Korean Dragon–Yong
Genealogies Between East and West
Korean mythology compiled in Goryeosa (고려사), or the history of the Goryeo dynasty, features a spectrum of dragons. According to the document, Imugis (이무기) are where dragons started. This less-than-dragon form is considered part of the reptiles and will aspire to be a full-fledged flying dragon or yong/ryong (용/룡). The formative aspect is a trait underscored among Korean dragons. The trope this trait entails, that dragons represent a transcendental end, finds resonance across East Asia and beyond. On top of it, theories position Korean yong between Eastern and Western cultures due to its adaptation of European and Chinese elements.
Archaeological finds in question include the “chicken-dragon” (gyeryong) in Samguk yusa ( 삼국유사; Memorabilia of the Three Kingdoms). It allegedly has features similar to the European basilisk (or cockatrice) and is the origin of the name Gyeryong Province, as well as that of Gyeryongsan (鷄龍山), the latter has a ridge shaped like the spine of a dragon with a chicken crest on it and translates to “the Mount of the Chicken-Dragon.” For the Korean yong, the mountain might not be a far-fetched analogy because the creature, typically with four claws, is known for being gargantuan and living in close proximity to the sky and water, often accompanied by clouds.
Communications and Comparative Engagement
Yong is a symbol of the Korean Empire. The royal family used it to justify themselves as governors, as much as they valued its auspicious implications and characteristics of strength, wisdom, and divinity. Thus, yong are also prevalent in imperial palaces and objects, from attires to furniture and architectural designs. The dragon’s growth corresponds well with that of the emperor, who might reference yong to explain how the weather changed and, consequently, seek its aid for betterment.
For thousands of years, the Korean dragon is believed to have coexisted with Korea and witnessed the rise and fall of its kingdoms. They were heavily featured in the late-Goguryeo periods, as inferred from the tomb walls. One of them is in the Tonggu Sasinchong (通溝四神塚, Four Directional Deities Tomb in Tonggu). Among the mural paintings, there is an Azure Dragon. The figure is on the east wall, side-by-side with the other three deities: the White Tiger on the west, the Vermilion Bird on the south, and the Black Tortoise-and-Serpent (intertwined snake and tortoise) on the north. The sinuous and supple motifs that convey its shape and movements drew influences from Taoism and were executed to the minutest detail with local artistry.
As Korea has been engaging with the global art and cultural world more than ever before, contributions from academies and artists also remind us of the typological difference between Eastern and Western lore about “dragons.” For the West, dragons are often malicious creatures for heroes to conquer and slay. East Asians, on the other hand, cast the “dragons” in separate cultural contexts and endow them with more positive character traits. As a result, an immortal, benevolent, yet protective creature was born, partly out of the coastal living some inhabitants were used to, partly as an offshoot of the established agrarian or fishing culture across the shores and the inland regions.
Additionally, it is also worthy of note that, particularly in the Korean regions, the image of yong has experienced some transformations due to recent influences from abroad and changing public opinions regarding traditions. Korean popular culture has shifted from perceiving yong as the divine, benevolent, and unfathomable to bracketing them with other supernatural beings able to wield superpowers. Most of the time, these creatures appear as friendly but monstrous neighbors with a touch of humor.