Cultural depictions of lions

The lion has been an important symbol to humans for tens of thousands of years. The earliest graphic representations feature lions as organized hunters with great strength, strategies, and skills. In later depictions of human cultural ceremonies, lions were often used symbolically and may have played significant roles in magic, as deities or close association with deities, and served as intermediaries and clan identities.
The earliest known cave paintings of lions (which are of the extinct species Panthera spelaea) were found in the Chauvet Cave and in Lascaux in France's Ardèche region and represent some of the earliest paleolithic cave art, dating to between 32,000 and 15,000 years ago. The zoomorphic Löwenmensch figurine from Hohlenstein-Stadel and the ivory carving of a lion's head from Vogelherd Cave in the Swabian Jura in southwestern Germany were carbon-dated 39,000 years old, dating from the Aurignacian culture.
The earliest tomb paintings in Ancient Egypt, at Nekhen, c. 3500 BC, classified as Naqada, possibly Gerzeh, culture include images of lions, including an image of a human (or deity) flanked by two lions in an upright posture. Among ancient Egyptians, from prehistoric times through well documented records, the war goddess Sekhmet, a lioness, later depicted as woman with a lioness head, was one of their major deities. She was a sun deity as well as a fierce warrior and protector. Usually she was assigned significant roles in the natural environment. The Egyptians held that this sacred lioness was responsible for the annual flooding of the Nile, the most significant contributing factor to the success of the culture. Sometimes with regional differences in names, a lioness deity was the patron and protector of the people, the king, and the land. As the country united, a blending of those deities was assigned to Sekhmet.
Similar regional lioness deities assumed minor roles in the pantheon or, when so significant in a region, continued local religious observance in their own right, such as Bast. Offspring of these deities found niches in the expanding pantheon as well.
During the New Kingdom the Nubian gods Maahes (god of war and protection and the son of Bast) and Dedun (god of incense, hence luxury and wealth) were depicted as lions. Maahes was absorbed into the Egyptian pantheon, and had a temple at the city the invading Greeks called Leontopolis, "City of Lions", at the delta in Lower Egypt. His temple was attached to the major temple of his mother, Bast. Dedun was not absorbed into the Ancient Egyptian religion and remained a Nubian deity.
Bast, originally depicted as a lioness and the "eye of Ra" in the delta region, was the parallel deity to Sekhmet in the southern region. Her nature gradually changed after the unification of the country and Sekhmet prevailed throughout. At that time Bast changed into the goddess of personal protection with different responsibilities, and often was depicted as a very tame lioness or a cat. She is shown to the left atop an alabaster jar that contained precious oils and lotions. The name of the stone probably bears her named because materials sacred to her usually were stored in it..
The sphinx of Ancient Egypt shows the head and shoulders of a human and the body of a lioness. The statues represents Sekhmet, who was the protector of the pharaohs. Later pharaohs were depicted as sphinxes, being thought as the offspring of the deity.
Lions are depicted on vases dating to about 2600 before present that were excavated near Lake Urmia. In Iranian mythology, the lion is a symbol of courage and monarchy. It is portrayed standing beside the kings in artifacts and sitting on the graves of knights. Imperial seals were also decorated with carved lions. The lion and sun motif is based largely on astronomical configurations, and the ancient zodiacal sign of the sun in the house of Leo. Lion and sun is a symbol of royalty in Iranian flag and coins. Goddess Anahita was sometimes shown standing on a lion. Lion is also title of the fourth grade of mithraism.
Lions have been extensively used in ancient Persia as sculptures and on the walls of palaces, in fire temples, tombs, on dishes and jewellery; especially during the Achaemenid Empire. The gates were adorned with lions.
In ancient Mesopotamia, the lion was regarded as a symbol of kingship. Depictions of the Mesopotamian lion show that it was an important symbol of Ancient Iraq. It is depicted in Ninevan reliefs. The lion of Babylon is a statue at the Ishtar Gate in Babylon The lion has an important association with the figure Gilgamesh, as demonstrated in his epic. The Babylonian goddess Ishtar was represented driving a chariot drawn by seven lions.
The Iraqi national football team is nicknamed "Lions of Mesopotamia."
Sculptures and reliefs of the Neo-Assyrian Empire dating to the 6th and 7th centuries BC were rediscovered and excavated in the mid 19th century. Several reliefs feature lions, including the Lion Hunt of Ashurbanipal, a famous group of Assyrian palace reliefs with numerous small narrative scenes, now in the British Museum. A well-known detail of this group of reliefs is The Dying Lioness depicting a half-paralyzed lioness pierced with arrows. They were originally in an Assyrian royal palace in Nineveh, in modern-day Iraq.
A bronze statue of a lion from either southern Italy or southern Spain, from c. 1000–1200 years CE was put on display at the Louvre Abu Dhabi.
Lions have been widely used in sculpture to provide a sense of majesty and awe, especially on public buildings. Lions were bold creatures and many ancient cities would have an abundance of lion sculptures to show strength in numbers as well. This usage dates back to the origin of civilization. There are lions at the entrances of cities and sacred sites from Mesopotamian cultures; notable examples include the Lion Gate of ancient Mycenae in Greece that has two lionesses flanking a column that represents a deity, and the gates in the walls of the Hittite city of Bogazköy, Turkey.
Several discoveries of lion bones in Greece, Ukraine and the Balkans have confirmed that lions lived there certainly from 5th millennium BC until the 6th century BC, while according to the written sources they survived up to perhaps the 1st or even the 4th century AD, which was previously only a suspicion by some archaeologists. Thus the strong emphasis on lions in the earliest figurative Greek art, especially that of Mycenaean Greece from around 1600–1400 BC, reflected the world in which Greeks lived, rather than being based on stories from further east, as once thought.
Lionesses often flanked the Gorgon, a vestige of the earliest Greek protective deity that often was featured atop temples of later eras. The western pediment from the Artemis Temple of Corfu is a well preserved example. The most notable lion of Ancient Greek mythology was the Nemean lion, killed barehanded by Heracles, who subsequently bore the pelt as an invulnerable magic cloak.
This lion is also said to be represented by the constellation of Leo, and also the sign of the Zodiac. Lions are known in many cultures as the king of animals, which can be traced to the Babylonian Talmud, and to the classical book Physiologus. In his fables, the famed Greek story teller Aesop used the lion's symbolism of power and strength in The Lion and the Mouse and Lion's Share.
Since classical antiquity, a Gaetulian lion in literature is a lion of fierce reputation. Gaetulia, in ancient geography, was the land of the Gaetuli, a warlike tribe of ancient Libya that appears in Virgil's Aeneid (19 BC). The Gaetulia lion appears in Odes of Horace (23 BC), Pliny the Elder's Natural History (77 AD), Philostratus's Life of Apollonius of Tyana (c. 215), Robert Louis Stevenson's Travels with a Donkey in the Cévennes (1879).
In Socrates' model of the psyche (as described by Plato), the bestial, selfish nature of humanity is described metaphorically as a lion, the "leontomorphic principle".
Several Biblical accounts document the presence of lions, and cultural perception of them in ancient Israel. The best known Biblical account featuring lions comes from the Book of Daniel (chapter 6), where Daniel is thrown into a den of lions and miraculously survives.
A lesser known Biblical account features Samson who kills a lion with his bare hands, later sees bees nesting in its carcass, and poses a riddle based on this unusual incident to test the faithfulness of his fiancée (Judges 14). The prophet Amos said (Amos, 3, 8): "The lion hath roared, who will not fear? the Lord GOD hath spoken, who can but prophesy?", i.e., when the gift of prophecy comes upon a person, he has no choice but to speak out.
The lion is one of the living creatures in the Book of Ezekiel. They were represented in the tetramorph.
In 1 Peter 5:8, the Devil is compared to a roaring lion "seeking someone to devour."
The lion is the biblical emblem of the tribe of Judah and later the Kingdom of Judah. It is contained within Jacob's blessing to his fourth son in the penultimate chapter of the Book of Genesis, "Judah is a lion's whelp; On prey, my son have you grown. He crouches, lies down like a lion, like the king of beasts—who dare rouse him?" (Genesis 49:9). In the modern state of Israel, the lion remains the symbol of the capital city of Jerusalem, emblazoned on both the flag and coat of arms of the city.
The power and ferocity of the lion is invoked when describing the anger of God (Amos 3:4–8, Lam 3:10) and the menace of Israel's enemies (Psalm 17:12, Jer 2:30) and Satan (1 Pet 5:8). The book of Isaiah uses the imagery of a lion laying with a calf and child, and eating straw to portray the harmony of creation (Isa 11:6–7). In the Book of Revelation, a lion, an ox, a man and an eagle are seen on a heavenly throne in John's vision;(Rev 4:7).
In Christian tradition, Mark the Evangelist, the author of the second gospel is symbolized by the lion of Saint Mark – a figure of courage and monarchy. It also represents Jesus' Resurrection (because lions were believed to sleep with open eyes, a comparison with Christ in the tomb), and Christ as king. Some Christian legends refer to Saint Mark as "Saint Mark the Lionhearted". Legends say that he was fed to the lions and the animals refused to attack or eat him. Instead the lions slept at his feet, while he petted them. When the Romans saw this, they released him, spooked by the sight.
Christian tradition has associated lions with Christ's resurrection. In the Christian text Physiologus, lion cubs are said to be born stillborn and the mothers cares for them until the father returns on the third day to breathe life into them.
A lion-faced figurine is usually associated with the Mithraic mysteries. Without any known parallel in classical, Egyptian, or middle-eastern art, what this figure is meant to represent currently is unknown. Some have interpreted it to be a representation of Ahriman, of the aforementioned gnostic Demiurge, or of some similar malevolent, tyrannical entity, but it has also been interpreted as some sort of time or season deity, or even a more positive symbol of enlightenment and spiritual transcendence.
In a key scene of Yvain, the Knight of the Lion (French: Yvain, le Chevalier au Lion), a romance by Chrétien de Troyes, the hero is depicted as rescuing a lion from a serpent. Subsequently, the lion proves to be a loyal companion and a symbol of knightly virtue, and helps Yvain complete his altruistic ventures. In the happy end, the lion comes to dwell with Yvain and his wife Laudine at their castle.
In both Arab and Persian culture, the lion is regarded as a symbol of courage, bravery, royalty and chivalry. The depiction of lions is derived from earlier Mesopotamian arts. Islamic art commonly manifests its aesthetic elements predominantly in Islamic calligraphy, floral and geometric decorative patterns, since Islamic religious tradition discourages the depictions of humans and living creatures in sculptures. Through Persian arts miniatures and paintings, however, the depictions of humans and animals survives. In al-Andalus (Muslim Spain), lion statues as supporters and waterspouts of fountains were built around 10th-century Cordoba, such as in the palaces of Madinat al-Zahra and Munyat an-Na'ura, as well as in the Maristan of Granada and in the Court of the Lions of the Alhambra in the 14th century. Animal motifs were also commonly used in stone-carved decoration in Anatolian Seljuk architecture (12th–13th centuries) and images of lions were favoured in this context. Examples include the lion reliefs on the Döner Kümbet tomb (c. 1275) and the lion-head carvings on the Sahabiye Madrasa (c. 1267), both in Kayseri, and two reliefs of a lion fighting a bull on the Great Mosque of Diyarbakir.
The lion symbolism and its cultural depictions can be found in Hindu and Buddhist art of India and Southeast Asia. The lion symbolism in India was based upon Asiatic lions that once spread in Indian subcontinent as far as the Middle East.
Neolithic cave paintings of lions were found in Bhimbetka rock shelters in central India, which are at least 30,000 years old.
Narasimha ("man-lion") is described as the fourth incarnation (avatara) of the Hindu deity Vishnu in the Puranic texts of Hinduism, an anthropomorphic form assumed to slay a daitya (demon) named Hiranyakashipu. A goddess corresponding to the appearance of Narasimha is also featured, called Narasimhi.
Lions are also found in Buddhist symbolism. Lion pillars erected during the reign of Emperor Ashoka show lions and the chakra emblem. The lions depicted in the Lion Capital of Ashoka inspired artists who designed the Emblem of India.
Singh is an ancient Indian name meaning "lion", dating more than 2,000 years ago to ancient India. It was originally only used by warriors in India. After the birth of the Khalsa brotherhood in 1699, the Sikhs also adopted the name "Singh" due to the wishes of Guru Gobind Singh. Singh is used by various communities today, it is also used by more than 20 million Sikhs worldwide. The appellation of the name Singh was used by the Rajputs before being adopted by the Sikhs in 1699. Therefore, all "Singh"s in Indian history before 1699 are Hindu and mainly Rajputs. The lion also features as the carrier or the vehicle of Durga, the Hindu goddess of war, worshipped in and around the Bengal region.
The lion is symbolic for the Sinhalese, Sri Lanka's ethnic majority; the term derived from the Indo-Aryan Sinhala, meaning the "lion people" or "people with lion blood", while a sword-wielding lion is the central figure on the modern national flag of Sri Lanka. The entrance to Sigiriya, the Lion-Rock of Sri Lanka, was through the Lion Gate, the mouth of a stone lion. The paws of the lion is one of seven World Heritage Sites in Sri Lanka.
Lions were never native animals of Southeast Asia in recorded history. As the result, the depiction of lion in ancient Southeast Asian art, especially in ancient Java and Cambodia, is far from naturalistic style as depicted in Greek or Persian art counterparts, since the artist who carved the lion sculpture never saw the lion before, and all were based on perception and imagination. The cultural depictions and the reverence of lion as the noble and powerful beast in Southeast Asia was influenced by Indian culture.
Statues of a pair of lions are often found in temples in Southeast Asia as the gate guardian. In the Borobudur Buddhist monument Central Java, Indonesia andesite stone statues of lions guarding four main entrances of Borobudur. The thrones of Buddha and Boddhisattva found in Kalasan and Mendut buddhist temples of ancient Java depicted elephant, lion, and makara. The statue of a winged lion also is found in Penataran temple East Java, as well as in Balinese temples. The Balinese winged lion often served as the guardian statue or as the pedestal of wooden column.
In Cambodia statues of lions flanking the temple gate or access roads are commonly found in temples of Angkor. Bakong, a stepped pyramid Hindu temple from earlier period also displays lion statues as guardians of each stage on each of the cardinal points. Khmer lion guardian statues are commonly found in Angkor Wat, Bayon, Pre Rup and Srah Srang. Just like ancient Java, the depiction of lion in ancient Khmer art is not in naturalistic style, more like a symbolic mythical animal derived from Indian Hindu-Buddhist art. The royal emblem of Cambodia depicting a pair of guardian animals; gajasingha (hybrid of elephant and lion) and singha (lion). In Thailand, a pair of lion statues are often placed in front of temple gate as guardian. The style of Thai lion is similar to those of Cambodian, since Thailand derived many of its aesthetics and arts elements from Cambodian Khmer art.
In Myanmar, the statue of lion called Chinthe guarding the stupas, pagodas, and Buddhist temples in Bagan, while pair of lions are also featured in the country's coat-of-arms.
The island nation of Singapore (Singapura) derives its name from the Malay words singa (lion) and pura (city), which in turn is from the Tamil-Sanskrit சிங்க singa सिंह siṃha and पुर புர pura. According to the Malay Annals, this name was given by a fourteenth-century Sumatran Malay prince named Sang Nila Utama, who, on alighting the island after a thunderstorm, spotted an auspicious beast on shore that his chief minister identified as a lion (Asiatic lion). Recent studies of Singapore indicate that lions have never lived there.
In the modern era, the lion or Merlion became the icon of Singapore due to the island's name. The Merlion also figures heavily in the official symbols of the Philippines as it was once an overseas possession of Spain; it appears on the coat-of-arms of Manila, as well as the emblems of the president, vice-president, and its navy.
The common motif of the "majestic and powerful" lion was introduced to China by Buddhist missionaries from India, somewhere in the first century AD. Lions themselves, however, are not native to China, yet appear in the art of China and the Chinese people believe that lions protect humans from evil spirits, hence the Chinese New Year lion dance to scare away demons and ghosts. Chinese guardian lions are frequently used in sculpture in traditional Chinese architecture. For instance, in the Forbidden City in Beijing, two lion statues are seen in almost every door entrance.
Lions feature prominently in the Tibetan culture with a pair of Snow Lions seen on the Tibetan flag. The Snow Lions are mythical creatures that are seen as protector entities. The Snow Lion symbolizes fearlessness, unconditional cheerfulness, east, and the Earth element. It is one of the Four Dignities. It ranges over the mountains, and is commonly pictured as being white with a turquoise mane.
The lion became popular in Japanese art from the 14th century onwards, under Chinese influence. The Chinese artistic form of the "dog-lion" (kara-shishi in Japanese) was almost always used, but was generally somewhat fatter, and with a shorter torso, than in China, with a short fan-like tail and a flattened face. Hokusai had a "special cult of the Chinese lion, whose "spiritual form" he drew each morning".
Lions (獅子, shishi) feature prominently in many kabuki plays and other forms of Japanese legend and traditional tales.
The lion appears in several fairy and folk tale traditions all over the world. Some tale types, according to the Aarne-Thompson-Uther Index, show it as the hero's helper or a protagonist on its own right:
The lion also appears as a king's councillor in the German fairy tale The Twelve Huntsmen.
The lion also appears as an obstacle in the hero's dangerous quest, such as a guardian of the water of life, of a garden or of a princess.
Various kings and political leaders in different cultures and times, famed for courage or fierceness, were entitled "the lion" – such as:
During the Renaissance, animals, especially those close to man, were depicted with passion but also with scientific rigor. However, exotic animals, which were difficult to observe, were in part imagined by the painter: La Chaste au tigre (The Tiger Hunt), a Baroque painting by Rubens depicting a hunt for big cats, including lions, is a work that was partly imagined by the painter; the composition of the picture, however, allowed realism to be breathed into these invented felines. For Théophile Gautier, it was essentially "lions with wigs" that were produced during Classicism.
The Romantic painter worked as much on anatomical accuracy, notably by practicing the representation of real subjects held in zoos, as on the desire to depict a sentimental animal, which drew the ridicule of classical-style artists. Lion and tiger enjoy renewed interest. The Romantic period was marked by a number of great paintings, such as Eugène Delacroix's lions.
In the 19th century, numerous zoological illustrations by naturalists show the lion in particular. From the same period onwards, humorous and often irreverent depictions of the "king of animals" proliferated, particularly in political cartoons and comics.
The lion is a common charge in heraldry, traditionally symbolizing courage. The following positions of heraldic lions are recognized:
The lion holds historical significance for English heraldry and symbolism. The Coat of arms of England was a symbol for Richard the Lionheart, and later, for England. For many centuries the lion had been a feature of the Armorial of Plantagenet of the House of Plantagenet, and is still worn by both the England national football team and England and Wales cricket team.
The Royal Banner of Scotland continues to be used widely today and has given rise to its use as the emblem for the Scotland national football team and Rangers F.C. and Dundee United F.C. of the Scottish Premier League, as well as English Premier League club Aston Villa F.C.; and not only sport but businesses such as the French car company Peugeot, the international beer company Lion Nathan, and Caledonian MacBrayne ferries. Arising from heraldic use, the Red Lion is also a popular pub name, with over 600 pubs bearing the name. A rarer inn name is the White Lion, derived from Edward IV of England or the Duke of Norfolk. Though the lion appears on the coats of arms and flags of Lyon and León, the cities' names have an unrelated derivation despite the similarity. Rampant lions are common charges in heraldry. For example, the arms of the Carter of Castle Martin family, Ireland (see Carter-Campbell of Possil) include a pair of rampant combatant lions.
National currencies of three countries in Europe are named after the lion: the Bulgarian lev (Bulgarian: лев, plural: лева, левове / leva, levove), and the Moldovan and Romanian leu (/leŭ/, plural: lei /lej/) all mean "lion".
A lion appears on the South African 50-rand banknotes.
No fewer than 18 consecutive ships of the British Royal Navy bore the name HMS Lion. Various other navies have also used the name for their vessels, as have civil shipping companies.
The lion's role as "king of the beasts" has been utilized in a number of cartoons, from the Leonardo Lion of King Leonardo and His Short Subjects (1960–1963) series to the Disney animated feature film The Lion King (1994). Metro-Goldwyn-Mayer studios have used a lion as their logo since 1924. At least seven different lions have played Leo the Lion, the lion seen at the start of every MGM film.
The lion is a popular mascot or symbol, for businesses, government entities, sports, and other uses; for example: