resource, take your time to visit Mark's page.

Below are some of the subjects he covers.

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Ryu, Ryuu, Ryuoh, Ryuu-ou, Ryujin, Ryuujin, Tatsu, Jikoku Dragon, Dragon King, Luminous Being
Member of the TENBU
Sanskrit = Naga Raja.

Both the dragon and snake are members of the NAGA group of serpentine creatures; Hindu Lore.

Four Dragons, Four Seas
In both Chinese and Japanese mythology, the dragon is closely associated with the watery realm, and four dragon kings are said to rule over the four seas (which in the old Chinese conception limited the habitable earth).

Celestial Dragon; rules over the Mansions of the Gods
Spiritual Dragon; presides over rain
Earth Dragon; determines the course or rivers
Dragon of Hidden Treasure; guards precious metals and stones

oo oo oo oo oo

Dragon King's Palace
Origin of the Dragon's Japanese Name
In Japanese mythology, the Dragon King's Palace (Ryugu) is said to be located at the bottom of the sea, near the Ryuku Islands (Okinawa), and it belongs to Ryujin, 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 (ryugu, or ryukyu) is likewise the Japanese pronunciation of the southernmost Ryuku islands (Okinawan islands). He writes about one ode in the Man-yu-shu, which says the orange was first brought to Japan from the "Evergreen Land" lying to the south.

The many-storied palace is built from red and white coral, guarded by dragons, and full of treasure, especially the Tide Jewels, which control the ebb and flow of tidal waters. Fish and other sea life serve Ryujin as vassals, with the turtle acting as the dragon's main messenger. On the north side of the palace there is the Winter Hall, where snow falls all the time. On the eastern side lies the Hall of Spring 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 human, a day in this palace is like 100 years on earth.

Read the details of these headlines at the LINK
given at the top of this page.


DRAGON LORE FROM JAPAN -
Origin of Dragon's Japanese Name
In 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 Ryūjin (Ryujin) 竜神, the Japanese name for the dragon king.

The Dragon, Enoshima Island, and Goddess Benzaiten
Hōjō Clan (Regents of Kamakura),


The Tale of Urashima
The Tale of Hoori
The Story of the Tide Jewels and Empress Jingu

Rain from Ryujin

God of Fire Fighters - Dragon Tattoo

The Carp Who Became a Dragon


COLOR OF DRAGON ROBES
Lucky Motifs on a Dragon Robe

Draco
Around 1,800 BC, the celestial indicator (the "pole star") was not the modern-day North Star (Polaris), but rather Thuban, a star in the constellation known as Draco or Dragon. ...

DRAGON SYMBOLISM - ORIGINS IN CHINA
FOUR GUARDIANS OF FOUR COMPASS DIRECTIONS

Excerpt from "Myths & Legends of Japan"
by F. Hadland Davis.

TYPES OF DRAGONS

Five, Four, Three Claws

Dragon Mythology
Exerpt from "An Encyclopedia of Myth and Legend:
Chinese Mythology" by Derek Walters as found at:
www.sempai.org/~felicia/myth.html#suzaku

Dragon Star Constellation


Eight great Dragons, hachidai ryuu-ou 八大竜王

Dragon King, Ryouou (ryoo-oo)　陵王
DRAGIN KINGS, Ryū-ō 龍王 or 竜王

Kurikara　倶利迦羅 the sword of Fudo Myoo-O



Woodblock by Utagawa Kunisada II, 1860


. Mark Schumacher - The Dragon Page .




. Welcome 2012 — Year of the Dragon .

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goshiki ryuujin 五色龍神 Dragon God of five colors
In the 犬山市 Inuyama region and
金龍神 Golden - 白龍神 - White - 黒龍神 Black - 赤龍神 Red - 青龍神 Green
at 田無神社 Tanashi Jinja -Tokyo, Nishitokyo, 田無町3−7−4

ryuugonsan リュウゴンサン / 龍王神 the Dragon King Deity
Ehime

goshiki no tsume 五色の爪 nails of five colors of the 竜王 Dragon Deity
At the Temple Muro-Ji 室生寺の境内 along the river 室生川 the saint 慶円上人 Keien (1140 - 1223) once passed. At the riverside a female Dragon King 善女竜王 waited for him. He asked her to show her real features and after some discussion, she turned into a black cloud and showed her right hand. It had long nails of about 3 cm in five colors.
Since than the riverbank is called 爪出が淵 Tsumedegafuchi.

. goshiki 五色と伝説 Legends about the five ritual colors .

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Kasuga Ryuujin 春日竜神　Kasuga Ryujin
The Dragon God of Kasuga Shrine .

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Ashoka

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King Ashoka

Ashoka Maurya (304 BCE - 232 BCE) commonly known as Ashoka and also as Ashoka the Great, was an Indian emperor of the Maurya Dynasty who ruled almost all of the Indian subcontinent from ca. 270 BCE to 230 BCE. One of India's greatest emperors, Ashoka reigned over most of present-day India after a number of military conquests. His empire stretched from the Hindu Kush mountains in Afghanistan to present-day Bangladesh and the Indian state of Assam in the east, and as far south as northern Kerala and Andhra Pradesh.



In about 260 BCE Ashoka waged a bitterly destructive war against the states of Kalinga (modern Orissa). He conquered Kalinga, which none of his ancestors starting from Chandragupta Maurya had conquered. His reign was headquartered in Magadha (present-day Bihar). He supposedly embraced Buddhism after witnessing the mass deaths of the Kalinga War, which he himself had waged out of a desire for conquest.
©　More in the WIKIPEDIA !


watering the Ashoka
tree at twilight, devotees
honouring Kama...

- Shared by Brinda Buljore -
Haiku Culture Magazine, 2013



Saraca asoca (the Ashoka tree; lit., "sorrow-less")
is a plant belonging to the Caesalpiniaceae subfamily of the legume family. It is an important tree in the cultural traditions of the Indian Subcontinent and adjacent areas.



The ashoka tree is considered sacred throughout the Indian subcontinent, especially in India and Sri Lanka. This tree has many folklorical, religious and literary associations in the region. Highly valued as well for its handsome appearance and the color and abundance of its flowers, the ashoka tree is often found in royal palace compounds and gardens as well as close to temples throughout India.

The ashoka tree is closely associated with the Yakshi mythological beings. One of the recurring elements in Indian art, often found at gates of Buddhist and Hindu temples, is the sculpture of a Yakshi with her foot on the trunk and her hands holding the branch of a flowering ashoka tree. As an artistic element, often the tree and the Yakshi are subject to heavy stylization. Some authors hold that the young girl at the foot of this tree is based on an ancient tree deity related to fertility.

Yakshis under the ashoka tree, were also important in early Buddhist monuments as a decorative element and are found in many ancient Buddhist archaeological sites. With the passing of the centuries the yakshi under the ashoka tree became a standard decorative element of Hindu Indian sculpture and was integrated into Indian temple architecture as salabhanjika, because there is often a confusion between the ashoka tree and the sal tree (Shorea robusta) in the ancient literature of the Indian Subcontinent.
©　More in the WIKIPEDIA !



Kāmadeva, Kamadeva (Sanskrit in Devanagari: कामदेव)
is the Hindu god of human love or desire. Other names for him include; Manmadhudu (Telugu: మన్మధుడు) Atanu (one without a body), Ragavrinta (stalk of passion), Ananga (incorporeal), Kandarpa ("inflamer even of a god"), "Manmatha" मन्मथ Manmadha (churner of hearts), Manasija (he who is born of mind, a contraction of the Sanskrit phrase Sah Manasah jāta), Madana (intoxicating), Ratikānta (lord of Rati), Pushpavān, Pushpadhanva" Kusuma shara कुसुमशर (one with arrow of flowers) or just Kāma ("longing"). Kamadeva, is son of Hindu goddess Sri and, additionally, Pradyumna, Krishna’s son is considered as incarnation of Kamadeva.
©　More in the WIKIPEDIA !

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Seal of the Fifth Dalai Lama, a gift of the Chinese Emperor



This seal with a dragon-shaped handle is inscribed in the three official languages of the Qing dynasty - Chinese, Manchu and Tibetan.

It reads:
"Seal of the Dalai Lama, Buddha of Great Compassion in the West, leader of the Buddhist faith beneath the sky, holder of the vajra."

The Chinese script is a standard official version of Small Seal Script, codified from the calligraphy of China's early history when writing was done with a stylus rather than a brush. Manchu script is derived from Mongol and ultimately from Uighur script, and Tibetan from the ancient Indian Brahmi script used by
Emperor Ashoka, the first great Dharmaraja patron of Buddhism in India.

The seal was made for the Fifth Dalai Lama (1617-1682), a political genius and great religious scholar, who changed the face of east and central Asia, and who is generally referred to as 'The Great Fifth.'

Allied with the Mongol Gushri Khan, the Fifth Dalai Lama brought the various Tibetan clans and religious orders into a semblance of national unity by the middle of the 17th century. He also earned the devotion of the Mongol nobility, who flooded Lhasa with gifts, which he used to enrich his country with great works of art, monasteries, and public buildings. He chose Lhasa as his capital, transforming it into a cosmopolitan city. He ordered the construction of his seat of government, the Potala Palace, to be built on Red Hill, where the palaces of earlier Tibetan Kings once stood, consciously reclaiming ancient glories.
(Text courtesy of the Rubin Museum of Art, June 2005).

Himalayan Art
source : 2006 Shelley and Donald Rubin Foundation.
http://www.himalayanart.org/image.cfm/101502.html


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DRAGON ART - TOP


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Chinese Dragons 03

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© Dragon by ste7en, Wikimedia
http://commons.wikimedia.org/wiki/Category:Chinese_dragon

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Look at many more Chinese Dragons at this LINK
http://commons.wikimedia.org/wiki/Category:Chinese_dragon

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Read more about the Mythology of the Chinese Dragon in this Gallery !


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Daruma Museum, Japan