In Asian myths, no
creature is as
impressive as the dragon. For Vietnamese peasants, the dragon was a
vivid symbol of the fourfold deity-clouds, rain, thunder and lighting.
Represented by an S shape, dragons are depicted on artifacts dating back
to the Dong Son-Au Lac culture, which existed in northern Vietnam in
the first millennium B.C. Later came the cult of Tu Phap, or the Four
Miracles. Long ago stargazers identified the Dragon constellation made
up of seven stars arranged like an S. The brightest star is the Mind
(Tam), also known as the Divine (Than) star. The word Than may also be
read as Thin (Dragon), which denotes the third month of the lunar
calendar and represents the Yang vital energy.
Dragons were also associated with kingship. Every Vietnamese person
knows the legend of Lac Long Quan and Au Co. Lac Long Quan (King Dragon
of the Lac Bird Clan) is known as the forefather of the Vietnamese
people. He is said to have been the son of a dragon, while his wife, Au
Co, was the child of a fairy. Their eldest son, King Hung, taught the
people to tattoo their chests, bellies and thighs with dragon images to
protect themselves from aquatic monsters.
During the Ly Dynasty (11th to early 13th centuries), the dragon
became a common decorative motif in plastic arts. In the royal edict on
the transfer of the capital to Thang Long in 1010, it was written: “The
Capital is chosen due to the lay of the land, which affects a coiling
dragon and a sitting tiger”.
Legend has it that on the sunny day when the royal barge landed at
Dai La, the king saw a golden dragon rise into the sky. Taking this as a
good omen, he named the new capital Thang Long, or City of the Soaring
Dragon. The modern city of Hanoi stands on this same site.
The Ly king had a cluster of shops and inns built up to the walls of an
ancient temple once dedicated to the dragon deity. One night, the dragon
deity revealed himself in the form of a violent northerly wind, which
knocked down all of the houses but left the temple intact. Following
this event, the king cheerfully proclaimed: “This is the Dragon God, who
takes his charge over earthly affairs”.
The Ly dragon was derived from India’s mythical Naga, which Southeast
Asian peoples influenced by Indian mythology had transformed into a sea
god. The Ly depiction of the dragon is both sophisticated and unique.
The dragon’s elaborate head is raised, flame-co loured crest thrust out,
a jewel held in its jaws. Its mane, ears and beard flutter gracefully
behind, while its lithe, undulating body soars above the waves. The
dragon was usually depicted inside a stone, a piece of wood, a bodhi
leaf, or a lotus petal. Dragon images appear on the pedestals of statues
of Amitabha Avalokitecvara (Kwan Kin), on cylindrical stone pillars in
the hall
dedicated to heaven in Thang Long Citadel, and on a five meter-high
hexagonal stone pillar in Giam Pagoda in Bac Ninh province. The latter
is considered by art historians to be a colossal linga. Lingas symbolize
the male Yang element, while dragons symbolize the Yin element.
That dragons, or long, associated with royalty, are revealed by the
names given to the king’s personal effects and person, such as long con
(royal
tunics), long chau (royal boat), long thi (royal person), and long dien (royal countenance).
During the Tran Dynasty (early 13th to end of 14th centuries), the
dragon retained the sophisticated style of the Ly dragon, yet changed to
reflect the greater authority of the dynasty which defeated invading
Mongol forces three times. The image became more detailed, with a large
head, forked horn, four fierce a claws (stone carving in Boi Khe
Pagoda), and a massive, rounded body, covered in carp scales (Pho Minh
Pagoda).
The dragon took on a whole new appearance under the Le Dynasty (early
15th to end of 18th centuries). With a raised head, forked horn, wide
forehead, prominent nose, large, forceful eyes, five claws, and two
splayed feet, a dragon crept up the balustrade of Kinh Thien Hall’s
central staircase. This fierce and imposing dragon was clearly a symbol
of royal authority.
Examples of
Le era dragons may be found carved in stone in Co Loa Temple, carved on
wooden doors in Keo Pagoda, and carved in the royal stone bed in Dinh
Temple.
The Nguyen Dynasty (early 19th to mid 20th centuries) had dragons much
like those of the Le. The top ridges of palace roofs were decorated with
undulating dragons covered in sparkling porcelain tiles.
Initially, dragons in Vietnam were associated with water and Yin
energy. Dragons were popular among the common people, who believed that
rain was created by nine dragons, which took water from the sea to pour
down on the rice paddies. The dragon dance, a great favorite among people of all walks of life, was used to invoke rain.
Many place names in Vietnam bear the word long (dragon), as in Ha
Long Bay (Where the Dragon Descended) or the Cuu Long River (Nine
Dragons).
Dragons occupied the top position in traditional geomancy, especially
for sovereigns. It was said that Le Hoan was able to found the Anterior
Le Dynasty (980-1009 A.D.) because his grandfather’s tomb was situated
on a “vein in the dragon’s jaw”. The Royal Chronicle of the Restored Le
Dynasty contains a story about Prince Lang Lieu, who saw a black dragon
perched on his father’s tomb. “Golden dragons for emperors, black
dragons for kings,” states this ancient text.
Like Chinese monarchs, Vietnamese sovereigns chose the dragon as the
symbol of their power. But unlike the Chinese dragons, which were shown
descending from heaven and spitting fire, the Vietnamese dragons were
shown ascending from water. Though imposing and fierce, the Vietnamese
dragons were never threatening.
source:http://www.vietnam-culture.com/articles-221-34/Tale-of-Vietnamese-Dragon.aspx
