The Dragon’s Power in the East and West

Breanna Vinson
Jan 23
10 min read

October 19, 2023

For many prominent creatures of myth, there is no simple definition regarding their identity or what exactly they are. Such uncertainty is primarily due to a variance of depiction throughout cultures, a fate befalling the dragon. Dragons are fluid creatures, taking on many forms yet maintaining the same core; A powerful creature with many mystical attributes that keep it cloaked within mystery and divine power. The dragon's essence is worth examining, speaking to what defines a dragon and how this definition sees alteration based on cultural factors, thereby impacting visual representations.

To better understand how this creature takes on such differing looks, two artworks will be referenced as representations of their respective culture. For Eastern dragons, Dish with dragon amid waves (Fig 1.), and for Western dragons, Winged Dragon (one of five medallions from a coffret) (Fig 2.). The chosen representations depict largely typical illustrations of their respective dragons, allowing for a general idea of the creature to be cemented upon looking. Analyzing the influences of such artworks will speak to the nature of the dragon and how these cultures shape their imagery. The question, "What is a dragon?" is not one with a simple answer. A better inquiry asks, "What is a dragon to the East, and what is a dragon to the West?" Perhaps with both perspectives, a more cohesive answer regarding a dragon's essential nature can be found.

Hailing from the East, Dish with dragon amid waves Showcases the dragon as a central figure, having no opposition from other graphics. This instance shows the creature in blue, giving it a monochrome color scheme while being purposeful in depicting details. One such detail is that of scales, providing a reptilian quality to the creature. In addition, the body follows a winding movement, twisting in various places as if there is a lack of space for this long body. Denying the possibility of this being an oddly drawn snake, the dragon has four legs attributed to it, each with pointed claws on the tip of corresponding talons. The mouth is agape, revealing small, pointed teeth and a wisp of hair originating from the chin, mimicking a beard. Such a detail is preserved in other areas, however, as the creature has tufts of fur on the joints of the legs, long whiskers like that of a thin mustache, eyebrows, and a furry mane covering the neck. From the neck, there are spines following down the back, ending in a tuft on the tail tip. Additionally, one can faintly make out antlers sprouting from the head.

The Western dragon shown in Winged Dragon (one of five medallions from a coffret) has an interesting lack of detail, something not always seen within depictions of the creature, being an aspect of the artwork inherent to style. While this is true with the aspect of detail, the colorful appearance is one that does not necessarily fall into such a category. The starkest feature here is the elaborate wing of the dragon, taking focus as a facet of considerable size, having the body primarily covered by this wing but still maintaining notable aspects.

One such is the head, having a shorter snout and pointed ears, with long horns protruding from behind mentioned ears. The body is somewhat twisted, revealing two green back legs, showing how there are four rather than two. A tail is also present, yet it is clearly narrower than the rest of the body, giving a more distinctly proportioned body. In this depiction, there are no visible teeth or claws, something that, along with the lack of scales, is a detail missing that would otherwise be expected. Such absences lead to the idea that these features are not those of great importance when regarding the Western dragon.

While dragons are a creature in both Eastern and Western cultures, an evident prominence is found in the East. Dragon-centric artwork makes an appearance before even the formation of symbolic design, existing as a creature with no associated properties other than physical for roughly the entirety of the Chinese Bronze Age.[1] Origins with foggy beginnings of this degree add to the inherent mystery of the being. Thus, turning to a visual presentation aids one in uncovering the true nature of such a creature. For the feature most blatant in revealing later added lore, one only needs to look at the scales.

Scales are a feature present in most but not all Eastern dragons (Fig 1.), a feature speaking to the sentiment that, “the dragon is basically a snake,” as put by Robert Blust.[2] Throughout Eastern depictions, such an observation rings true as a consistent feature. Not only is length present visually, the word for dragon that sees use proceeding the Bronze Age is “long.”[3] As this element is one of many attributed, one cannot simply boil the dragon down to a mere serpent, despite how integral such a factor is to the creature’s identity. Interestingly, the serpent quality of the dragon is ingrained so innately that the rainbow was seen as, “an enormous dragon which drinks water from the sea and sprays it out as rain,” according to Chinese folk belief.[4] Such a correlation to the rainbow is significant as not only is the rainbow commonly represented as a giant snake, the folklore considering it a dragon reveals some attributes seen more than this singular instance.

The first of these is that of rain, thought to be a gift of the dragon who brings and controls the element of water.[5] Not only is water seen as under the dragon’s control, but air is under their mastery as well. Despite an apparent lack of wings, such a creature is often shown flying amongst clouds, often with ribbon-like movements reminiscent of the body’s length. Furlike tufts were added to illustrate such a motion better, allocating for greater emphasis on the wind flowing during flight.[6] Such mystical attributes only provide more fuel to the narrative of the beast being one of immense power, yet not one of malice and rather a symbol of wisdom, good fortune, and a protector of people.[7] Such symbolisms appear as gifts akin to rain, given out of the dragon’s goodwill.

While the dragon bears a multitude of gifts, wealth is the most prominent of these. Such a sentiment is present in the connection to riches, the facet of good fortune stemming from this and becoming a broader aspect attributed to the creature.7 To aid in the circulation of such fortune, festivities take place in China, culminating in the holiday of Chinese New Year.[8] Such an event is a celebration of not only the new year approaching but of the many gifts given by dragons of the East. Additionally, the sentiment of knowledge and power holds such significance that the dragon is a representation of the emperor, a being to be treated with utmost respect.7 Due to the nature of these perceptions, a clearly positive outlook is held regarding this deity.

Western dragons see vastly different treatment when compared to those of Eastern descent. Firstly, and arguably most evidently, such depictions give the beast large wings (Fig 2.) to aid in flight. Such an addition not only takes away mysticism from the dragon’s ability to engage in flight but it also creates a correlation between devils in that of Christian societies.[9] Such an aspect is most relevant as this particular dragon has an origin in myths of chaos, bringing destruction to an otherwise orderly world.[10] Artwork is reflective of such embedded mannerisms, emphasizing features of predators, such as a canine face similar to the jaws of hell in scenes of the Last Judgement.[11] Biblical text plays an integral role in the depiction of these dragons, arguably being the reason for their rise to prominence in regards to the West.

Such attributes are taken to an extreme with the dragon becoming a symbol of sin, the embodiment of all that is bad, to be slain by saints and martyrs.10An excerpt from Revelation pits Satan as a dragon, reading, “This great dragon—the ancient serpent called the devil, or Satan, the one deceiving the whole world—was thrown down to the earth with all his angels.”[12] The sentiment of inherent evil is seen within the artwork of the medieval era, often depicting a saint or other figure of prominence within Christianity killing the creature, freeing others of physical and spiritual danger.[13] Interestingly, the dragon is frequently portrayed causing distress upon women. Such a depiction is possibly a parallel to the biblical story of Eve, one tempted into sin by a serpent more like the dragon than a snake, as it was yet to be devoid of legs.[14]

The allegory of sin sees prominence in other aspects of the creature, one of note being the sin of greed. Such a facet is seen with depictions of dragons protecting large hoards, frequently those of gold.[15] While gold is the standard treasure depicted, it is of note that these hoards may vary in contents. One such instance is in the collection of jewels, precious stones such as diamonds, rubies, emeralds, and the like.[16] Interestingly, there are depictions of these beasts guarding sacred relics, a shift from the more expected valuables.

Great power is an aspect inherent to the dragon, and thus, it is a figure capable of mass destruction. Such harm was often acted upon by the beast, becoming one of great terror to civilians and thus necessitating an opposing force commonly brought forth by a knight.15

While the more obvious factors of teeth and claws come into play, a notable attack of the Western dragon is one of flame. Fire is expelled from the mouth of the creature, the action often referred to as breathing fire, despite the very action being expulsion rather than inhalation. While this ability has all but a clear origin, chalked up to whimsical embellishment, one can form a connection to the rainbow’s common explanation as being a large serpent. Such an example comes from central Africa, where the rainbow is formed of two serpents that, when joined together, “in the sky the fire they emit burns the earth.”[17]

The basic attributes of a dragon’s design are as follows: scales, talons, sharp eyes, pointed teeth, and the possession of four legs. While these traits are ones of basis, it is important to note that all elements do not have to be present for a dragon to still qualify as such, and looking at just these factors does not provide enough substance to form a dragon. This aspect is most prominent in current media, as the dragon has become more malleable than ever. Despite this, some design choices clearly set apart those of the West from those of the East, bringing about characteristics specific to their origin. For dragons of the East, distinguishing features are long whisker-like appendages stemming from the snout, a body of significant length, a tuft of fur on the chin, furry eyebrows, antlers, spines along the back, and tufts of fur around the neck, creating a mane of sorts. With Western dragons, features of prominence are horns, massive wings, fully scaled bodies, canine-like faces, and bodies proportioned more like that of a four-legged mammalian.

Currently, there are many instances in media where the nature of such creatures is questioned. Particularly with the Western dragon, narratives of a kind beast have been explored. Such an instance pits the beast as one, “who only wants a quiet a life,” being depicted in the aptly named Reluctant Dragon.[18] As for Eastern dragons, the aspect of their inherent wisdom has become more of a focus, giving them a more humanoid nature. Tea with the Black Dragon follows one such creature and his interests in “humanity and man’s search for truth.”[19] While these narratives are ones to think about, it is important to recognize them as exceptions. Perhaps if such depictions overran those more commonly seen, the definition of what makes a dragon would be different.

While appearance has a great impact on which dragon is being observed, the connotations associated with it are just as, if not more significant. Looking at the vast differences held in such depictions, it becomes clearer what separates the two kinds of dragon. To provide a surface-level distinction, dragons of the West (Fig 2.) are feared, holding with them great discord and bringing about devastation. Conversely, dragons of the East (Fig 1.) are benevolent creatures possessing great intellect, bringing forth gifts to the human population, primarily luck and fortune.

Notably, abilities held by each type strengthen the narrative held by the corresponding perception. The fire expelled by Western dragons causes vast destruction, while the flight of the wingless Eastern dragon is a show of mystical power. Defining the dragon is a complex task, and so the definition must see specifications to truly become one of substantial comprehension. Looking at the two artworks it is clear dragons of the East are shown to have an air of mysticism, while those of the West have a focus on the creature’s innate strength. Without such distinctions, however, the title of dragon can be seen as one that comes with great power, such power becoming one of destruction or one of generosity based on the creature’s origin.

(Fig. 1) Dish with dragon amid waves. Ming dynasty (1368-1644). Dish. Porcelain painted with cobalt blue under transparent glaze. Diam. 8 1/8 in. (20.6 cm). The Metropolitan Museum of Art. https://library.artstor.org/#/asset/SS7731421_7731421_11283299;prevRouteTS=1694045523290 .

(Fig 2.) Winged Dragon (one of five medallions from a coffret). ca. 1110-30. Medallion. Copper-gilt, champlevé enamel. 3 9/16 x 9/16 in. (9 x 1.4 cm) Overall (with nail tangs): 3 15/16 x 9/16 in. (10 x 1.4 cm). The Metropolitan Museum of Art. https://library.artstor.org/#/asset/SS7731421_7731421_11597403;prevRouteTS=1694047370639.

[1] Wilson, Keith J. Powerful Form and Potent Symbol: The Dragon in Asia. pp. 286. 1990. Jstor. https://www.jstor.org/stable/25161297?searchText=dragon&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Ddragon%26efqs%3DeyJjdHkiOlsiWTI5dWRISnBZblYwWldSZlltOXZhM009IiwiWTJoaGNIUmxjZz09IiwiYW05MWNtNWhiQT09IiwiY21WelpXRnlZMmhmY21Wd2IzSjAiXX0%253D&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A85de104392eaa7841abb8955ab9c78e8&seq=1.

[2] Blust, Robert. The Origin of Dragons. pp. 527. 2000. Jstor. https://www.jstor.org/stable/110cd27f-d238-3375-89d1-2dc7d9614064?searchText=dragon&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Ddragon%26efqs%3DeyJjdHkiOlsiWTI5dWRISnBZblYwWldSZlltOXZhM009IiwiWTJoaGNIUmxjZz09IiwiYW05MWNtNWhiQT09IiwiY21WelpXRnlZMmhmY21Wd2IzSjAiXX0%253D&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A85de104392eaa7841abb8955ab9c78e8&seq=5

[3] Wilson, pp. 287, 3.

[4] Blust, pp. 525, 3.

[5] The Dragon Blog. What is a dragon? 2023. Autumn Dragon. https://autumn-dragon.com/blogs/the-dragon-blog/what-is-a-dragon.

[6] Wilson, pp. 295, 3.

[7] The Dragon Blog. Symbolism of the dragon. 2023. Autumn Dragon. https://autumn-dragon.com/blogs/the-dragon-blog/symbolism-of-the-dragon.

[8] The Dragon Blog, 4.

[9] Lippincott, Louise W. The Unnatural History of Dragons. pp. 3. 1981. Jstor. https://www.jstor.org/stable/277e731d-e2e6-3676-aec5-7a60eb4624fb?searchText=eastern+dragon&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Deastern%2Bdragon%26efqs%3DeyJjdHkiOlsiY21WelpXRnlZMmhmY21Wd2IzSjAiLCJZMmhoY0hSbGNnPT0iLCJhbTkxY201aGJBPT0iLCJZMjl1ZEhKcFluVjBaV1JmWW05dmEzTT0iXX0%253D&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A9b51dc4688210d8b9137ed415f0b82e0&seq=3.

[10] Funk & Wagnalls New World Encyclopedia. Dragon. 2018. EBSCO. https://web.s.ebscohost.com/ehost/detail/detail?vid=0&sid=cf33c240-6521-42ce-891b-a71f7d23eae7%40redis&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=funk&AN=dr083700.

[11] Lippincott, pp. 13, 5.

[12] Fairchild, Mary. Are There Dragons in the Bible? Learn Religions. 2021. https://www.learnreligions.com/are-there-dragons-in-the-bible-5181660.