Nonetheless, scholars dispute where the idea of a dragon originates from, and a wide variety of hypotheses have been proposed.
Another draconic creature with horns, the body and neck of a snake, the forelegs of a lion, and the hind-legs of a bird appears in Mesopotamian art from the Akkadian Period until the Hellenistic Period (323 BC–31 BC). This creature, known in Akkadian as the mušḫuššu, meaning "furious serpent", was used as a symbol for particular deities and also as a general protective emblem. It seems to have originally been the attendant of the Underworld god Ninazu, but later became the attendant to the Hurrian storm-god Tishpak, as well as, later, Ninazu's son Ningishzida, the Babylonian national god Marduk, the scribal god Nabu, and the Assyrian national god Ashur.
Job 41:1–34 contains a detailed description of Leviathan, who is described as being so powerful that only Yahweh can overcome it. Job 41:19–21 states that Leviathan exhales fire and smoke, making its identification as a mythical dragon clearly apparent. In some parts of the Old Testament, Leviathan is historicized as a symbol for the nations that stand against Yahweh. Rahab, a synonym for "Leviathan", is used in several Biblical passages in reference to Egypt. Isaiah 30:7 declares: "For Egypt's help is worthless and empty, therefore I have called her 'the silenced Rahab'." Similarly, Psalm 87:3 reads: "I reckon Rahab and Babylon as those that know me..." In Ezekiel 29:3–5 and Ezekiel 32:2–8, the pharaoh of Egypt is described as a "dragon" (tannîn). In the deuterocanonical story of Bel and the Dragon from the Book of Daniel, the prophet Daniel sees a dragon being worshipped by the Babylonians. Daniel makes "cakes of pitch, fat, and hair"; the dragon eats them and bursts open.
Despite the negative aspect of Aži Dahāka in mythology, dragons have been used on some banners of war throughout the history of Iranian peoples.
One of the most famous dragon stories is about the Lord Ye Gao, who loved dragons obsessively, even though he had never seen one. He decorated his whole house with dragon motifs and, seeing this display of admiration, a real dragon came and visited Ye Gao, but the lord was so terrified at the sight of the creature that he ran away. In Chinese legend, the culture hero Fu Hsi is said to have been crossing the Lo River, when he saw the lung ma, a Chinese horse-dragon with seven dots on its face, six on its back, eight on its left flank, and nine on its right flank. He was so moved by this apparition that, when he arrived home, he drew a picture of it, including the dots. He later used these dots as letters and invented Chinese writing, which he used to write his book I Ching. In another Chinese legend, the physician Ma Shih Huang is said to have healed a sick dragon. Another legend reports that a man once came to the healer Lo Chên-jen, telling him that he was a dragon and that he needed to be healed. After Lo Chên-jen healed the man, a dragon appeared to him and carried him to heaven.
In China, a dragon is thought to have power over rain. Dragons and their associations with rain are the source of the Chinese customs of dragon dancing and dragon boat racing. Dragons are closely associated with rain and drought is thought to be caused by a dragon's laziness. Prayers invoking dragons to bring rain are common in Chinese texts. The Luxuriant Dew of the Spring and Autumn Annals, attributed to the Han dynasty scholar Dong Zhongshu, prescribes making clay figurines of dragons during a time of drought and having young men and boys pace and dance among the figurines in order to encourage the dragons to bring rain. Texts from the Qing dynasty advise hurling the bone of a tiger or dirty objects into the pool where the dragon lives; since dragons cannot stand tigers or dirt, the dragon of the pool will cause heavy rain to drive the object out. Rainmaking rituals invoking dragons are still very common in many Chinese villages, where each village has its own god said to bring rain and many of these gods are dragons. The Chinese dragon kings are thought of as the inspiration for the Hindu myth of the naga. According to these stories, every body of water is ruled by a dragon king, each with a different power, rank, and ability, so people began establishing temples across the countryside dedicated to these figures.
Many traditional Chinese customs revolve around dragons. During various holidays, including the Spring Festival and Lantern Festival, villagers will construct an approximately sixteen-foot-long dragon from grass, cloth, bamboo strips, and paper, which they will parade through the city as part of a dragon dance. The original purpose of this ritual was to bring good weather and a strong harvest, but now it is done mostly only for entertainment. During the Duanwu festival, several villages, or even a whole province, will hold a dragon boat race, in which people race across a body of water in boats carved to look like dragons, while a large audience watches on the banks. The custom is traditionally said to have originated after the poet Qu Yuan committed suicide by drowning himself in the Miluo River and people raced out in boats hoping to save him. But most historians agree that the custom actually originated much earlier as a ritual to avert ill fortune. Starting during the Han dynasty and continuing until the Qing dynasty, the Chinese emperor gradually became closely identified with dragons, and emperors themselves claimed to be the incarnations of a divine dragon. Eventually, dragons were only allowed to appear on clothing, houses, and articles of everyday use belonging to the emperor and any commoner who possessed everyday items bearing the image of the dragon was ordered to be executed. After the last Chinese emperor was overthrown in 1911, this situation changed and now many ordinary Chinese people identify themselves as descendants of dragons.
The impression of dragons in a large number of Asian countries has been influenced by Chinese culture, such as Korea, Vietnam, Japan, and so on. Chinese tradition has always used the dragon totem as the national emblem, and the "Yellow Dragon flag" of the Qing dynasty has influenced the impression that China is a dragon in many European countries.
The Korean dragon is in many ways similar in appearance to other East Asian dragons such as the Chinese and Japanese dragons. It differs from the Chinese dragon in that it developed a longer beard. Very occasionally, a dragon may be depicted as carrying an orb known as the Yeouiju (여의주), the Korean name for the mythical Cintamani, in its claws or its mouth. It was said that whoever could wield the Yeouiju was blessed with the abilities of omnipotence and creation at will, and that only four-toed dragons (who had thumbs with which to hold the orbs) were both wise and powerful enough to wield these orbs, as opposed to the lesser, three-toed dragons. As with China, the number nine is significant and auspicious in Korea, and dragons were said to have 81 (9×9) scales on their backs, representing yang essence. Dragons in Korean mythology are primarily benevolent beings related to water and agriculture, often considered bringers of rain and clouds. Hence, many Korean dragons are said to have resided in rivers, lakes, oceans, or even deep mountain ponds. And human journeys to undersea realms, and especially the undersea palace of the Dragon King (용왕), are common in Korean folklore.
In Korean myths, some kings who founded kingdoms were described as descendants of dragons because the dragon was a symbol of the monarch. Lady Aryeong, who was the first queen of Silla, is said to have been born from a cockatrice, while the grandmother of Taejo of Goryeo, founder of Goryeo, was reportedly the daughter of the dragon king of the West Sea. And King Munmu of Silla who, on his deathbed, wished to become a dragon of the East Sea in order to protect the kingdom. Dragon patterns were used exclusively by the royal family. The royal robe was also called the dragon robe (용포). In the Joseon dynasty, the royal insignia, featuring embroidered dragons, were attached to the robe's shoulders, the chest, and back. The King wore five-taloned dragon insignia while the Crown Prince wore four-taloned dragon insignia.
Korean folk mythology states that most dragons were originally Imugis (이무기), or lesser dragons, which were said to resemble gigantic serpents. There are a few different versions of Korean folklore that describe both what imugis are and how they aspire to become full-fledged dragons. Koreans thought that an Imugi could become a true dragon, yong or mireu, if it caught a Yeouiju which had fallen from heaven. Another explanation states they are hornless creatures resembling dragons who have been cursed and thus were unable to become dragons. By other accounts, an Imugi is a proto-dragon which must survive one thousand years in order to become a fully-fledged dragon. In either case, they are said to be large, benevolent, python-like creatures that live in water or caves, and their sighting is associated with good luck.
Japanese dragon myths amalgamate native legends with imported stories about dragons from China. Like some other dragons, most Japanese dragons are water deities associated with rainfall and bodies of water, and are typically depicted as large, wingless, serpentine creatures with clawed feet. Gould writes (1896:248), the Japanese dragon is "invariably figured as possessing three claws". A story about the samurai Minamoto no Mitsunaka tells that, while he was hunting in his own territory of Settsu, he dreamt under a tree and had a dream in which a beautiful woman appeared to him and begged him to save her land from a giant serpent which was defiling it. Mitsunaka agreed to help and the maiden gave him a magnificent horse. When he woke up, the seahorse was standing before him. He rode it to the Sumiyoshi temple, where he prayed for eight days. Then he confronted the serpent and slew it with an arrow.
Dragons are generally depicted as living in rivers or having an underground lair or cave. They are envisioned as greedy and gluttonous, with voracious appetites. They are often identified with Satan, due to the references to Satan as a "dragon" in the Book of Revelation. The thirteenth-century Golden Legend, written in Latin, records the story of Saint Margaret of Antioch, a virgin martyr who, after being tortured for her faith in the Diocletianic Persecution and thrown back into her cell, is said to have been confronted by a monstrous dragon, but she made the sign of the cross and the dragon vanished. In some versions of the story, she is actually swallowed by the dragon alive and, after making the sign of the cross in the dragon's stomach, emerges unharmed.
Dragons and dragon motifs are featured in many works of modern literature, particularly within the fantasy genre. As early as the eighteenth century, critical thinkers such as Denis Diderot were already asserting that too much literature had been published on dragons: "There are already in books all too many fabulous stories of dragons". In Lewis Carroll's classic children's novel Through the Looking-Glass (1871), one of the inset poems describes the Jabberwock, a kind of dragon. Carroll's illustrator John Tenniel, a famous political cartoonist, humorously showed the Jabberwock with the waistcoat, buck teeth, and myopic eyes of a Victorian university lecturer, such as Carroll himself. In works of comedic children's fantasy, dragons often fulfill the role of a magic fairy tale helper. In such works, rather than being frightening as they are traditionally portrayed, dragons are instead represented as harmless, benevolent, and inferior to humans. They are sometimes shown living in contact with humans, or in isolated communities of only dragons. Though popular in the late nineteenth and early twentieth centuries, "such comic and idyllic stories" began to grow increasingly rare after the 1960s, due to demand for more serious children's literature.
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Daniel 14:23–30
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For Azi Dahaka as dragon see: Ingersoll, Ernest, et al., (2013). The Illustrated Book of Dragons and Dragon Lore. Chiang Mai: Cognoscenti Books. ASIN B00D959PJ0
Appears numerous time in, for example: D. N. MacKenzie, Mani's Šābuhragān, pt. 1 (text and translation), BSOAS 42/3, 1979, pp. 500–34, pt. 2 (glossary and plates), BSOAS 43/2, 1980, pp. 288–310.
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III: 976–1066; V: 120
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