The new moon of February 6th marks the first day of the first month of the 89th year of the Republic of China. The frenetic activity of the last few weeks' preparations is replaced by the relative calm of Chinese New Year itself. As the lunar calendar completes its annual cycle, Year of the Rabbit is succeeded by Year of the Dragon.
Numerous newspaper articles, TV programs and exhibitions explaining the cultural, historical and horoscopic implications of the incumbent animal always accompany this changing of the guard. No other animal, either real or mythical, comes close to matching the importance and significance of the dragon. Rather than a commemoration of the new millennium, this explains why Taiwanese couples are very keen to give birth to a child in the next twelve months.
The Chinese dragon is altogether different from its Western counterpart. Although wingless, they are often portrayed as a pair in flight among clouds playing with a pearl. Furthermore, they do not breathe fire, distress damsels or fight knights. Such terrifying abilities are unnecessary for this almost entirely benign beast.
The Beauty of Dragons at the National Museum of History (49 Nanhai Rd. Taipei until April 9) charts the dragon's progress from a totem of fecundity portrayed on the pots and jades of Neolithic China. Dragons are further credited with imparting elements of Chinese culture. One such story tells how Fu Hsi, the first Ancient Sovereign, noticed mystic signs on the back of a dragon. He transcribed them and adopted them as the eight trigrams used in the Yi Ching to discern the will of Heaven.
An imperial emblem
The exhibition then concentrates on examining the development of dragon designs executed on clothing, furniture, musical instruments and all manner of everyday objects. Following adoption of this animal as an imperial motif in the Han dynasty (206BC-220AD), only the highest quality items display this decoration as commoners were banned from its use. Imperial seals, decrees, inkstones, banknotes and coins all bear this mark of official approval.
Chinese Buddhist adoption of the dragon as a heavenly beast sent to protect the Buddha Truth accounts for much of the religious imagery. Another Buddhist parable tells of a dragon woman who became a Buddha.
Of the more recent pieces, the National Flag of China dating from the Qing dynasty (1644-1911AD) is of particular interest. China never had a national flag until the Republican white sun against blue sky. Nevertheless, under influence of foreign contact and the necessity of identification, the China Merchant Steam Navigation Co. initiated the use of a dragon superimposed on the yellow banner of the Manchu royal family. Usage spread to other ships and later to overseas embassies although it was never made official.
Paper dragons
This wide-ranging and informative exhibition represents the collaborative efforts of numerous departments of the Museum of History and its counterpart in Beijing, which also lent many of the older exhibits. The museum has made great progress in dealing with the translation problems that have bedeviled recent exhibitions, making this even greater value for the NT$20 entry fee.
Paper Dragons Leaping the Millennium at the Su-Ho Memorial Paper Museum (68 Chang An E.Rd. sec.2 until April 20; tel. (02) 25075539 for reservations) concentrates on more recent representations of dragons and, of course, on those connected with paper. Freed of the imperial prohibition on depicting dragons, once again, it is a favorite theme with both folk and fine artists.
This mini display, a free addition to the normal guided tour, looks at three main areas.
Due to their auspicious connotations, dragons are commonly incorporated into designs printed on ghost money burnt for use in the afterlife by deceased relatives. In particular, the Dragon King of the Sea is shown on money burnt for those who die by drowning. Printed omens portraying dragons, such as those stuck on doors of ill or deceased persons, attempt to draw on dragons' supernatural powers. Homes may also be decorated with paper imitations of the pair of sculpted dragons which guard the entrance to Taoist temples.
Yin and Yang
As the ultimate Yang symbol, a dragon is often coupled with a Yin phoenix in wedding decorations. This exhibition contains examples of decorative papers used to wrap the biscuits given by newly engaged couples to visiting well-wishers.
The museum also commissioned contemporary Taiwan paper artists Hong Hsin-fu and Lai Chen-hsiang to produce celebratory works. In Nine Dragons, each is given its own expression to depict the story of the dragon which had nine children. This piece was executed by Lai using the sheets of silver paper from his cigarette packets. Hong's beautiful Rising Dragon created from a single sheet of gold paper is reminiscent of the Chinese art of paper cuts, traditionally associated with New Year.
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