Tibetan Dragon Canon: A Symphony of Imperial Power, Belief, and Art in a Golden Age

Qing dynasty (1644-1912)
The Tibetan Dragon Canon, Secret Tantra Section, Case Tha
H: 194 cm; W: 203.4 cm
National Treasure
Gucang 000064

Background and Discovery

This sutra wrapper is an important component of the Tibetan Dragon Canon (Longzangjing) binding. According to the Manchu records of the Imperial Household Department Archives, on the twenty-seventh day of the ninth month of the sixth year of the Kangxi reign (1667), the eunuchs Liu Zhong and Niu Zhiqi conveyed an edict from the Grand Empress Dowager. The order instructed the Imperial Household Department ministers Baka and Tuba to oversee the production and to have it carried out at the three Imperial Silk Manufacturing in Jiangnan Province. The archival record specifically states that “108 Buddhist scripture wrappers of seven-dragon silk, woven with gold thread and velvet thread, are to be produced.” 

After their completion, these precious textiles remained concealed within the interlining of the yellow satin sutra wrappers for nearly 346 years. It was not until 2011, during preparations for a special exhibition on the Tibetan Dragon Canon, that researchers noticed an opening caused by loosened stitching and unexpectedly discovered the hidden textile layer within the wrapper.

Binding Structure and Weaving Features

The Tibetan Dragon Canon is renowned for its exceptionally elaborate binding. From the innermost to the outermost layer, the scripture was protected by ten components of decorative binding. The sutra wrapper surrounding the scripture leaves consisted of four layers: the innermost plain yellow silk wrapper, followed by a yellow cotton wrapper; the third layer was this yellow satin brocade padded sutra wrapper; and the outermost fourth layer was a yellow quilted cotton wrapper.

Hidden within the interlining of the wrapper was the textile referred to in the archives as the “buddhist scripture wrapper of seven-dragon silk.” The National Palace Museum has formally designated it as “Gold-embroidered yellow satin featuring coiled dragons and ruyi cloud patterns.” Owing to the width limitations of the looms, the textile was not woven as a single piece. Instead, it was constructed from three panels of yellow silk, each nearly 70 centimeters wide. Master weavers employed the highly sophisticated technique of pattern-matched seaming to join the panels seamlessly, ensuring that the decorative motifs continued uninterrupted across the joins. The materials also faithfully followed the imperial instructions, combining luxurious gold thread and velvet thread in a brocade embroidery (zhuanghua) technique.

The Iconography of the Seven Roundel Dragons

This brocade embroidery (zhuanghua) satin is woven on an imperial bright-yellow ground, the color traditionally associated with the emperor. Prominently displayed across its surface are seven roundel dragon motifs woven in gold thread. Surrounding each dragon are densely arranged ruyi-shaped cloud motifs, symbols of auspiciousness and good fortune. Comparative research conducted by Museum scholars has revealed a remarkable similarity between these dragon roundels and the dragon designs depicted on the robe worn by the emperor in the Museum’s collection of the Seated Portrait of Emperor Xizong. The correspondence in composition and stylistic features is particularly striking.

This discovery is of considerable significance to art history, demonstrating that decorative motifs used on court objects and textiles in the early Kangxi period continued to follow Ming dynasty design traditions to a remarkable extent. Beyond reflecting the close chronological proximity between the two dynasties, it also provides tangible material evidence for the historical proposition that the Qing inherited and continued many institutions and cultural practices of the Ming.

Attributed to a Song Dynasty Artist
Hanging scroll
122.2x68.5 cm
Guhua 000162

A monk of Indian appearance, with deep-set eyes and a prominent nose, adorned with earrings, armlets, bracelets, and anklets, sits barefoot on a rattan chair clad in a monastic robe. He holds a palm-leaf manuscript in its original form, bound together with a cord. To his left, an attendant is shown adding incense to a censer placed on a table, while behind them stand ornamental rocks and a palm tree.

Burmese Palm-leaf Manuscript: Sutta Piṭaka: Dīgha-Nikāya, Mahāvagga-aṭṭhakathā
ca. 19th century
48.6 x 5.8 x 13.1cm
Donated by Lu Chung-hsiung
Zengshan 025811

This Miandian Beiyejing (burmese-script palm-leaf manuscript) is the “Aṭṭhakathā (commentary)” on the section of the Changbu Dapin (Dīgha Nikāya, Mahāvagga) in the Pali Sutta Piṭaka. The Dapin (Mahāvagga) comprises ten discourses, and according to the Theravāda Buddhism tradition, its commentaries were compiled by Buddhaghosa on the basis of earlier exegetical materials. This manuscript is a bilingual Nissaya text presenting Burmese and Pali in parallel. No date is recorded in the colophon.

Composed by the Kangxi Emperor
Qing dynasty (1644-1912)
Secret Tantra Section, Case Ka
33 x 87.5 cm
National Treasure
Gucang 000019

The Tibetan Dragon Canon (Longzangjing) was completed on the twenty-fourth day of the third month of the eighth year of the Kangxi reign (1669). In the tenth month of the same year, the Kangxi Emperor, acting upon the command of the Grand Empress Dowager, composed a preface to the canon. The preface was transcribed in gold ink in both Manchu and Tibetan and placed at the beginning of the first case (Ka case) of the canon. The Manchu version occupies five folios and bears the title “Preface to the Great Treasury Scripture” (amban baktambi boo bai gung ni sioi), ” while the Tibetan version occupies three folios and is titled “Preface to the Great Treasury of the Dharma, the Kangyur (ཆོས་ཀྱི་གཏེར་མཛོད་ཆེན་པོ་བཀའ་འགྱུར་གྱི་བྲིས་སྦྱང། chos kyi gter mdzod chen po bka’ ‘gyur gyi bris sbyang). ”

“On an auspicious day in the tenth month of the eighth year of the Kangxi reign (1669), after the precious Kangyur had been completed at the command of the Grand Empress Dowager, Her Majesty graciously instructed me to compose a preface for the beginning of the canon. In reverent obedience to her decree, I respectfully write as follows:

Since ancient times, emperors have upheld the Way and transmitted its essential teachings, establishing exemplary models and institutions. Whether manifesting visible forms or elucidating the profound intent of the Tathāgata, the dissemination of teachings and establishment of laws have all depended upon unseen assistance and protection. Although the names given by those of supreme wisdom may differ, their ultimate meaning is one and the same. Thus, moral transformation extends without distinction to both the visible and invisible realms, and beneficence reaches all beings alike.

I deeply reflect upon how the august founder, the Taizu Emperor, established the dynasty through boundless benevolence and virtue, and how the Taizong Emperor inherited the great succession through exalted virtue and wise governance. Both reverently followed the will of Heaven and accorded with the intentions of the Buddha. Their sacred achievements spread far and wide, like the operation of the natural order; their benevolence flowed abundantly, like the ceaseless turning of the Wheel of the Way. Thus were gathered the blessings of both heaven and humankind, extending auspicious fortune through successive generations.

My august grandmother, the Grand Empress Dowager Xiaozhuang, whose virtues accord with Heaven, expanded the compassionate intention of the Buddha and nurtured my late father, the Shizu Emperor. Endowed by Heaven with sagely wisdom and possessing innate benevolence and filial devotion, my late father unified the realm and brought harmony to the empire. With the compassionate mind of the Buddha he practiced the way of the sage kings Yao and Shun, thereby widely promoting good governance and bringing benefit and happiness to his subjects.

During moments of leisure, the Grand Empress Dowager ordered an inspection of the imperial repositories, where there were found 2,457 volumes of the precious Buddhist canon known as the Kangyur, housed in 108 cases and originally obtained from the Western Regions many years ago. She therefore decreed that it be recopied in gold ink, so that the great teaching might shine ever more brilliantly, the exquisite script might resemble strings of pearls, and the countenance of the Buddha might radiate renewed splendor.

I have long wished to expand the sacred Way and make manifest the brilliance of its virtues. Yet the doctrine of emptiness is exceedingly subtle and profound, difficult to comprehend in its depths. Although its ultimate foundation cannot easily be fathomed, the enlightened mind may still apprehend its essential meaning. The highest truth, though evident in its manifestation, originates in the most subtle principles; the vast collection of sacred teachings arises from what is hidden and profound. Their purpose is to encourage the path of compassion, to promote benefit for oneself and others, to spread moral transformation throughout the world, and to bring peace and prosperity to the state and its people. Therefore, in respectful compliance with the compassionate command of the Grand Empress Dowager, I have composed this brief preface.”

Woodblock edition printed by the Jinling Scriptural Press, the 9th year of the Tongzhi reign (1870)
24.5×27 cm
Zengshan 029331

The Chinese-language Dragon Canon was an officially sponsored Buddhist canon commissioned by the Yongzheng Emperor in the eleventh year of the Yongzheng reign (1733). A scripture-printing bureau was established at Xianliang Monastery in Beijing to carve the woodblocks, and the project was completed in the third year of the Qianlong reign (1738), after six years of work.

The canon became known as the Dragon Canon because dragon motifs decorate the borders of its printed pages. It is also referred to as the Qing Canon (Qingzang) or the Qianlong Edition of the Buddhist Canon (Qianlong Dazangjing). From the Song through the Qing dynasties, numerous woodblock editions of the Chinese Buddhist canon were produced. Among them, the printing blocks of the Dragon Canon are the only complete set known to survive. Originally housed in the Wuying Hall, the blocks were later transferred to Bailin Monastery for preservation.