First Storey

The main theme of this massive embroidered backdrop is the classic Chinese fable of dragons metamorphosing from their previous incarnations as carp. The five adult dragons are five-clawed creatures with ferocious countenance. They bare sharp fangs behind their flowing long whiskers and they have antlers, raised eyebrows, and pointed dorsal scales. Their scaled bodies are in glittering gold with their undersides as white as a fish belly. They seem to fly effortlessly amongst thick clusters of auspicious clouds and streaks of fire. The central dragon faces and stares directly in front, pursuing a flaming red pearl. The otherfour dragons with each occupying a corner of the embroidery have their heads turned towards the central dragon in awe.

Beneath the dragons is a depiction of a turbulent ocean with six carp leaping out of the waves on the right. In the middle, jutting out from the ocean, is a stone plaque with the words 'Dragon Gate' (Traditional Chinese: 禹門) written on it. On the left side of the sea, a hybrid dragon-carp with wings and a three-clawed limb is just about to plunge into the waters to join the other two newly-transformed small dragons swimming beneath.

Five bats fly upwards towards the central dragon, adding to the exuberance of the whole transformative jubilee.

The design of this embroidery is very compact and elegant with smooth, exquisite workmanship making the whole picture dignified and beautiful.

These beautiful dragons form an imposing background which accentuates and highlights the magnificence of the Maitreya Buddha. There was extensive use of gold silk threads which brings out the beauty and vitality of the splendid dragons.

The names of the sponsors are embroidered at the top.

(Note: For more information about dragons, please see section on Hundred Dragons)

The reference to the Carp's (Chinese: liyu; Japanese: Koi 鯉) transformation into a dragon in the proverbial idiom: "Liyu (Carp) jumps over the Dragon Gate (Chinese: 鯉躍龍門)", alludes to the sudden uplifting in one's social status; ascending the upper society is due to connections or finding favour with the royal or a noble family through success in civil examination or through marriage.

This symbolic image, as well as the image of the carp itself, has been one of the most common artistic themes from ancient China in Chinese paintings, especially those of popular styles. The fish is usually coloured in gold or pink , shimmering in an unmistakably auspicious colour.

This theme is based on a Chinese legend (Japanese: Koi-no-Takinobori 鯉の滝登り) wherein the carp swam, against all odds, up a waterfall known as the "Dragon Gate" at the headwaters of China’s Yellow River. The gods were very impressed by the feat, and rewarded the few successful carp by turning them into powerful dragons.

The story symbolizes the virtues of courage, effort, and perseverance, which correspond to the arduous struggle of humans to attain Buddhahood. In modern Japan, temples and shrines commonly stock their garden ponds with carp, which grow to enormous sizes in a variety of colours.

Bats (Chinese: bian fu, 蝙蝠) are mammals of the order Chiroptera (/kaɪˈrɒptərə/; from the Greek χείρ - cheir, “hand” and πτερόν - pteron, "wing") have forelimbs with webbed wings, making them the only mammals naturally capable of true sustained flight.

In China, the bats are symbols of longevity, happiness and are very auspicious creatures. If one ever flies into your home, you won't want to do any harm to it because it brings you luck! The bat is a symbol of good fortune because the second word of its name 'bian fu' (蝙蝠) sounds like 'luck' in Chinese (福).

Bat motifs are seen on many Chinese objects, signs, and arts. They are often seen as two or five bats but seldom alone.

Two bats "shuang fu" 双福 means 'double luck'. A design of two bats with a scepter ru yi means "double happiness as wished".

Five bats "wu fu" 五福 means Five Fortunes referring to Good Luck, Prosperity, Wealth, Happiness and Longevity.

There are several bats that have made Buddha Tooth Relic Temple & Museum their home. They can be found on the roof eaves at the front lobby of the Hundred Dragons Hall!

Chinese embroidery refers to embroidery created by any of the cultures located in the area that makes up modern China. It is the oldest extant needlework form of art in the world. The four major regional styles of Chinese embroidery are Suzhou embroidery (Su Xiu), Hunan embroidery (Xiang Xiu), Guangdong embroidery (Yue Xiu) and Sichuan embroidery (Shu Xiu). All of them are nominated as Chinese Intangible Cultural Heritage.

Su Xiu (苏绣) — Suzhou embroidery is crafted in areas around Suzhou, Jiangsu Province, having a history dating back 2,000 years, originating in the Three Kingdoms Period (220-280). According to historical records, Su embroidery became so popular during the Ming Dynasty (1368-1644) that people even named lanes with names associated with silk and its embroidery. Nearly every family raised silkworms and embroidered. Su embroidery reached its peak during the Qing Dynasty (1644-1911), and Suzhou was named the Embroidery City at that time. In 1957, the Embroidery Research Institute was established in Suzhou. It is famous for its beautiful patterns, elegant colours, variety of stitches, and consummate craftsmanship. Its stitching is meticulously skilful, coloration subtle and refined. Suzhou artists are able to use more than 40 needlework and a 1,000 different types of silk threads to make embroidery, typically with nature and environment themes such as flowers, birds, animals, landscapes, pavilions etc.

Su embroidery is known for its sophisticated elegance and wide range of themes. Its techniques include both the single-faced embroidery and the unique double-faced embroidery. The double-sided embroidery has the same outlines on its front and reverse and uses the same sewing method that does not show the joins in the stitches. Basic features of Su embroidery are simple composition, clear theme, vivid image, and gentle colours. In recent times, Su embroidery design has absorbed some western painting techniques.

The design is usually very simple, highlighting a main theme. Its stitching is smooth, dense, thin, neat, even, delicate, an appropriate combination of colours, etc. The thin thread could be divided into 48 strands that are barely visible to the naked eye. In terms of categories, Su embroidery has stage costumes, embroidered fabrics and hanging screens, etc. Su embroidery products were sent to participate in the Panama World Fair in 1915. Since then, the style has become increasingly famous throughout the world.

Suzhou embroidery's "chaotic needle technique" was invented in the 1920s by Yang Shouyu. The technique’s new way of organising lines results in a vivid 3D effect similar to a Western oil painting. The seemingly chaotic intersecting lines of varying lengths effect an interestingly novel layering of colours. The term "chaotic" is a little misleading, as at first glance it may seem disorganised but actually it has its rules and techniques. Lines of different lengths skewed relative to either the vertical or horizontal axis crisscross and interlace. They then undergo further layering and colour mixing until the right density, gloss, colour and form are achieved. The colours of the finished product would change when placed under different lightings, resulting in vivid lifelike compositions. This technique differs from traditional embroidery in both execution and artistic effect. It results in a unique visual effect.