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History | February 9, 2024


WHY IS THE YEAR OF THE DRAGON CONSIDERED SO LUCKY?

The only mythical creature in the Chinese zodiac, the dragon has long been
associated with prosperity and imperial power


Long before it was imbued with symbolic meaning in the zodiac and beyond, the
dragon was an ambiguous silhouette adorning art forms. Illustration by Meilan
Solly / Photos via Wikimedia Commons, Metropolitan Museum of Art and Flickr
under public domain

Catherine Duncan

Staff Contributor



A camel’s head, a deer’s horns and a demon’s eyes. A bull’s ears, a snake’s neck
and a clam’s belly. A carp’s scales, an eagle’s claws and a tiger’s paws. Pieced
together, these disparate physical features yield an illustrious creature of
Chinese legend: the dragon.

Believed to soar through the waters and heavens as a nature deity ruling over
the rains, the dragon is a dominant figure in Chinese mythology, perched at the
center of longstanding creation tales. Ancient legends depict the mythical
being, called long in Chinese, descending to the ground with the fog and rising
out of the ocean with the sun, moving the seasons in its wake. Initially a vague
motif in ancient Chinese art, the dragon is now an emblem of benevolent
divinity, imperial power and sweeping unity. Its symbolism builds on thousands
of years of folklore and Chinese history. And, as the only mythological animal
in the Chinese zodiac system, the dragon takes on yet another layer of meaning.

A Zhou dynasty wine vessel featuring a depiction of a dragon Public domain via
Wikimedia Commons A jade Chinese dragon Metropolitan Museum of Art


The Chinese zodiac consists of 12 animals—the rat, ox, tiger, rabbit, dragon,
snake, horse, goat, monkey, rooster, dog and pig—that alternate every Lunar New
Year. Though the timing of the Lunar New Year changes based on cycles of the
moon, the celebration generally falls between January 21 and February 20,
beginning with the second new moon after the winter solstice. Every Lunar New
Year, a new zodiac animal takes over the reins of fate. Its character guides the
course of the year, and individuals born under its sign are said to adopt its
behavior, character traits and compatibility standards.

Arriving fifth in the sequence, the dragon is the most potent—and most
desired—zodiac symbol. It “catalyzes all the powers of nine animals and is
therefore considered very supreme,” says Richard E. Strassberg, an expert on
Chinese culture and the author of A Chinese Bestiary: Strange Creatures From the
Guideways Through Mountains and Seas. “There [is] an overwhelming mixture of
respect and hope in invoking the dragon’s powers.”

When the Year of the Dragon arrives, birth rates in China tend to boom. Many
parents believe that a child born during this year, a lucky dragon baby, will be
destined for success. Though this perception is often a self-fulfilling
prophecy, with parents investing greater resources in their dragon child, the
extraordinary expectations surrounding the zodiac creature speak to its deep
associations with intelligence, authority and good fortune. This year, the
dragon will take the helm from the rabbit on February 10, ushering in a
long-anticipated period of prosperity unique to the mythical being.

A 16th-century Ming dragon medallion Public domain via Wikimedia Commons


THE BIRTH OF THE ZODIAC

The 12-year Chinese zodiac cycle has ancient origins, but exactly when it became
associated with specific animal symbols is subject to debate. Zodiac creatures
are represented in artifacts and depicted in Chinese literature as early as the
Warring States period, which spanned 475 to 221 B.C.E., and some scholars assert
that a Chinese zodiac system has existed since the reign of Qin Shi Huang, the
first Qin emperor, who ruled immediately after that period. But the
classification scheme was only widely adopted during the Han dynasty, which
presided over China from 206 B.C.E. to 220 C.E. “The system that included these
12 animals continues to be developed and represented, and [it] evolved in
connection with folklore from then on,” says Strassberg.



The accompanying zodiac legend varies across Buddhist and Taoist belief systems,
but the overarching narrative remains relatively consistent. In it, a deity
often identified as the Jade Emperor calls upon all animals to participate in a
race. The first 12 animals to complete the course will be included in the zodiac
calendar, with their position in the cycle determined by the order in which they
arrive at the finish line.

The dragon is the only mythological creature in the Chinese zodiac system.
Public domain via Wikimedia Commons

Each zodiac animal’s competition strategy is indicative of that sign’s traits.
The rat, for instance, finishes in first place by convincing the ox to carry it
across the river; it represents cunning and tenacity. The dragon, expected to
easily prevail due to its powers of flight, stops halfway through the race to
provide water to a drought-ridden village, immortalizing the animal as a symbol
of selfless benevolence.

The zodiac also alternates between the five fundamental elements: wood, fire,
earth, metal and water. This year, the dragon inhabits the wood element, which
represents development and achievement.


EARLY FORMS IN ART

Long before it was imbued with symbolic meaning in the zodiac and beyond, the
dragon was an ambiguous silhouette adorning art forms—a sheer convention of
imagination, says J. Keith Wilson, curator of ancient Chinese art at the
Smithsonian’s National Museum of Asian Art. The Chinese word for dragon has been
in use since the Bronze Age, and “a creature called the dragon has been in the
Chinese art vocabulary for thousands of years,” says Wilson.

Representations of dragons are etched into divination inscriptions and reflected
in the shape of ritual bronze vessels unearthed in Anyang, the capital of the
Shang dynasty. (An ongoing exhibition at the museum, “Anyang: China’s Ancient
City of Kings,” examines the city’s archaeological riches through a display of
more than 200 artifacts.) “For more than a thousand years before the advent of
symbolic designs—roughly the length of the Chinese Bronze Age—the dragon
flourished in art without a set of specific associations,” wrote Wilson in a
1990 journal article.

A group of ritual wine-pouring vessels decorated with masks, dragons and animals
from the middle and late Anyang period, circa 1150 to 1100 B.C.E. National
Museum of Asian Art


The commanding version of the dragon seen today only emerged during the Han
dynasty, when “this notion of mythological creatures being composite [creations]
with aspects of different living forms” gained popularity, says Wilson. The
amalgamation “results from contact between China and Central and Western Asia,”
he adds. This increased exposure “helps us understand why dragons before the Han
dynasty look very different from dragons after the Han dynasty.”


CREATURES OF COSMOLOGY

The composite dragon wields extensive powers, says Strassberg, controlling
rainfall, thunder, wind, tornadoes and storms. Though the creature’s influence
lies mainly in the realm of water and weather, hundreds of iterations exist
within Chinese culture, each with its own distinct mythology.

Historical texts offer a sense of this rich lore. Compiled between the fourth
and first centuries B.C.E., the Shan Hai Jing features a dragon-headed deity
that sends booms of thunder rollicking across the skies by using his stomach as
a drum. (Strassberg’s Chinese Bestiary translates the Shan Hai Jing and provides
additional cultural context on this collection of mythic geography.)

A mural depicting the Azure Dragon Public domain via Wikimedia Commons

The Shan Hai Jing also presents the dragon as one of the “Four Symbols” in
Chinese astrology, which assigns a protector to each cardinal direction. The
Azure Dragon rules over the east, a connection that Strassberg attributes to the
rising of the sun in the sky in that direction, “just as dragons rise from the
water toward the skies.” According to Wilson’s journal article, the Azure Dragon
and its fellow protectors were “believed to be benign” guardians, their
likenesses “often used to decorate palaces and public buildings.”



In the Huainanzi, a second-century B.C.E. text detailing the ideal structure of
an empire, Prince Liu An writes that at the beginning of the universe, “dragons
arose and phoenixes alighted.” When describing terrestrial properties of the
planet, the prince claims that “the earthen dragon brings rain.” Liu An also
tells of a fifth cardinal direction, the center of the world, represented by the
Yellow Dragon.

According to Strassberg, the dragon is often ritually paired with the phoenix to
maximize its auspicious qualities. The combination allows for perfect harmony
between the dragon, associated with the active, masculine principle of yang, and
the phoenix, linked to the passive, female principle of yin.

One of the best-known ancient Chinese legends centers on the nine sons of the
dragon, among them Ya Zi, a bloodthirsty being who often appears on weapons, and
Pu Lao, a roaring creature typically depicted atop of bells. Other types of
dragons featured in Chinese folklore include the Celestial Dragon, the Spiritual
Dragon, the Dragon of Hidden Treasures, the Dragon of the Underworld, the Winged
Dragon, the Horned Dragon, the Coiling Dragon, the Yellow Dragon and the Dragon
King, a Hindu deity that was later absorbed into the Buddhist pantheon.

One of the nine dragons depicted on a wall relief in China Richard Fisher via
Wikimedia Commons under CC BY 2.0 DEED


A SPIRITUAL NEIGHBOR

Though the dragon was viewed as the “superior force in [the] cosmos,” it wasn’t
just a vague allegorical deity, Strassberg says. Believed to dwell deep within
oceans, lakes and rivers, the dragon was considered a neighbor, part of the
larger spiritual population. “No one claimed to have directly captured or seen
the dragons,” the scholar adds, “but they were believed to exist everywhere, and
people could represent and depict them because they knew what animals came
together to form their bodies.”



The dragon’s cultural significance was inextricably tied to China’s agricultural
society. Farmers prayed to the creatures for good weather, erecting temples
during droughts to implore the dragon to grant rain and fruitful harvests. “On a
folklore level, there is a general view that dragons bring benefits and are
inherently good,” Strassberg says.

In stark contrast to the fire-breathing, gold-hoarding dragons of medieval
Europe, Chinese dragons were perceived as benevolent creatures. Though they
lived peacefully among the population, they were still thought to be “very
mysterious and unpredictable, [just] as the weather is,” says Strassberg. “Human
beings would feel very minuscule in relation to the dragon’s power, and in
general, there would not be a feeling of intimacy toward this powerful creature.
They wouldn’t welcome an encounter.”


THE EMBLEM OF THE EMPEROR

Beyond its enduring role in Chinese culture, the dragon played a crucial part in
the consolidation of the Chinese imperial state.

Shiji, a monumental history compiled around 85 B.C.E. by Han dynasty court
scribe and historian Sima Qian, states that the birth of the first Han emperor,
Gaozu, was blessed by a dragon.

A Qing dynasty dragon robe featuring a five-clawed dragon Cooper Hewitt,
Smithsonian Design Museum

Sima Qian recounts the event in mystical fashion, writing:

> Before he was born, [Gaozu’s mother] Dame Liu was one day resting on the bank
> of a large pond when she dreamed that she encountered a god. At this time, the
> sky grew dark and was filled with thunder and lightning. When Gaozu’s father
> went to look for her, he saw a scaly dragon over the place where she was
> lying. After this, she became pregnant and gave birth to Gaozu.



Gaozu is largely credited with laying the foundation of imperial China’s ruling
structure, and he is often said “to be descended in some way biologically [from]
the dragon,” Strassberg notes. In chronicles of Gaozu’s rule such as Sima
Qian’s, the dragon became inseparable from imperial authority and ascendancy. It
also emerged as a unifying agent for ethnically Han Chinese people, many of whom
now consider themselves “descendants of the dragon.”

The supremely powerful dragon became “the emblem of the emperor,” says
Strassberg. It was taboo to refer to this supreme leader directly, so dragons
became a vehicle for honoring the emperor from a respectful distance.

Under later Chinese dynasties, among them the Yuan, Qing and Ming, only the
emperor and other senior royals could wear garments depicting a dragon with five
claws, representing ultimate authority over all five elements. Lower-ranking
individuals were expected to wear robes featuring four-clawed dragons.

Chinese Dragon Dance
Watch on


“[The dragon’s] associations with mutability, with water, storms, male
energy—all of those attributes evolve over time, and it’s very early on taken as
a symbol for the imperial institution,” says Wilson. “Its use on imperial
costume, for example, really cements the association of the dragon with power.”

In a departure from the loose artistic visualizations seen during the Bronze
Age, the Chinese dragon has evolved into a concrete symbol of prosperity and
power. The creature has shaped mythological conceptions of creation, played a
key role in religious practices and adorned the clothing of the most powerful
figures in imperial history. Its dynamic presence is felt throughout Chinese
culture: Every Lunar New Year, traditional dragon dances featuring giant dragon
puppets snake through clamoring crowds, bestowing luck on all those present. The
upcoming Year of the Dragon is steeped in this historic symbolism, bringing with
it thousands of years of meaning.



“In the end, the invisible dragon of nature is, ironically, the most real and
tangible of all. After its deep winter slumber, this creator awakens in spring
and rises to the sky to provide the earth with new life,” wrote Wilson. “In this
context, the dragon is a pulsating force, the world’s activating agent.”

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Catherine Duncan | READ MORE

Catherine Duncan is an intern with Smithsonian magazine.


Filed Under: Archaeology, Art, Art History, Asian Art Museum, Asian History,
Buddhism, China, Cooper Hewitt, Smithsonian Design Museum, Exhibitions,
folklore, Magic, Monarchs, Religious History, Smithsonian Institution


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