The Porcelain Dragon Screen
Nine huge dragons of many colors disport themselves upon this imperial screen. It is approximately one hundred feet long and twenty feet high. This impressive structure, faced with porcelain tiles of the finest texture, stands on the edge of the “North Sea,” within the walls of the Imperial Palace in Peking.
[[9]]
Quite recently the writer made a localized study of the universality of the belief in dragons. One hundred representative Chinese of different ages and walks in life in an important city were asked the following questions: Do you believe in the present existence of the dragon? And what percentage of the people of China do you think hold this belief? Eighty-two of the one hundred answered the first question in the affirmative. Regarding the universality of the belief in the dragon these men estimated that at least eighty-six and six-tenths per cent of their fellow nationals believe in its existence. The above study bore out very accurately the writer’s estimate of the extent of the popular belief in the dragon. His judgment was based upon questions asked many scores of Chinese in ten different provinces of the country through a period of fourteen years. [[10]]
CHAPTER TWO
HOW THE DRAGON IDEA ORIGINATED
The elaborate conception of the dragon which we find to-day in Chinese art and literature is undoubtedly a very different animal from the one which was responsible for the origin of the dragon idea. The fabled sea serpent, the alligator, the salamander, and the boa constrictor have each been regarded as the prototype of this unique creature. It is far more likely, however, that some antediluvian saurian was the true source from which the dragon idea has sprung. Back in the dawn of history some early member of the human race may have met with one of these monstrous creatures which paleontologists tell us were, in some period of their development, equally at home on land and in the sea, and because of its gigantic size and marvelous powers attributed to it a supernatural origin. In later ages, even the unearthed skeleton of one of these monsters might have been sufficient to have led to the inception of the story. If this theory is correct it is easy to understand how through [[11]]succeeding ages the belief could have grown and how superstition and coincidence would have done their share to elaborate from the early monster the marvelous creature of the present day.
According to the theory advanced above, the writer believes that the most probable prototype of the dragon is the Brontosaurus of the Mesozoic age, although the present conception of the dragon may easily have sprung from such other prehistoric animals, as the plesiosaurus of the same period or the Iguanodon of the Cenozoic age. Skeletons of these giants of the saurian family and pictures of the reconstructed animals indicate a striking resemblance to the graceful creatures that dominate the art of China.