In the 2nd century, the Chinese philosopher Wang Fu indicates that the dragon combines nine animals: “It resembles a deer in its horns, a camel in its head, a hare in its eyes, a snake in its neck, a mollusk in its belly, a carp in its scales, an eagle in its claws, an eagle in its paws, and an ox in its ears. »
Normal, in these conditions, that this fantastic creature, resulting from this fascinating process of hybridization shrouded in mystery, has marked the collective imagination to this extent. At once aquatic, terrestrial and celestial, it is the star of the new exhibition at the Musée du Quai Branly, as accessible to a family audience as it is to an erudite audience, combining, as usual, ancient art objects and legends to tell how the motif endures over time. Because the mythical figure was born in the Middle Kingdom more than 5,000 years ago, before spreading throughout Asia eastern. Be careful not to confuse it with the fire-breathing monster referred to by this name in the West. This is the incarnation of the ambivalent forces of nature, source of life and death, beneficent or destructive, invoked most often by the population of an agrarian society subjected to drought to attract rain and save the crops. Unpredictable, it can also cause storms and floods!
Real treasures
You must take the ramp to access the first floor, where the Germain Viatte gallery is located, and visit a route full of sumptuous scenography and subdued lighting to promote an atmosphere of contemplation in the face of the exceptional works that are unveiled, all from the National Palace Museum of Taipei, at Taiwanas part of a partnership signed in 2018.
The place has agreed to temporarily divest itself of real treasures which represent, one after the other, the constantly renewed representation of the dragon, with its elongated and sinuous form, in Chinese civilization: horizontal and vertical scrolls, tableware, textiles, accessories and jewelry, seals, incense holders, altars, mirrors, boxes, toys, equipment for practicing calligraphy, musical instruments, statuettes of deities…
We are in awe of the finesse of the execution of the paintings on paper, in black ink or enhanced with colors which have lost none of their brilliance, as well as the nobility of the materials used by the artisans of the time: porcelain, jade, bronze, lacquer, enamels.
Some pieces are breathtaking, like this official dress from the Qing dynasty dating from the beginning of the 18th century, made from satin, polychrome silk threads and gold, where we can see dragons with five claws (only the emperor and his entourage had the right to wear clothes decorated with this attribute) flying over the decor among the clouds announcing fertile rain. Or this imposing bo bell, cast in the 6th century BC, without a clapper and which was part of a carillon suspended from a wooden rack buried in a tomb. From one medium to another, we realize that the icon of the supernatural bestiary, which has the power of transformation, continues to reinvent itself and invades the space, even the architecture and furniture of the palace.
Today, giant replicas, made of papier-mâché and bamboo, are carried using poles by dancers during acrobatic and spectacular choreographies inspired by martial arts, to chase away evil spirits and guarantee protection and prosperity during the Lunar New Year or during local festivities. To the rhythm of drums that resonate and firecrackers that explode.
“Dragons”, in Quai Branly museumuntil March 1st.
