The Vietnamese dragon symbol and its relationship with countries in the region.

As the Year of the Dragon arrives, welcoming a new spring, let's explore the fascinating story of the nine children of the dragon. At the same time, this article emphasizes the differences in natural conditions, aesthetic sensibilities, beliefs, and religions that have led to both similarities and differences in the representation of the dragon symbol in Vietnam compared to other countries in the region.

Dragons, symbols of the dynasty, in the Imperial Citadel of Hue .

The "Huainanzi," a book by Liu An (179 BC - 122 BC), is an early written document introducing various types of dragons: flying dragons, eagle dragons, intertwined dragons, and immortal dragons. These dragon imagery incorporates many characteristics of real animals such as birds and fish. Later, dragon imagery was created according to a set of "nine points of similarity," including: deer antlers, camel's head, demon eyes, snake's neck, clam/mussel belly, carp scales, hawk claws, tiger's feet, and bull's ears. A protruding bump is present on the dragon's head; without this bump, the dragon cannot fly. To aid in flight, wings were added; similarly, manes and beards were also added. Not only the dragon symbol, but also the nine children of the dragon (long sinh cửu tử) were historically favored in Vietnam and other Northeast Asian countries, including China, Japan, Korea, and South Korea. This depiction of a "family" of dragons is based on a combination of mythical creatures—dragons—and real -world animals.

Japanese dragons, with their distinctive three claws, are a unique characteristic of the Japanese dragon.

Legends about dragons giving birth have existed for a long time, mentioned in historical texts such as "Pre-Qin and Han Dynasties" and "Records of the Grand Historian." However, it was not until the Ming Dynasty that noteworthy records emerged: "Huai Lu Tang Ji" by Li Dongyang (1447-1516), "Shu Yuan Za Ji" by Lu Rong (1436-1494), "Sheng An Wai Ji" by Ru Yangshen (1488-1559), and "Wu Za Zhu" by Xie Zhao Zhe (1567-1624). The records about the dragon's offspring are diverse, with varying content, but fundamentally, it can be summarized that the dragon gave birth to nine children, none of whom were dragons themselves; they only possessed some dragon characteristics. There are two main theories about the dragon's offspring, with different orders. According to one theory, the order of the nine offspring of the dragon is: the eldest son Tu Niu, followed by Yai Te, Chao Feng, Bo Lao, Suan Ni, Ba Xia, Bei Yan, and Fu Xi, and the ninth son is Xi Wan. Another theory suggests the order of the nine offspring is: the eldest son Ba Xia, Xi Wan, Bo Lao, Bei Yan, Tao Tie, Gong Fu, Yai Te, Suan Ni, and Xiao Tu. In total, there are twelve figures believed to be the children of the dragon. Because the dragon is a sacred animal, its offspring also possess that spiritual energy, bringing good fortune and auspiciousness wherever they appear. Depending on the personality of each child, their images are used to decorate different places such as doors, utensils, weapons, and musical instruments: - Tu Niu has the form of a small, yellow dragon with horns like those of a unicorn. This creature is very fond of music, so it often chooses the head of a musical instrument as its mount; therefore, the ancients often used the image of the Tu Niu to decorate musical instruments. - The Nhai Te has the appearance of a wolf, with dragon horns growing lengthwise down its back. This creature has fierce eyes, an aggressive temperament, and a thirst for killing. Based on this nature, the Nhai Te is often chosen to be carved onto weapons, both for decoration and to increase their intimidating and destructive power. - The Chao Feng is adventurous, likes climbing, and gazes into the distance. Therefore, this creature is often carved on the tops of pillars, roof corners of houses, or some high points on architectural structures with the meaning of preventing fires and warding off evil spirits. - The Bo Lao lives near the sea, but is very afraid of whales. Every time it encounters a whale, the Bo Lao usually cries out loudly. Therefore, the Bo Lao is often cast above bells, implying that the sound of the bell will carry far. - The Toan Nghe has the body of a lion and the head of a dragon. However, unlike its boisterous brethren, Toan Nghê lives quite quietly. This creature prefers tranquility and often sits still, watching the smoke from incense rising. Therefore, Toan Nghê is often carved above incense burners. - Bá Hạ has the body of a turtle and the head of a dragon. Bá Hạ likes to carry heavy objects, so it is often decorated at the base of pillars or stone steles. - Bệ Ngạn has the shape of a tiger, with long, sharp fangs, possessing great intimidating power. Bệ Ngạn is very upright, righteous, loves justice, and often argues for fairness. Therefore, Bệ Ngạn is often decorated at the entrances of prisons, government offices... or places related to law and justice. - Phụ Hí has ​​the shape of a dragon, but with an elegant appearance, often lying coiled on rocks. Phụ Hí loves to admire the inscriptions on steles, often lying down to gaze at them. Because of this unusual preference, Phụ Hí is often carved in pairs, symmetrically, on steles. - Xi Wan lives in the sea, has a dragon-like head, tail, fins, a wide mouth, and a short body. Whenever it strikes its tail in the water, water splashes up to the sky, obscuring the entire landscape. Legend says Xi Wan enjoys admiring the scenery and often helps people extinguish fires, so it is carved as a decorative element on the roofs of ancient palaces, temples, and shrines... symbolizing protection against fire and preventing conflagrations. - Tao Tie has large eyes, a wide mouth, and a strange appearance. This mythical creature is insatiably gluttonous. Therefore, it is cast on eating utensils as a reminder to eaters not to be gluttonous and become impolite. - Gong Fu loves water, so it is carved as a decorative element on structures and means of water transport such as bridges, canals, dams, docks, and boats... with the hope that Gong Fu will always be in contact with, manage, and oversee the water supply for the people. - Xiao Tu likes seclusion, often curls up into a snail, and dislikes others intruding on its territory. The image of the "Tieu Do" (a type of decorative motif) is often carved on doors or used to decorate doorknobs, implying discretion and security for the homeowner.

One of the nine dragon offspring is depicted on the entrance gate of the Hue Imperial Citadel.

Comparing Vietnamese Dragons and Dragons in Northeast Asian Countries: The image of the dragon, originating in China, evolved and evolved in Vietnam, South Korea, North Korea, and Japan, adapting to different interpretations and the tastes and social elites of those countries. These differences stem from the varying natural and social contexts of these nations. Initially used to express the aesthetic sensibilities and ideas of individual sculptors and painters, the dragon's symbolism was later imbued with a broader set of values, manifested in various roles, forms, and colors. Consequently, dragon symbols can differ between Vietnam and other Northeast Asian countries. Although influenced by Confucianism, countries outside of China still possess unique characteristics in the role and symbolic meaning of the dragon. While China once had a royal ban on the worship of dragons among the people, in Vietnam, dragon imagery is prevalent in many local temples and pagodas. In terms of its role, one commonality across most countries is that the dragon serves as a protector and guardian for humanity – one of its longest-standing and earliest roles. In the "Huainanzi" chapter on astronomy, the universe is divided into four directions and a central region. Each region represents an element (wood, fire, earth, metal, and water) and has a directional deity, including the green dragon/yellow dragon, the Vermilion Bird, the tiger, and warriors. These figures help protect people from evil and are often used to decorate palaces and architectural structures. Historically, the dragon is believed to be one of the directional deities governing the East. Like dragon imagery in other countries, Vietnamese dragons are often understood as protective deities, bringing happiness and peace by controlling rainfall and ensuring people's well-being. However, in some cases, Japanese dragons are also seen as symbols of destruction, bringing misfortune. Furthermore, while dragons hold a significant place in the lives of people in Vietnam, China, Korea, and other countries, always representing good fortune, this is less clear in Japan. Japanese dragon motifs are just one of the common images in Japanese art and culture, following the kirin, turtle, and phoenix symbols. In terms of form, there are significant differences in the depiction of dragons in Vietnamese art and aesthetics compared to other Northeast Asian countries. During the Ly-Tran dynasties in Vietnam, dragons adorned palaces and royal artifacts, often having three, four, or five claws depending on whether the decoration was a statue or a relief. However, during the Le Dynasty, the situation was completely different; the dragon always had five sharp claws on its feet. In the Nguyen Dynasty's regulations, five-clawed dragons were reserved for the emperor, the crown prince used four-clawed dragons, and three-clawed dragons were for commoners. In China, five-clawed dragons symbolized power and royalty, four-clawed dragons represented supernatural powers (gods, Buddhas) and the official class, and three-clawed dragons were for commoners. However, in Japan, most dragon images only have three claws. This is a difference in the perception of the number of claws on dragons in Vietnam, China, Japan, Korea, and South Korea, according to different countries.

Dragon statue at the Hue Imperial Citadel.

In terms of color, unlike dragons in Vietnam, China, North Korea, and South Korea, which are painted in many different colors, Japanese dragons have two main colors: blue and black. Blue dragons symbolize beauty and nobility, while black dragons symbolize good fortune, as people believe that black dragons can bring rain and prosperity. In Vietnam, China, North Korea, and South Korea, dragons may have varied during different feudal dynasties; however, the Japanese dragon image shows consistency in form (three claws, blue and black) and meaning (symbol of good fortune and symbolism of destruction). Because Japan has a unique island environment and harsh climate conditions, yet achieves almost absolute unity among its people and culture, the Japanese dragon also demonstrates consistency in form and meaning. The unique characteristics of the Vietnamese dragon symbol reflect the geographical diversity of its regions. To a certain extent, dragons in Northeast Asian countries are symbols of power; while the Vietnamese dragon also represents a supernatural being who helps the poor. The Vietnamese dragon is also more widely popular and closely associated with the daily life and folk beliefs of the Vietnamese people through the images carved in village communal houses. Vietnamese people seem to submit to the dragon and its power. The role and significance of the Vietnamese dragon are clearly expressed in Vietnamese idioms and proverbs, often depicting the dragon as a sacred or noble image. For example, when distinguishing between social classes, the Vietnamese often say, "A dragon's egg hatches into a dragon, a lizard hatches into a swarm of lizards." To some extent, the Vietnamese dragon differs from the dragons of Northeast Asian countries in that it has been feminized due to the tradition of valuing women in Vietnamese society. On the other hand, the Vietnamese dragon absorbs the Southern element, harmonizing with the Naga serpent deity in Southeast Asian culture. The history of Central and Southern Vietnam has a strong interaction with the "Indianized" countries of history; therefore, the image of the dragon is closely associated with the serpent god Naga, originating from Brahmanism.

The image of the Vietnamese dragon is still in the process of formation and development, and is far from over. It embodies the crucial essence of Vietnamese thought and cultural identity: openness, harmony, and the integration of new elements, much like the "Vietnamese dragon" stirring and rising in the age of science and technology, hướng towards a bright future.

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