Chinese dragons

Detail of a dragon on a panel in the Forbidden City, Beijing, China. In Imperial China, only the emperor’s family could possess depictions of dragons. Five-fingered dragons, like the one seen here, were specifically for the emperor. Photo by Renée DeVoe Mertz.

Four-fingered dragon on the Nine Dragon Screen of Datong, China. While five-fingered dragons were only for the emperor, four-fingered dragons were for other members of the imperial family. In this case, the dragon screen was built in the late 14th century at the palace of Zhu Gui, thirteenth son of the Ming dynasty’s first emperor, Zhu Yuanzhang. Photo by Renée DeVoe Mertz.

The emperor’s five-fingered dragons on a wooden panel at Da Ci’en Temple, Xi’an, China. Photo by Renée DeVoe Mertz.

Four-fingered dragon on the Nine Dragon Screen of Datong, China. Screen-walls were constructed within palace gates to protect homes from negative energy and unwelcome spirits. Dragons—as symbols of luck and power—were particularly potent protectors, always appearing in odd numbers, from one to nine. Built in the 14th century, Datong’s Nine Dragon Screen is the largest and oldest extant glazed screen, outlasting even the palace it was built to protect. Photo by Renée DeVoe Mertz.

The emperor’s five-fingered dragons bracketed by phoenixes, symbols of the empress, at the Summer Palace, Beijing, China. Photo by Renée DeVoe Mertz.

Detail of one of the four-fingered dragons on the Nine Dragon Screen, Datong, China. Photo by Renée DeVoe Mertz.

Dragons in the Forbidden City, Beijing, China. Photo by Renée DeVoe Mertz.

Four-fingered dragon on the Nine Dragon Screen in Datong, China. Photo by Renée DeVoe Mertz.

Dragons on a decorative panel in the Forbidden City, Beijing, China. Photo by Renée DeVoe Mertz.

Detail of the Nine Dragon Screen in Datong, China. Photo by Renée DeVoe Mertz.

Da Ci’en Temple, Xi’an, China. Photo by Renée DeVoe Mertz.

Close-up: Cave 3, Yungang Grottoes, Datong, China

View of the three monumental statues of Cave 3, the largest cave at Yungang Grottoes. Although the grotto itself was started during the Northern Wei period, these sculptures, located at the back of the cave, were made later, during the Tang Dynasty. Photo by Renée DeVoe Mertz.

Layers of natural sandstone in Cave 3, Yungang Grottoes. Easily overlooked when juxtaposed with the site’s impressive carvings, the undecorated parts of the caves hold their own particular beauty. Photo by Renée DeVoe Mertz.

The presence of a second-story opening is a common feature at Yungang, allowing light into the cave’s chambers, and, in some cases, causing the Buddha’s face to be visible from outside. Photo by Renée DeVoe Mertz.

Close-up of the worked and textured stone of Cave 3’s second-story opening and chamber wall. Photo by Renée DeVoe Mertz.

Note the squatting man at the lower left, dwarfed by one of the two smaller statues of Cave 3. Yungang Grottoes, Datong, China. Photo by Renée DeVoe Mertz.

Carved floor stones and small side opening in Cave 3, Yungang Grottoes. Photo by Renée DeVoe Mertz.

The monumental Buddha of Cave 3, Yungang Grottoes. Photo by Renée DeVoe Mertz.

Hewn steps and exit of Cave 3, Yungang Grottoes. Photo by Renée DeVoe Mertz.