Exhibition 13


clawed mang dragon could be worn by lower ranking members of the imperial household, officials, and other courtiers. Mandarin civil and military officials also wore square badges that showed their rank at court. Te dragons depicted on the robes are an ancient symbol of authority, good fortune – they were seen holding or chasing the flaming Pearl of wisdom and truth, symbolising the wearer’s desire to attain inner wisdom. Tis is the wishing jewel or cintamani, which was introduced to China with the arrival of Buddhism along the Silk Road during the Han dynasty. Today, it still remains an emblem


for China, as well as a powerful cultural symbol throughout East Asia and


for Sinicised communities


Offerings to the temple of agriculture, Qing dynasty, Yongzheng period (1723-35), ink and colours on silk, former collection of HN Frey © Musée du quai Branly – Jacques Chirac, Paris


Carved red lacquer cinnabar stationery chest, Qing dynasty (1644-1911) © National Palace Museum, Taipei


worldwide. Trough popular objects and festivals, the images and depictions of the dragon are endlessly varied. Te mythical creature continues to play its role as an intercessor between heaven and earth, bringing strength and prosperity to humankind. As a benevolent and honourable animal, the dragon continues


its transformations,


the gates of courthouses and prisons; Taotie appears on bronzes; Gongfu on bridges; Yazi on the hilts of swords and axes; Suanni on incense burner lids, in the form of a lion; and Jiaotu on door knockers. At the centre of the imperial palace,


representing a microcosm of the world, stood the dragon throne, marking the fifth cardinal point, at the junction between earth and heaven. Holder of the Mandate of Heaven, the emperor exercised dual political and religious power, as commander of the armies but also as master of the rituals ensuring earthly prosperity and harmony. As a benevolent and noble symbol, the yellow dragon, the colour of the zenith, adorned the objects of the sovereign and his entourage. From the Zhou dynasty (1045-221 BC) to the Tang dynasty (618-907), the animal was traditionally depicted with three claws. From the 11th and 12th centuries onwards its form changed when it was shown with four or five claws. A 12th-century edict prohibited its use outside official art, and the yellow, five-clawed dragon remained the official emblem reserved for sovereigns until the end of the empire in 1911. Silk dragon robes, lung pao (dragon


robe) were worn by the emperor, his family, and imperial ministries and were seen as emblems of their office. Imperial roundels embroidered with dragons were also worn by the imperial princes. Specific regulations determined the various configuration of dragons that would be worn by the


appearing on a multitude of objects in contemporary material culture. Its hybrid and fluid body particularly lends itself to a graphic and decorative motif, making it capable of elegantly adapting to all types of media and formats. From children’s toys to ancestral altars, it adorns both secular and ritual objects to this day. Associated with the lion, the


dragon also accompanies dances that, drawing inspiration from martial arts, bring protection and prosperity during the Lunar New Year, the opening of businesses, or other local festivities. To the sound of drums and firecrackers,


these choreographies


Divination manuscript, Vietnam, Yao culture, first half of the 20th century, ink and colours on paper Photo: Sylvain Leurent © Musée du quai Branly – Jacques Chirac, Paris


imperial family and at court. Judith Rutherford writes in Celestial Silks, Chinese Religious and Court Textiles that ‘according to the regulations, five-clawed long dragons could be worn only by the emperor and close members of the imperial family, although they could also be awarded to nobles


and officials. Te


• Dragons was at Musée quai Branly – Jacques Chirac, Paris, from November to 1 March, 2026.


• Catalogue available


drive away malevolent spirits and help to balance the invisible forces governing the land and buildings. Tese lion dances are performed throughout the world and not just at the Lunar New Year – they are present at other major traditional, cultural, or religious festivals to bring good luck, prosperity, and drive away evil spirits. Tey are also commonly featured at business openings, weddings, and to honour special guests with the costumes and masks used for lion and dragon dances illustrating the contemporary vitality still seen in these ancient traditions.


four-


Infinite cycles box containing figurines of the 12 animals of the zodiac with an album of Yongyan calligraphy by the Jiaqing Emperor, (r 1796-1820), figures and box Qing dynasty, Qianlong period (1735-96), jade, sandalwood © National Palace Museum, Taipei


Mask and body used in the auspicious lion dance. Photo: Thibaut Chapotot © Musée du quai Branly – Jacques Chirac, Paris


ASIAN ART | MARCH 2026


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