Since ancient times, the Chinese have believed that the Dragon and the Phoenix are not enemies, nor lovers, but the embodiment of the great forces without which the world cannot exist.

The Dragon (龙, Lóng) is the sovereign of the heavenly waters. He brings the rains, feeds the rivers and fields, embodies the masculine principle of yang, and grants the emperor his mandate of power. His scales gleam like lightning, and his breath stirs the thunder.
The Phoenix (凤凰, Fènghuáng) is the queen of birds, born of flame and the spring wind. She appears only in times of peace and justice, her feathers shining with the five virtues: benevolence, righteousness, propriety, wisdom, and fidelity. She embodies the feminine principle of yin, beauty, and fertility.

It was said: “When the Dragon ascends and the Phoenix dances, an age of happiness and prosperity begins.” Their joint appearance was seen as an omen: the empire will flourish, the dynasty will endure, and the people will live in harmony.

Thus, in the imperial palaces, the Dragon adorned the robes of the Emperor, while the Phoenix graced the garments of the Empress. Together they symbolized the Marriage of Heaven and Earth — the balance of masculine and feminine, of power and virtue, of rain and fire.
In this way, the Dragon and the Phoenix became an eternal pair in legend. Not as mortal spouses, but as cosmic symbols of balance that sustains the world. And every time an artist or sage joined their images, it was a reminder: there is no strength without gentleness, and no gentleness without strength.

The sky burned as if someone had spilled blood across the heavens. The moon hung heavy and round, like a yellow bronze gong waiting to strike its final note.

On the blackened branches sat the crows. There were so many that the forest itself seemed alive, breathing with their dark breath. They did not cry out, and their silence was more terrifying than any scream. People knew: when the crows gather without a sound, fate has already been written, and all that remains is to wait.

The elders used to say that the crow is no mere bird but the tongue of the gods. Perched upon the branches, it writes like a scribe of destiny, each feather a mark of what is to come. Those who can read them see tomorrow as clearly as others see the lines of a palm.

That night, under the red sky of the Middle Kingdom, the crows gazed straight into human souls. Some saw in them an ending, others a beginning — yet no one could turn away.

For beneath the red sky, man becomes transparent, and his secrets no longer belong to him, but to the birds.

In the crimson forest, where the trees stand like the exposed muscles of the earth, walks a woman. Her kimono burns like a fresh wound, and the lantern in her hand is not light, but the fragile flame of a heart trembling before eternal darkness.

Behind her unfurl nine tails — not soft, but sharp, like tongues of fire. They are no adornment but the mark of power and curse. Within each curve lies the memory of passion, betrayal, solitude.
She never turns back. The Path of the Kitsune admits no witnesses — only accomplices. And whoever follows her light discovers, within her nine tails, nine shadows of their own soul.

Thus beauty is born — beautiful because it is mortal.

Long ago, when the world was still young, the dragon alone ruled over fire. His breath set forests ablaze, his heart thundered with the flame of stars, and his wings shone like molten steel. No power on earth could command the element.

But one night, in the hush of a deep forest, the dragon beheld a wonder. Far below, among towering trees, a fragile light flickered — not wild, not ravenous, but calm, encircled by stones. It was the first fire kept by human hands.

The dragon gazed in silence. What had been his eternal might now glowed, small yet steadfast, in the realm of mortals. And in that ember he glimpsed a new kind of magic: not ruin, but warmth; not hunger, but shelter; not fury, but hope.

Thus was born the Legend of the Tamed Fire — the moment humankind first spoke to the element as an equal.

They say that where the mountains touch the sky, there lies a forest, and in its depths — a threshold between worlds. To guard it, the Great Power set two sentinels. To the Wolf it gave the Fang — the truth of the earth, harsh and inexorable. To the Eagle — the Wing, the vision of the heavens, that sees beyond the thread of human fate.

But the guardians are only the first trial. Beyond them awaits the Hut on chicken legs. Within it dwells Baba Yaga — not the witch of children’s tales, but an ancient archetype of the feminine: dark, mighty, mocking. She laughs where others tremble, and asks the questions from which there is no hiding. Her fence of bones is a library, each skull’s grin keeping the story of a seeker who failed.

Thus was born the Legend of the Threshold of Worlds. Here one comes not for power, nor for glory, but for an encounter with the very boundary of being. And only the one who can endure the howl of the Wolf, the cry of the Eagle, and the laughter of Yaga, finds an answer that changes them forever.

Sometimes the night does not reveal its secrets at once.

It lingers, like a great actress, trying on her masks — the slender crescent, the arch of anticipation, the radiant full face. Each phase is its own story, and only the most patient can see how all of them weave into a single design.

Wolves lift their howls to the heavens, the night-blooming flowers unfold their petals for this very moment, and moths dance above the flame like wandering souls unsure of where to go. Above it all soars the owl — the wise guardian who sees both worlds at once: ours, and the one where fire and darkness are but two wings of the same bird.

And then it becomes clear: night is not emptiness, not darkness, but a great stage where elements, spirits, and stars meet. All of it exists for us to one day grasp a simple truth: even in the depths of darkness, there are always wings of light.

At first—there was only warmth, trembling, alive in itself.
Light spilled across faces, across hands, across the earth.
People sat in silence, gazing into the fire, and in their eyes flickered the shadow of the dragon, ancient and feared.

The flame seemed foreign: it was here, yet it was not ours.
It watched us, just as we watched it.

But one day the shamans gathered by the water, encircled by mountains and clouds.
They built a towering fire—and for the first time they did not bow to it as to a ruler, nor tremble before it as before an enemy.

They began to sing and to dance, to strike their drums, to circle the flames, weaving their breath into the breath of fire.

And then the fire rose skyward, reaching for the sun, until the truth revealed itself: it was not we who danced around the fire—it was the fire that danced within us.

Thus began a new chapter in the story of humankind: the flame ceased to be a symbol of fear and ruin; it became a companion and an ally.

And people understood that the power they once dreaded could become music, and that the fire itself lives within every heart.

They say that once the Sun and the Moon met face to face.

It was a rare and dangerous moment: their touch could shatter the balance of worlds.
The Sun burned with passion, the Moon breathed with coolness, and both knew — too close a union could turn to catastrophe.

Then between them appeared the Fox — child of flame.

She was born from the tongues of a fire that humans once kindled for dance and song.
Her tails glowed like embers, her eyes sparkled with cunning.
She could play with fire as no one else could.

The Fox became the mediator between the Sun and the Moon.
She wove their breath into a circle of fire, turning collision into union.
The Sun bent low, the Moon smiled, and between them flared a kiss — not destruction, but light, from which new legends were born.

Since then, the Fire Fox has been regarded as guardian of this bond.
Cunning, ironic, yet faithful to her duty: to make sure the Sun and Moon do not destroy each other in their dance.

Thus began a new chapter in the Chronicles of the Tamed Flame.
Fire ceased to belong only to the earth — it rose to the heavens, becoming the bridge between light and shadow, day and night.

And the Fox reminds us: even the wildest force can be a guardian, if it knows how to play with fire.

They say that in ancient times there was a people who believed in only three sacred things:
Summer, the Sun, and Honey.

They held that life was not given to humans for heavy deeds, but to be savored—like a ripe fruit.
And they would say:
“Those who know how to delight in the world stand closest to the gods.”
Their ancient faith was called the Honey-Sun Cult, for they worshipped joy as a deity.
According to legend, in the height of summer the Sun descended to earth in the form of the Golden Singing Bee.

She drifted above the fields, touched the flowers with her wing, and they opened in her honor—suddenly, brightly, like laughter.

It was said that the Singing Bee left three gifts to humankind:

1. Sweetness on the tongue — so one would remember that the world is not hostile.
2. Sweetness on the skin — so the body would not fear pleasure.
3. Sweetness in the gaze — so beauty could be seen where others see only dust.

The woman with the honey-gold eye at the center of the painting is a descendant of those who once heard the Bee’s song.

She wears sunflowers as a crown and keeps bees as her guardians.
They buzz around her with such purposeful delight that one might think they are carrying out an important civic mission—perhaps the distribution of happiness.

This Keeper of Summer bears a honeycomb pattern in her pupil because she can see summer even in winter.

And people still say:
if someone suddenly becomes warmer, brighter, gentler,
it means the Keeper of Summer has passed nearby
and left a drop of amber in their gaze.

Here, the rain never ends.
It lays a fine net over branches, over roofs, over faces, as if the world itself breathes more slowly beneath the steady whisper of water. Mist stretches between the trees, rendering them spectral, cut from glass.

On a high rock sits a dragon. His shape blurs into the clouds, yet he feels heavy, solid, like the mountain itself. In his eyes flicker the reflections of distant campfires — small, stubborn human flames. He knows their cost: how easily they flare, how quickly they fade.

And yet he does not wage war against them. He guards this valley — not from men, not for them, but simply because the rain and the mist require a guardian. The dragon breathes clouds, and as long as he remains, the forests will rest beneath a silver veil. The world under his wings feels strange and beautiful, like a dream too convincing to deny.

They say that in the farthest waters lies a sea where the colors of sunset entwine with forgotten nightmares. It is called the Red Sea of Dreams. There dwells the ancient Cephalopod — keeper of secrets no human mind can endure. His eight tentacles are eight destinies, and each of them can pull a soul into another world.

He does not attack, nor does he protect. He simply is. His presence alone is a trial for anyone bold enough to enter his realm.

And there — a small human figure in diving gear. A fragile guest in a world measured only by the breath of the abyss. This man dared to descend into the place where reality itself trembles from a stranger’s dream. A meeting with the Cephalopod is a step beyond the edge: one may return, forever bound to silence, or remain in the depths, dissolved into the ocean’s pulse.

“The Red Sea of the Cephalopod’s Dreams” is a myth about the fragility of the brave before eternity, about the audacity of the human gaze — and about the power of the abyss, which always gazes back.

They say that in the farthest waters lies a sea where the colors of sunset entwine with forgotten nightmares. It is called the Red Sea of Dreams. There dwells the ancient Cephalopod — keeper of secrets no human mind can endure. His eight tentacles are eight destinies, and each of them can pull a soul into another world.

He does not attack, nor does he protect. He simply is. His presence alone is a trial for anyone bold enough to enter his realm.

And there — a small human figure in diving gear. A fragile guest in a world measured only by the breath of the abyss. This man dared to descend into the place where reality itself trembles from a stranger’s dream. A meeting with the Cephalopod is a step beyond the edge: one may return, forever bound to silence, or remain in the depths, dissolved into the ocean’s pulse.

“The Red Sea of the Cephalopod’s Dreams” is a myth about the fragility of the brave before eternity, about the audacity of the human gaze — and about the power of the abyss, which always gazes back.

They say the ocean is not water, but flesh. And in this flesh, deeper than the abyss itself, shimmer the embryos of life — echoes of the primal cells within the body of the sea.

They are not jellyfish, as the mortal eye perceives them. They are divine organisms, radiant beings — the first images of life, long before the world knew the word “living.” Their tremors are the breath of the cosmos, their pulse the heartbeat of the planet.

Other legends claim: the ocean carries its own womb. There, within the glow of crimson spheres, drift the entities who witnessed the birth of matter. They are neither past nor future, but the primal essence from which all is woven.

Those who beheld them spoke of a form that unites organic flow and stellar geometry. Their tentacles resemble strands of DNA, spirals of creation, while their bodies are luminous cores, beating with the memory of the great explosion.

But to draw near is perilous. To gaze upon the primal cells of the ocean is to gaze into one’s own origin. The human mind, bound to the line of time, shatters when it understands: these entities were never born and will never die. They have always been. They are the thought of the ocean itself — its undying organism.

Thus, an encounter with them does not grant revelation. It leaves only dread: the knowledge that life is neither gift nor miracle, but merely the shadow cast by the radiance that dances within the body of the bottomless sea.

“Echoes of the Primal Cells within the Body of the Ocean” — the third chapter of the myth. A chapter of genesis, of fleshly cosmogony, and of the truth that the abyss not only devours, but also gives birth.

In the boundless depths there lies a place where the waters are as still as eternity itself. There, two beings meet — creatures of light and shadow, resembling seahorses, yet bearing far greater essence. Their bodies curl in spirals, their eyes locked upon one another, and the entire ocean holds its breath as they draw close.

Their union is older than any legend. These guardians choose their partner only once, and that choice is eternal. There are no doubts, no retreat; their paths entwine into a single pattern until the end of time. In their embrace lies an oath, in their kiss — eternity.

It is said that this bond sustains the world. As long as they remain together, the ocean endures, the currents live, and the breath of water pulses within every living being. Their love has become a seal, keeping chaos from swallowing all creation.

But the legends whisper another truth: should their bond ever be broken, should their spirals ever unravel, the world would lose its first cradle. The ocean would fall silent, and with it, the memory of the first creation would vanish.

“The Kiss that the Ocean Keeps” is a symbol of unyielding devotion, of a choice made once and forever. Their union is not merely love, but the very law of the abyss — without it, the ocean would cease to be itself.