The dragon and the phoenix are the source of so many comparisons and allusions in Chinese literature that some knowledge of these mythological creatures as conceived by the Chinese is essential in appreciating the many metaphors derived therefrom, and, moreover, they take an important place in Chinese art, whether modeled or pictorial. 

The feng huang is the phoenix of Chinese writers, and, like its counterpart in Arabian story, is adorned with everything that is beautiful among birds. The etymology of the name implies that it is the Emperor of all birds; and as is the unicorn among quadrupeds, so is the phoenix the most honorable among the feathered tribes. It is described by one author, 'as resembling a wild swan before, and a unicorn behind, it has the throat of a swallow, the bill of a fowl, the neck of a snake, the tail of a fish (having twelve feathers, except in years with an intercalary month when there are thirteen), the forehead of a crane, the crown of a mandarin drake, the stripes of a dragon, and the vaulted back of a tortoise. The feathers have five colors, which are named after the five cardinal virtues, and it is five cubits in height; the tail is graduated like Pandean pipes, and its song resembles the music of that instrument, having five modulations.

It appears only when reason prevails in the country, hiding itself at other times; and two are never seen at once; when it flies, a train of small birds always attends it. Like the unicorn it is benevolent, and it will not peck or injure living insects, nor tread upon living herbs; it alights only upon the wu t'ung tree, or Dryandra cordifolia, feeds only on the seeds of the bamboo, and quenches its thirst only at the sweet fountains.' To this account another writer adds, 'that this bird resides in the Vermilion Hills, where it eats and drinks at its pleasure, waiting for the time when peace shall pervade the country. There are four sorts which differ only in the color of their plumage.

The Arabian phoenix was described as a kind of eagle, but the Chinese represent their bird as belonging to the gallinaceous family; its eggs are the food of fairies. The drawing of it does not correspond very closely with the fanciful description given above, from which it would seem that the artist had taken the Argus pheasant as his pattern, making such modifications as suited its divine character and his notions of its form. The phoenix appears from the first to have been entirely an imaginary creature of Chinese writers, as it were a kind of inanimate yet superbly elegant statue, which they had full liberty to vivify and embellish with every benevolent quality, and make it throughout perfectly beautiful and good. It is said to have appeared about the time that Confucius was born, and is usually represented as flying in the air, while the unicorn ranges on the hills where the mother of Confucius stands in the foreground. The phoenix is often seen rudely depicted on the sterns of junks, standing on one leg and spreading its wings.

As the phoenix and the unicorn do not prey on living creatures, they are very acceptable to the Buddhists, who disapprove of the unnecessary taking of life. Many Chinese beliefs have similarly become incorporated with the Buddhism of Indian origin, which has readily adapted itself to Chinese soil. The wu t'ung, or dryandra, famous in legendary lore as the only tree on which the phoenix would alight, is an ornamental species, which grows to great height very rapidly, and has a bell-shaped flower, white without and reddish-brown within. The leaves are very large; they open early and commence to fall at the beginning of autumn. The seeds enter into the composition of the moon-cakes eaten by the Chinese at the autumnal festival of the eighth month.

The pheasant, as an emblem of beauty, is sometimes used in place of the phoenix. The designation "feng" really "includes two distinct varieties, an archaic kind like an Argus pheasant found on ancient bronzes, and a later representation which apparently combines the characteristics of pheasant and peacock.''2 The two-fold expression "feng huang" might perhaps better be rendered "Crested Love Pheasants." "In poetry many covert allusions to sexual pairing are intimated by reference to the inseparable fellowship of the feng and the huang.

The phoenix is only supposed to appear in times of peace and prosperity. It is the second among the four supernatural creatures, the first being the dragon, the third, the unicorn, and the fourth, the tortoise. It presides over the southern quadrant of the heavens, and therefore symbolizes sun and warmth for summer and harvest. "This divine bird is the product of the sun or of fire, hence it is often pictured gazing on a ball of fire. The sun being the yang or active principle, the phoenix has great influence in the begetting of children…It is six feet in height…. Its first recorded appearance is in the reign of Huang Ti, some 2,600 years BC It again showed itself in the next reign, and two phoenixes nested in Yao's palace about 2350 BC. It is not however Until the Han dynasty that we hear of worship being paid to it. Later its appearance becomes a commonplace in Chinese history, and is sure to glorify a peaceful reign or flatter a successful ruler. Its last advent was at Feng-huang fu in Anhui, where it scratched at Hung Wu's father's grave, and the imperial power passed into Hung Wu's hands. This town now sends out enormous numbers of pictures of the phoenix to all parts of the country.

The phoenix, as a decorative motive in ceremonial costume, was formerly employed to a considerable extent by the Empresses of China. A beautiful ornament for a lady's head-dress is sometimes made in the shape of the phoenix, and somewhat resembles the vulture head-dress of the women of ancient Egypt.