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Dragons in Asian ceramics

  • Writer: Cabinet Gauchet Art Asiatique
    Cabinet Gauchet Art Asiatique
  • Apr 1
  • 4 min read

For thousands of years, dragons have inhabited Asian imaginations. Unlike their Western counterparts, often associated with destruction and fear, Asian dragons are bearers of power, wisdom and harmony. These mythical creatures have found a place of choice on porcelain, celadon and other ceramics, testifying to both the stylistic evolution of Asian decorative arts and the profound cultural meanings attached to these fantastical figures.

Dragon vase, ceramic, China, Qing Dynasty (1644-1912), appraised by Gauchet Art Asiatique for Millon auction house, sold for €340,000
Dragon vase, ceramic, China, Qing Dynasty (1644-1912), appraised by Gauchet Art Asiatique for Millon auction house, sold for €340,000

In Chinese tradition, the dragon (龙 lóng) is an imperial symbol, intimately linked to the idea of celestial power. He is master of the waters, able to control the rains, rivers and seas. He is often depicted with a serpentine body, four clawed paws, stag horns and carp scales. In this way, he differs radically from the reptilian, winged dragons of Europe. In Japan (ryū) and Korea (yong), the dragon adopts similar traits, although local variations are added: sometimes three claws instead of five, sometimes an appearance closer to aquatic snakes. In these cultures, the dragon remains a beneficial, protective creature linked to the natural elements.


The dragon's appearance in the decorative arts dates back to the period of the Warring Kingdoms in China (475-221 BC), with highly stylized representations on bronze or terracotta objects. It wasn't until the Tang and Song dynasties, however, that the first dragons appeared on ceramics. Celadons from the Longquan kilns, prized for their jade-like green glazes, often feature dragons in relief or engraving. At this time, the representations remain sober, often integrated into a discreet ornamental ensemble.

Porcelain footed bowl, China, Yuan Dynasty (14th century), appraised by Gauchet Art Asiatique for Millon Auctions, sold for €220,000
Porcelain footed bowl, China, Yuan Dynasty (14th century), appraised by Gauchet Art Asiatique for Millon Auctions, sold for €220,000

It was during the Ming dynasty that the dragon enjoyed unprecedented popularity in ceramics. The imperial workshop at Jingdezhen, the nerve center of porcelain production, developed a luxuriant iconography, dominated by the famous five-clawed dragon - reserved exclusively for the emperor. These dragons adorn monumental vases, ritual bowls and ceremonial dishes, often rendered in cobalt blue under a white glaze (qinghua). The iconography is becoming more refined: the dragon pursues the sacred pearl, a symbol of wisdom and power. Its body undulates in a cloudy sky or in the waves of the sea, creating a circular, energetic movement. The image of the dragon becomes a visual code for asserting imperial authority, while allowing artists to play with the dynamics of the twisted decor.


With the Qing dynasty, imperial ceramics achieved unrivalled technical and iconographic refinement. Dragons became more detailed, and colors more varied, thanks to polychrome enamels. Some vases feature compositions of multicolored dragons, fighting or evolving in celestial landscapes. Five-clawed dragons remain imperial attributes, while four-clawed dragons are used by lower-ranking nobles. The visual language is therefore both artistic and political, with every detail charged with meaning. Ceramics exported to Europe enthusiastically adopted these motifs. Although the profound symbolism was sometimes diluted by Western Orientalist tastes, Asian dragons became a universal aesthetic emblem.


Ewer with dragon, ceramic, Style of Makuzu Kōzan I (Miyagawa Toranosuke), Japan, 19th century, housed at the MET in New York


In Japan, dragons appeared in ceramics as early as the Muromachi period, influenced by Chinese models. Sometsuke ceramics feature stylized dragons, often more refined and expressive. Masters of the Edo period played with shapes and textures, sometimes incorporating dragons in crackled glazes or asymmetrical decorations. In Korea, under the Joseon dynasty, dragons appeared mainly on white and blue porcelain reserved for the court. Korean yong are often depicted in dynamic compositions close to the Chinese style, but with their own sense of proportion and minimalist sensibility.


Vietnamese ceramics also deserve special attention. Less well known than its neighbors, it nonetheless boasts an impressive wealth of iconography. As early as the Lý and Trần dynasties (11th-14th centuries), stylized dragons adorned ceramic jars, dishes and ritual objects. The Vietnamese dragon is distinguished by its more elongated, almost calligraphic appearance, sometimes with floating whiskers and a gentle facial expression, less bellicose than in Chinese art. During the Later Le period (16th-18th centuries), Vietnamese ceramics enjoyed a major commercial boom, and draconic designs spread throughout Southeast Asia and even to Japan. These pieces, often in stoneware with green or brown glazes, are highly sought-after by collectors today.

Porcelain bowl with 'Bleu de Hué' decoration, Vietnam, 18th century, appraised by Gauchet Art Asiatique for the Millon auction house, sold for €85,000
Porcelain bowl with 'Bleu de Hué' decoration, Vietnam, 18th century, appraised by Gauchet Art Asiatique for the Millon auction house, sold for €85,000

Today, the dragon remains a recurring motif in contemporary Asian ceramics. It is revisited by modern artists who blend tradition and innovation. Some use it as a nostalgic decorative element, while others use it to question cultural heritage and identity issues. Young Japanese and Korean ceramists appropriate the dragon figure to transpose it into abstract, post-modern or playful forms.


More than just a decorative motif, the dragon embodies the symbolic power of Asian ceramic art. Over the centuries, it has reflected imperial ambitions, religious beliefs, cultural exchanges and the artistic genius of craftsmen. Its sinuous silhouette continues to inhabit objects, memories and museum showcases, reminding us that in Asia, the beauty of ceramics is never limited to form: it always carries a soul.


At Gauchet Art Asiatique, our appraisal firm, we specialize in the authentication and appraisal of Asian ceramics, including those with dragon motifs. Whether it's a Chinese celadon from the Song period, a Ming porcelain vase or a Vietnamese piece with incised decoration, we put our in-depth knowledge of styles, techniques and workshop marks at the service of collectors, dealers and institutions. Each piece is examined with rigor and sensitivity, respecting its history and origin.




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