Exploring Humanity in Shared Mythological Creatures

• Post Date: 11/4/2024
• Author: Jacob Levan, Collections Assistant
• Reading Time: 8 minute read

• Collections tag
• In-Depth tag

Mythological creatures fascinate us, terrify us, and fuel our imagination. This post brings together a set of objects depicting myths of majestic dragons and malevolent demons from around the globe. Remarkably similar mythological tales of these creatures appear across the world, crossing cultural and religious boundaries. As theorist Jeffery Jerome Cohen writes, you can “read cultures from the monsters they engender.” These beings act as embodiments of our societal fears and our cultural values. Although these beings appear across the globe, they hold unique places in the cultures from which they originate. A being one culture considers a demonic monster might be seen as a benevolent protector elsewhere. The representations of dragons and demons illustrated here highlight not only the diversity of mythical interpretation across cultures but also the similarities between seemingly distant cultures.

Dragons

Dragon-like beings are found in cultures worldwide, with anthropologist David E. Jones suggesting our fascination stems from innate fears of Ice Age megafauna. The dragon depictions from Western Europe, Japan, India, and Peru included here reflect each of their unique places in their respective societies. In the Christian mythology of Western Europe, dragons symbolize the struggle between good and evil, while in Japan, they are revered as powerful entities associated with natural phenomena. Likewise, in India, the dragon-like nagas represent cosmic forces, and in Peru, they reflect connections between the natural and supernatural worlds.

The tale of St. George and the dragon, depicted on this Renaissance-era brass plaque, embodies the struggle between righteousness and malevolence in Western European Christian mythology. St. George, a Roman soldier, confronts a dragon terrorizing a village, symbolizing the triumph of good over evil. This narrative likely draws from Roman pagan tradition, as the image of a cavalryman trampling a dragon-like creature as early as the 3rd century BCE. The dragon represents Satan himself and his evil forces, who are inevitably vanquished by the virtuous acts of the holy warrior St. George. Plaques like this served as both décor for the wealthy and as reminders for Renaissance Christians to remain vigilant against malevolent forces.

Dragon-like beings feature in Native South American mythology, particularly within the Moche civilization of Peru’s north coast. The Moche Moon Animal, a feline-crocodile hybrid, is associated with lunar cycles and serves as a bridge between the spirit and mortal worlds. Nose ornaments resembling the creature discovered alongside the mummified remains of a Moche high priestess indicate it was highly revered within this society. Anthropologists suggest that this indicated its role in guiding the deceased to the spiritual realm and facilitating transformation. This vessel may have been used to store harvest materials, as the Moon Animal is also associated with the harvest season, another period of transformation. These ideas point toward the Moon Animal being a figure of change.

This wooden carving from a Hindu temple in South India likely depicts a naga, a Hindu serpent god. Nagas are largely depicted as benevolent towards humans, but they are dangerous due to their deadly venom. Often associated with the creator-god Vishnu, nagas symbolize cosmic balance and serve as guardians against malevolent forces, reflecting reverence for nature. They emphasize humanity's relationship with nature, evident in practices like ritual offerings and environmental preservation.

Dragon lore in Japan is heavily influenced by Chinese mythology and likely has roots in Hindu serpent gods. This dragon is carved from a single piece of wood and symbolizes power and protection as guardians of the natural world in Japanese mythology. Originally depicted as horse-like creatures, dragons evolved into serpentine celestial beings akin to gods, revered for their symbolism of wealth and longevity during Imperial Japan. Shrines dedicated to dragons are widespread, serving as sacred spaces intertwined with Buddhist and Shinto traditions.

Demons

The Oni, like the one depicted in this okimono, is a demon from Japanese folklore that preys on unsuspecting travelers. Traditionally, oni were said to be murderous and cannibalistic, hiding in caves or in the mountains. Scholars suggest these creatures developed during times of great loss, such as wars or famine, to explain unsolved disappearances. This oni is shown luring victims by playing a shamisen, a traditional stringed instrument. In modern folklore, the oni have taken on the role of a whimsical trickster, and Japanese parents use oni as a boogeyman figure to encourage their children to behave. Oni are also spiritual protectors, and carvings of the demons appear on some modern buildings to ward off other malicious spirits. The evolution of the oni from a figure of evil to a source of whimsy and even protection illustrates how Japanese culture has changed over the centuries, as different societal values and historical events have influenced their interpretation. This transformation highlights the fluid nature of folklore and the ways in which it adapts to reflect contemporary beliefs and practices.

This Panamanian mola from the 1970s depicts a vampire or a demon. This textile may represent a common Panamanian legend: a female baker becomes a sorceress, an apprentice of the devil, and becomes so infatuated with her lover that she flies by night across the country to be with him, returning just in time to have her bread baked for her morning customers. This tale reveals a facet of colonial Panamanian society that persisted into the 20th century: an aversion to female sexuality. Under Spanish rule, expressions of female sexuality and power were heavily scrutinized, as they were perceived as a threats to the patriarchal order and religious orthodoxy enforced by the colonial authorities. This legend highlights the relationship between religion, folklore, and cultural perceptions of women in shaping Panamanian culture's attitudes towards gender and power.

This statue from the mid-19th century a depicts a scene from a Hindu hymn about Durga, the goddess of power, strength, and protection. In the Mahishasura Mardini Stotra (written in the 8th century CE), Durga defeats the shapeshifting asura (demon) Mahishasura, shown in the form of a ferocious water buffalo. In Hindu mythology, asuras are beings that are in constant conflict with the divine devas or suras. After slaying the demon, Durga transforms into Mahishasura Mardini, “the Killer of Mahishasura”. Depictions of this battle are common in Hindu religious sites. Scholars suggest that the conflict between Durga and relationship represents the conflict between the good and bad tendencies within ourselves. Art scholar Carmel Berkson interprets the battle between the female goddess Durga and the male demon Mahishasura as a sexual act that may represent a broader struggle between masculinity and femininity in Indian culture. Beyond significance in myth, this portrayal of Durga's victory carries broader cultural and philosophical implications. It reflects upon the conflict between masculine and feminine energies and the struggle for harmony and balance within oneself.