Associate Professor Dr. Dinh Hong Hai is the Head of the Department of Cultural Anthropology, Faculty of Anthropology, University of Social Sciences and Humanities (Vietnam National University, Hanoi). He is also a specialist in symbol research with the book series "Characteristic Symbols in Vietnamese Culture" (volumes 1-4).
PV: The dragon symbol is not unique to Vietnam; many other European and Asian countries also have dragons. So, what is the spiritual difference between the Vietnamese dragon and the dragons of other countries, sir?
Associate Professor Dr. Dinh Hong Hai
Associate Professor Dr. Dinh Hong Hai: In reality, both the East and the West have dragon symbols. Compared to the West, the dragon in Eastern culture in general and Vietnamese culture in particular carries many positive elements. Meanwhile, the dragon in the West carries a negative meaning, which is why there is the image of a hero slaying the dragon.
When it comes to the Vietnamese dragon, many people think of it as a symbol copied from China, from cultures sharing a similar cultural background with China. However, these people don't consider the other element: the Naga serpent symbol of India. In cultures sharing a similar cultural background with China or India, there are two symbols: the dragon and the Naga serpent. The Vietnamese dragon symbol is a wonderful combination of the Chinese dragon and the Indian Naga serpent.
Could you elaborate on how the Vietnamese dragon symbol is a combination of the Chinese dragon and the Indian Naga serpent?
The Chinese dragon is a four-legged creature with a tail, a mane on its head, and a large mouth with sharp fangs. From an artistic perspective, the Chinese dragon is not particularly beautiful. However, this archetype is quite fully incorporated into the dragons of the Ly Dynasty, differing only in their expressive language. Meanwhile, the Indian serpent is depicted with great fluidity and its expressive language is very similar to that of the Ly Dynasty dragon.
Dragon imagery from the Ly Dynasty is displayed at Thang Long Imperial Citadel.
Dragon drawing from the Ly Dynasty
Dragon head discovered in Thang Long Imperial Citadel
More precisely, the dragons of the Ly Dynasty have body parts similar to Chinese dragons, but the artistic details are inspired by the Indian serpent deity. Some particularly important details, such as the mane, beard, and head shape, are almost entirely those of the Naga serpent deity. Another unique feature is that the mane, beard, and head of the dragon are arranged in the shape of a Bodhi leaf – a characteristic of Buddhist art. This detail affirms a departure from the influence of Chinese dragons. Furthermore, while the mane of the Chinese dragon flies backward, the mane of the Ly Dynasty dragons and the serpent deity flies forward, forming tightly structured and complete decorative bands.
I think this combination is also the reason why Professor Tran Quoc Vuong once said that the art of the Ly Dynasty was a pinnacle that later periods could hardly match. The dragon symbol of the Tran and Le Dynasties cannot compare to the dragon symbol of the Ly Dynasty. The Ly Dynasty dragon is a masterpiece with its gracefulness - a bridge between Chinese and Indian cultures within the culture of Dai Viet.
Does he mean that the dragon from the Ly Dynasty is the most beautiful dragon in the entire history of Vietnamese art?
That's right, aesthetically speaking. But this symbol also possesses other beauties, stemming from the regal nature of the dragon symbol. For folk artisans to create the Ly Dynasty dragon symbol, combining the Naga serpent with the Chinese dragon, a crucial element was required: the permission of the imperial court.
Reconstruct the dragon pillar model in Bach Thao.
The stone pillar of Phat Tich Pagoda has a dragon design.
The Ly Dynasty allowed dragons to be used exclusively by the Ly emperors, unlike the Chinese emperors who often monopolized them. The Ly Dynasty used the dragon as a national symbol, not a symbol exclusive to the royal family or the emperor. Therefore, dragons could be found in temples, pagodas, and even in people's homes. The Ly Dynasty also lacked strict regulations regarding the number of claws required for dragons, unlike the Song or Ming dynasties in China. This allowed artisans to unleash their creativity in dragon design. This democratic element is evident in the dragons of the Ly Dynasty.
The dragon symbol of the Ly Dynasty affirmed the human rights, royal power, and sovereignty of the Vietnamese people, reflecting their pride in being citizens of an independent nation. Following the Ly Dynasty, the Tran, Le, Tay Son, and Nguyen dynasties all used the dragon as a national symbol through the authority of the king. To this day, the dragon is still considered the ancestor of the Vietnamese people from the Hong Bang era, with the legend of Lac Long Quan and Au Co, and Vietnamese people today still identify themselves as "descendants of the dragon and the immortal."
Gather strength to soar!
In the art of the Ly Dynasty, the dragon can be considered a sacred symbol embodying the values and essence of the era. It not only established a distinct image for this dynasty in Vietnam but also differentiated it from dragon imagery in other parts of Asia. Although somewhat influenced by Tang Dynasty dragons, the Champa elements and the sinusoidal rhythm gave it a truly unique appearance. In the profile view, the sinusoidal rhythm gradually tapering towards the tail makes this mythical creature seem to gather a powerful force to soar above the swirling clouds, serving as a supporting element. Furthermore, the dragon's crest, transformed into a Bodhi leaf-like cross-section, symbolizes the harmonious blend of Buddhist and Confucian ideals of the era, making this symbol truly remarkable.
Associate Professor Trang Thanh Hien, Vietnam Fine Arts University
The guardian deity Dragon and " fashion style"
We see images of dragons in many temple inscriptions from the Ly Dynasty. In these inscriptions, the dragon consistently appears as a mythical, enlightened creature, a guardian deity. The image of the dragon spouting crystal water in the Minh Tinh stele, or the nine dragons running in procession in the Sung Thien Dien Linh stele, are a reflection of the dragon king spouting water at the Buddha's birth. Thus, it can be seen that the art of the Ly-Tran period (as Chu Quang Tru calls it) was Buddhist art. The image of the dragon in the culture of the Ly-Tran period, specifically in the architecture and sculptures of this era, likely all carried within it Buddhist connotations.
Dragons became a "fashion trend" throughout the Tran Dynasty, to the point that even commoners and servants in ordinary households imitated the dragon tattoo trend, forcing the court to issue a law prohibiting it. The Tran royal family, originally martial artists from the coastal region, tattooed dragons on their thighs to always remember their ancestral origins and to ward off sea dragons (crocodiles, sea serpents). Tran soldiers all tattooed floral dragons (Thai Long) on their stomachs, backs, and thighs as a symbol of the heroic spirit of the Dong A era.
The above evidence shows that the dragon was a widespread symbol during the Ly-Tran dynasties. Dragons appeared in palaces and pavilions of the imperial court. Dragons were used to name mountains, rivers, temples, and pagodas. Dragons were considered auspicious omens, signaling the appearance of a virtuous king or signifying victory over enemies. Dragons coiled and flew on imperial robes and palanquins. Dragons entered the art of sculpture, architecture, and court performances. Dragons also permeated the artistic life of the common people. However, these rich manifestations are now only recorded in a few lines in historical documents.
Images such as two dragons offering a pearl, dragons bowing to Bodhi leaves, dragons on columns following the model of the Sumeru platform - nine mountains and eight seas, dragons still holding pearls in their mouths, and dragons abundant on material traces in Thang Long Imperial Citadel show that the dragon symbol not only appeared in Buddhist temples and pagodas but had become a prominent and permanent element in court culture and art.
A common feature of dragon motifs during the Ly Dynasty is the dragon holding a pearl in its beak. In our opinion, no previous research has deciphered the symbolic meaning of this motif. Essentially, this motif originates from the "dragon maiden offering a pearl" in Buddhist scriptures. The appearance of the "dragon maiden offering a pearl" motif, with the dragon maiden transforming into a male Buddha, can be considered a visual indicator showing the specific influence of Mahayana Buddhism on Dai Viet during this period.
Associate Professor Tran Trong Duong, Institute of Han Nom Studies
The dragon's influence through names containing the word "Long" (Dragon).
Research by Associate Professor Dr. Tran Trong Duong of the Institute of Han Nom Studies shows that during the Ly Dynasty, the name "dragon" appeared frequently in inscriptions and historical records. A dragon appeared at Truong Xuan Palace, leading the king to name the pagoda at Do Son (Buddhist temple) Tuong Long. A dragon flying over the sea led to the construction of a pagoda on Long Chuong Mountain (representing the brilliance of the dragon). Dragons swarming in herds and formations across rivers led to the construction of a pagoda at Long Doi (Dragon Army). A dragon on Long Ty Mountain perched on the hand of Khai Minh Vuong, announcing a great victory over Champa, was considered an auspicious sign for the wise ruler Ly Phat Ma (Ly Thai Tong). A dragon flew alongside King Ly Nhan Tong's royal boat to the waterfall on the banks of Long Thuy River during the battle to suppress the Ma Sa rebellion. Then there were the Phi Long Gate, Long Do Pavilion, Hoi Long Palace, Long Thanh Wall, and Long Tri within the royal palace, where dragons coiled on the mountain peaks to celebrate the longevity of Van Tue Nam Son…
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