Instruct: Given a question, retrieve relevant passages that answer the question.
Query: What do dragons represent in Chinese mythology?
The Chinese dragon is one of the most important mythical creatures in Chinese mythology, considered to be the most powerful and divine creature and the controller of all waters who could create clouds with their breath. The dragon symbolized great power and was very supportive of heroes and gods. The conventional dragon has a certain description, however there are other dragons or dragon-like beings that vary from this description. For example, the Chi of mythology lacks horns. Dragons often chase or play with a mystical or flaming pearl. A dragon-fenghuang pairing is a common motif in art, the fenghuang often being called a "phoenix".
The Four Symbols of Chinese cosmology were the Azure Dragon of the East, the Black Tortoise of the North, the White Tiger of the West, and the 
Vermillion Bird of the South. These totem animals represented the four cardinal directions, with a lot of associated symbolism and beliefs. A fifth cardinal direction was also postulated: the center, represented by the emperor of China, located in the middle of his Middle Kingdom (Zhong Guo, or China). The real or mythological inhabitants making their dwellings at these cardinal points were numerous, as is associated mythology.
Historically the dragon dance may be performed in a variety of ways with different types and colors of dragon. Green is sometimes selected as a main color of the dragon, which symbolizes a great harvest. Other colors include: yellow symbolizing the solemn empire, golden or silver colors symbolizing prosperity, red color representing excitement while its scales and tail are mostly beautiful silver colors and glittering at all times which provides a feeling of joyous atmosphere. As the Dragon dance is not performed every day, the cloth of the dragon is to be removed and to have a new touch of ultra-paint before the next performance.
Dragon dance () is a form of traditional dance and performance in Chinese culture. Like the lion dance, it is most often seen in festive celebrations. The dance is performed by a team of experienced dancers who manipulate a long flexible figure of a dragon using poles positioned at regular intervals along the length of the dragon. The dance team simulates the imagined movements of this river spirit in a sinuous, undulating manner.
"Beowulf" is the oldest extant heroic poem in English literature and the first to present a dragon slayer. The legend of the dragonslayer already existed in Norse sagas such as the tale of Sigurd and Fafnir, and the "Beowulf" poet incorporates motifs and themes common to dragon-lore in the poem. "Beowulf" is the earliest surviving piece of Anglo-Saxon literature to feature a dragon, and it is possible that the poet had access to similar stories from Germanic legend. Secular Germanic literature and the literature of Christian hagiography featured dragons and dragon fights. Although the dragons of hagiography were less fierce than the dragon in "Beowulf", similarities exist in the stories such as presenting the journey to the dragon's lair, cowering spectators, and the sending of messages relaying the outcome of the fight.
Aside from the popular form of dragon dance, other regional dragon dances include one from Zhanjiang, Guangdong province whereby the body of the dragon is formed entirely of a human chain of dozens to hundreds of performers, and in Pujiang County, Zhejiang Province, the body of the dragon is formed using wooden stools. The number of different dragon dances has been put at over 700.
Unlike the lion dance in many Asian countries where there are numerous native versions of the dance, the dragon dance is found in other countries primarily among overseas Chinese communities. In Japan, the dragon dance (龍踊, "Ja Odori" – also referred to as "Snake Dance" 蛇踊) is one of the main attractions in the Nagasaki Kunchi festival. The dance was originally performed by Chinese residents who settled in Nagasaki, the only port said to be open for foreign trade in Japan during the Edo period. The dragon dance has also been adapted for other local festivities by the Japanese – a golden dragon dance (金龍の舞, "Kinryū no Mai") has been performed at the Sensō-ji in Tokyo since 1958. There is however a form that is unique to Japan – the "Orochi" (a great serpent or Japanese dragon) which may be found in a "kagura" performance.
A double dragon dance, rarely seen in Western exhibitions, involves two troupes of dancers intertwining the dragons. Even rarer are dances with the full array of nine dragons, since nine is a "perfect" number. Such dances involve large number of participants from various organizations, and are often only possible under the auspices of a regional or national government.
The emblem draws on various elements of Chinese culture, depicting a traditional red Chinese seal above the words "Beijing 2008" and the Olympic rings. The seal is inscribed with a stylised calligraphic rendition of the Chinese character 京 ("jīng", meaning 'capital', from the name of the host city) in the form of a dancing figure. The curves are also claimed to suggest the body of a wriggling Chinese dragon. The open arms of the figure symbolise the invitation of China to the world to share in its culture. The figure also resembles that of a runner crossing the finish line. Red, the dominant colour of the emblem, is an important colour in Chinese society, often signifying prosperity.
Dragoon is the last of the Dragon Knights, an elite group of spear-carrying warriors who attack by jumping high in the air and coming down on their opponents. Dragoon uses this technique as a travel method, but is unable to perform these jumps without having a target. His usual target is Black Mage, although he does not harbour any ill will against the Light Warriors. In fact, he is extremely polite towards them, remaining oblivious to the considerable pain his travel method causes. Dragoon has encountered the team several times, mostly in passing. Like the Light Warriors, he was looking for the Air Orb that the Other Warriors seemingly stole from him and which he means to use to rebuild the Order of Dragon Knights. He had since been seen with White Mage and Sarda's younger self, before being teleported to the Moon by Sarda. Sometime in the following years, he joined Red Mage's support group for lone survivors of secret societies (Sects Buddies) after returning from the moon.
In Greek mythology, a Gorgon (; plural: Gorgons, "Gorgon"/"Gorgo") is a mythical creature portrayed in ancient Greek literature. While descriptions of Gorgons vary across Greek literature and occur in the earliest examples of Greek literature, the term commonly refers to any of three sisters who had hair made of living, venomous snakes, as well as a horrifying visage that turned those who beheld her to stone. Traditionally, while two of the Gorgons were immortal, Stheno and Euryale, their sister Medusa was not and she was slain by the demigod and hero Perseus.
The Buddhist tradition states that Buddha came into the womb of his mother in the form of an elephant having six tusks. According to Jaina tradition, each of the mother of the twenty-four thirthankars dreamt of fourteen auspicious objects, which included an elephant. 
In Hinduism, Ganesh, a god with the elephant’s head has been an object of reverence and worship for more than two millennia. He is therefore called as Gajanan(Gaj=elephant, aanan= faced). Several deities and mythological figures have elephants as their conveyance (vahan) including Balarama, Skanda and aiyanar.
Oxen may includingrefer to the common cow, the buffalo), and the yak. The zodiacal ox is one of the twelve zodiacal signs in the twelve-year calendar cycle. Yak tails are mentioned as magical whisks used by Daoist sorcerors. The ox appears in various agricultural myths.
Ancient Greeks believed that the flesh of peafowl did not decay after death, so it became a symbol of immortality. In Hellenistic imagery, the Greek goddess Hera's chariot was pulled by peacocks, birds not known to Greeks before the conquests of Alexander. Alexander's tutor, Aristotle, refers to it as "the Persian bird". One myth states that Hera's servant, the hundred-eyed Argus Panoptes, was instructed to guard the woman-turned-cow, Io. Hera had transformed Io into a cow after learning of Zeus's interest in her. Zeus had the messenger of the gods, Hermes, kill Argus through eternal sleep and free Io. According to Ovid, to commemorate her faithful watchman, Hera had the hundred eyes of Argus preserved forever, in the peacock's tail.
Dragon Booster is a Canadian animated series first broadcast in 2004. It follows the story of young Artha Penn, a stable boy who rides Beaucephalis (or "Beau" for short), the dragon of legend. He becomes a Dragon Booster, a hero to protect the world from the impending Dragon-Human war and unite humans and dragons for all time.
The goddess is sometimes depicted with arms upraised, and the arms vary in number but are always in pairs: 2, 4 or 6. This is similar to the appearance of the Christian Oranta. Pysanky with this motif were called “bohyn’ky” (богиньки, little goddesses) or “zhuchky” (жучки, beetles), the latter because they are similar in appearance to the Cyrillic letter Ж (zh). Sometimes the berehynia has become abstracted, and is represented by a plant—vazon—the tree of life. Her arms become the branches and flowers, and she is firmly rooted in a flowerpot.
Birds were considered the harbingers of spring, thus they were a commonplace pysanka motif. Birds of all kinds are the messengers of the sun and heaven. Birds are always shown perched, at rest, never flying (except for swallows and, in more recent times, white doves carrying letters). Roosters are symbols of masculinity, or the coming of dawn, and hens represent fertility.
The Christianization of Scandinavia completed by the 11th century meant that the high-mythology more or less phased out of use. This process may have been quite rapid because these never were the beliefs of the lower classes. While mythology was phased out, the gods, heroes and stories are brought to life through folklore. Folklore was a key instrument in integrating Christianity into Scandinavian society, and legends once focused on the pagan religion picked up Christian aspects. After Christian beliefs and traditions were introduced into society, there was a noticeable change in the characteristics of some of the creatures. For example, the horrid and evil trolls of the mountains developed a fear of church-bells, and the "huldre" preyed on good Christian men. The "evil" creatures of folklore began to fight the heroes and great kings over Christian symbols, such in the tale of King Olav Haraldsson and the trolls, with the Christians always appearing to prevail. Folklore also started to develop morals about being good Christian citizens. For example, only the strong of faith could defeat the "draugr".
The antelope's horn is prized for medicinal and magical powers in many places. The horn of the male saiga, in Eastern practice, is ground as an aphrodisiac, for which it has been hunted nearly to extinction. In the Congo, it is thought to confine spirits. Christian iconography sometimes uses the antelope's two horns as a symbol of the two spiritual weapons Christians possess: the Old Testament and the New Testament. The antelope's ability to run swiftly has also led to their association with the wind, such as in the "Rig Veda", as the steeds of the Maruts and the wind god Vayu. There is, however, no scientific evidence that the horns of any antelope have any change on a human's physiology or characteristics.
In ancient China, the rulers of the Shang ("c". 1600 – "c". 1050 BC) and Zhou ("c". 1050 – 256 BC) dynasties were referred to as kings (王 "wang"). By the time of the Zhou dynasty, they were also referred to as Sons of Heaven (天子 "Tianzi"). By 221 BC, the King of Qin, Ying Zheng, conquered and united all the Warring States of ancient China. To elevate himself above the Shang and Zhou kings of old, he accepted the new title of emperor (皇帝 "huangdi") and is known to posterity as the First Emperor of Qin ("Qin Shi Huang"). The new title of emperor was created by combining the titles for the Three Sovereigns ("Sanhuang") and Five Emperors ("Wudi") from Chinese mythology. This title was used by each successive ruler of China until the fall of the Qing dynasty in 1911.
Cats in ancient Egypt were represented in social and religious practices of Ancient Egypt for more than 30 centuries. Several Ancient Egyptian deities were depicted and sculptured with cat-like heads such as Mafdet, Bastet and Sekhmet, representing justice, fertility and power.
The deity Mut was also depicted as a cat and in the company of a cat.
The Chinese mythological symbols of the Dragon and the Phoenix have been used to represent Jason and Sam individually as well as their union as a married couple. Throughout their relationship Jason and Sam have had an affinity for Chinese food. When they went to escape the stress of their wedding, they ended up in the Asian Quarter of town at a little Chinese restaurant. The couple’s wedding was infused with a lot of Chinese tradition. During their wedding ceremony in the garden, Jason stood under the symbol of the Dragon and Sam stood under the symbol of the Phoenix. In Chinese mythology, the Phoenix symbolizes luck, success, beauty and prosperity. The Phoenix was considered the goddess of all winged creatures and was often the symbol of the Empress. The Dragon symbolizes protection, strength, wealth, good fortune and vigilance. It is regarded as the ultimate being amongst all creatures and was often the symbol of the Emperor. Together, the dragon and the phoenix represent the ultimate union of yin and yang. They represent wedded bliss, harmony, happiness in marriage, people who are "meant to be," success and prosperity, as well as many offspring, and the beginning of a dynastic family. For Christmas on December 23, 2011, Jason and Sam exchanged dragon and phoenix figurines. The couple's son, Daniel, was born in the year of the dragon and their daughter, Emily, was born in the year of the phoenix (fire rooster). During their wedding ceremony the minister, Robert Yi recited these words on the dragon and the phoenix:
Another hypothesis on why star, moon, cloud and dragon symbols started appearing on Chinese cash coins is that they represent Yin and Yang and the Wu Xing, or more specifically the element of water (水), this hypothesis claims that the appearance of these symbols wasn't accidental but a manifestation of the fundamental belief of the ancient Chinese people of the time in Yin Yang energy and the elements of the Wu Xing. The Hanzi character for a "spring" (泉), which in this context refers to the underground source of water also meant "coin" in ancient China. In Chinese mythology the moon was an envoy or messenger from the heavens and water was cold air of Yin energy that was being accumulated and had their origins on the moon. As the moon was the spirit in charge of water in Chinese mythology and was in fact its essence the alleged meaning of crescent symbols representing "the moon" on cash coins could indicate that cash coins have to circulate just like water which flows, gushes, and rises. The symbolism of "clouds" or "auspicious clouds" in this context may then refer to the fact that clouds cause rain, in the Book of Changes the second trigram is mentioned to be representative of the element water which appear in the heavens as clouds, this would also imply that like flowing water cash coins should circulate freely. The appearance of wiggly-lines that represent Chinese dragons happened around this time as well and may have also been based on the Wu Xing element of water as dragons were thought to be water animals that were the bringers of both the winds and the rain, this would also confirm that dragons represented the nation that the circulation of cash coins should be free akin to how water flows. In later Chinese charms, amulets, and talismans the dragon became a symbol of the Chinese emperor as well as the central government of China and its power.
""Hong" < *"g'ung" 虹 'rainbow' has always represented a dragon to the Chinese," says Carr (1990:103), "from Shang oracle pictographs of dicephalous sky-serpents to the modern 虹 graph with the 'wug' radical." The mythic Chinese "hong" "rainbow" dragon has a few parallels in the natural world (two-headed snake, Rainbow Snake Farancia erytrogramma, and Rainbow Boa Epicrates cenchria) and many in comparative mythology (see rainbows in mythology and snakes in mythology).
One of the most famous dragons in Chinese mythology is Yinglong, the god of rain. Many people in different places pray to Yinglong to receive rain. Chinese people use the term 龍的傳人 ("Descendants of the Dragon") as a sign of their ethnic identity. Shenlong is a master of storms and bringer of rain. Zhulong the Torch Dragon is a giant red solar deity. Sometimes he appears in composite snake-like, human-dragon form. There were various dragon kings. They mostly lived undersea and were of the Ao family, such as Ao Guang.