Abstract
Chinese mythology [shenhua 神話] does not exist independently as a cultural medium like mythology does in the West but, rather, comprises ideological and narrative forms that emerge according to historical and cultural trends. Not only have myths withstood humanity’s conquest of nature, but they have drawn and continue to draw on the mysteries of scientific development for new content. It is possible to identify three highpoints of creativity in the history of Chinese mythology, each corresponding to shifts in the function and nuance of myths. The first highpoint occurred very early on in China’s ancient history, in the period of the Three Sovereigns and Five Emperors [wudi sanwang 五帝三王], when myths were a way to articulate history—that is, history as myth. The second highpoint occurred in the period from the Qin through Jin dynasties, when mythology mainly expounded on philosophy and theory—that is, philosophy as myth. The third highpoint occurred during the Yuan and Ming dynasties, when the narrative content of mythology turned toward the religious—that is, religion as myth.
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