Fictitious & Symbolic Creatures in Art. John Vinycomb

of Bellerophon and the Chimera, in which the last has given place to the dragon and the pagan hero to St. George.

      Japanese Dragon.

      “In ancient families there are usually traditions of some far-distant ancestor having slain a desperate monster. It is always the colonial dragon that has been borrowed by poets and romancers. The Dragon killed by Guy of Warwick is but another variation of the chimera. There is again the Sockburn Worm, slain by Sir John Conyers for the devouring of the people of the neighbourhood; the well-known tradition of the Lambton Worm is in reality a modification of the Aryan Dragon of the Stormcloud; smaller than a man’s hand he swells out to prodigious dimensions.”

      A favourite subject for Chinese and Japanese painting and sculpture is a dragon very much of the same type, and a monstrous representation of a dragon in the form of a huge Saurian still forms the central object at Japanese festivals.

      Among the Chinese the dragon is the representation of sovereignty, and is the imperial emblem borne upon banners, and otherwise displayed as the national ensign. To the people of that vast country it represents everything powerful and imposing; and it plays an important part in many religious ceremonies and observances. Dr. S. Wells Williams, the eminent sinalogue, describes the fabulous monster of Chinese imagination in the following passage: “There are three dragons—the lung in the sky, the li in the sea, and the kiau in the marshes. The first is the only authentic species according to the Chinese; it has the head of a camel, the horns of a deer, eyes of a rabbit, ears of a cow, neck of a snake, belly of a frog, scales of a carp, claws of a hawk, and palm of a tiger. On each side of the mouth are whiskers, and its beard contains a bright pearl; the breath is sometimes changed into water and sometimes into fire, and its voice is like the jingling of copper pans. The dragon of the sea occasionally ascends to heaven in waterspouts, and is the ruler of all oceanic phenomena.” The fishermen and sailors before venturing away from land or returning to port, burn joss-sticks and beat gongs to ward off the evil influences of the dragon, and it is worshipped in a variety of ways. According to a fable current in China, the Celestial Emperor Hoang-ti was carried up to heaven, along with seventy other persons, by a great dragon; those who were only able to catch at his moustaches were shaken off and thrown on the ground. It is still the custom when an emperor dies to say that the dragon has ascended to heaven. An eclipse the simple Celestials believe to be caused by a great dragon that seeks to devour the sun or moon. A great noise is made by firing guns, beating drums, and the rattling and jangling of pairs of discordant instruments to frighten the monster away. A frequent subject of their artists is the dreadful dragon sprawling through masses of curling clouds in the act of grasping at or swallowing the great luminary, a subject which no doubt bears a deeper meaning than we see, and one intimately connected with their mythology.