Archive #29 – Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art (1999)

I consider one of my greatest accomplishments on this blog to be discovering the origin of Sun Wukong’s golden headband. This would not have been possible without reading about the Hevajra Tantra (8th-century) in Robert Nelson Linrothe’s (1999) Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. This amazing study analyzes Esoteric Buddhist statues and texts to trace the evolution of these guardians from mere dwarf attendants to mighty warrior gods endowed with the power of the Five Wisdom Buddhas. This is a great resource for anyone researching religious art involving wrathful guardians in Buddhism, Daoism, and of course Chinese folk religion, for the iconography of these divine warriors spread far and wide.

I am sharing a PDF of the book found on libgen for the benefit of other scholars. The black and white portions of the book appear to be based on a xeroxed copy. However, there are full color plates in the back.

Book description:

Buddhists believe that the wrathful spirits represent inherent qualities of our own, and that meditating on them can transmute the otherwise malevolent sides of our own natures into positive qualities and actions. The wrathful deities also provide precious clues as to the early development of esoteric Buddhism in India, about which few early texts survive. Through careful examination of a large body of images as well as Sanskrit, Tibetan, and Indic texts, this lavishly illustrated volume traces the evolution of the forms and the unfolding significance of the wrathful deity in esoteric Buddhist sculpture.

Archive link:

Click to access Ruthless-Compassion-Wrathful-Deities-in-Early-Indo-Tibetan-Esoteric-Buddhist-Art-1999.pdf


This work has been posted for educational purposes. No malicious copyright infringement is intended. If you enjoyed the digital version, please support the official release.


Linrothe, R. N. (1999). Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. London: Serindia Publ.

The Monkey King’s Magic Staff: A Complete Guide

I’ve written many articles on the origins of the Monkey King’s staff over the years. Therefore, I’ve decided to combine all of the information in one location for the benefit of people wishing to learn more about the weapon and its history. This will no doubt be interesting to fans of Journey to the West (Xiyouji, 西遊記, 1592; JTTW hereafter), as well as those of modern franchises like Dragon Ball and Lego Monkie Kid (fig. 1). Citations can be found in the articles linked below.

Fig. 1 – The Lego Monkie Kid character “MK” wielding the Monkey King’s magic staff (larger version). Copyright Lego.

1. The Literary Weapon

1.1. Staff Background

The staff first appears in chapter three of the original novel when the Monkey King goes to the underwater kingdom of Ao Guang (敖廣), the Dragon King of the Eastern Sea, looking for a magic weapon to match his supernatural strength and martial skill. When all of the traditional weapons offered to him fail to meet his standards, the dragon queen suggests to her husband that they give Sun Wukong “that piece of rare magic iron” taking up space in their treasury. She claims the ancient shaft had started producing heavenly light days prior and proposes that the monkey is fated to own it. The weapon is said to be a “divine treasure iron” originally used to set the depths of the Heavenly River (Tianhe ding di de shenzhen tie, 天河定底的神珍鐵) by Yu the Great (Dayu, 大禹), a mythic Chinese emperor and demigod.

The staff is initially described as a pillar of black iron or bin steel more than 20 feet in height and as wide as a barrel. It is only when Monkey lifts it and suggests a smaller size would be more manageable that the staff complies with his wishes and shrinks. This is when Sun notices that the weapon is decorated with a golden ring on each end, as well as an inscription along the body reading: “The ‘As-You-Will’ Gold-Banded Cudgel. Weight: Thirteen Thousand Five Hundred Catties” (Ruyi jingu bang zhong yiwan sanqian wubai jin, 如意金箍棒重一萬三千五百斤). The inscription indicates that the staff is immensely heavy, weighing 17,560 lbs. (7,965 kg).

Apart from the above information, a poem in chapter 75 (see section 2.3 here) highlights another name, “Rod of Numinous Yang” (Lingyang bang, 靈陽棒). In addition, the poem describes the staff being covered in “tracks of planets and stars” (i.e. astronomical charts) and esoteric “dragon and phoenix scripts” (longwen yu fengzhuan, 龍紋與鳳篆).

The novel provides two contradictory origins for the staff. The chapter 75 poem notes that it “[w]as forged in the stove by Laozi himself”. Laozi is of course the high god of Daoism. Chapter 88 instead states that it was “forged at Creation’s dawn / By Yu the Great himself, the god-man of old”.

Contrary to popular images of the Monkey King holding a regular-sized staff, his literary counterpart wields a massive weapon in battle. It is said to be 20 feet long (likely an error for 12), [1] with the width of a bowl (erzhang changduan, wankou cuxi, 二丈長短,碗口粗細) (fig. 2). I did a cursory search of bowls during the Ming (when the standard edition of JTTW was published) and found that they have a radius of between 4 to 6 inches (10.16 to 15.25 cm).

Fig. 2 – An accurate depiction of the size of Monkey’s staff (larger version). Images found here. Artwork by @真·迪绝人.

1.2. Staff Powers

The staff is shown to have multiple powers.

  1. Size manipulation – This is the weapon’s most well-known ability, growing as big or as small as Monkey wishes.
  2. Controlling the oceans –  The aforementioned poem from chapter 88 writes: “The depths of all oceans, rivers, and lakes / Were fathomed and fixed by this very rod. / Having bored through mountains and conquered floods, / It stayed in East Ocean and ruled the seas…”
  3. Astral entanglement – Monkey’s soul is able to use the staff in Hell despite the physical weapon being with his body in the world of the living.
  4. Multiplication – He can multiply his staff in the hundreds of thousands.
  5. Lock-Picking – He can open any door just by pointing it at the lock.
  6. Transformation – He can change it into tools like a straight razor or a drill.
  7. Sentience – The weapon glows in anticipation of Monkey’s arrival (fig. 3), responds to his touch, and follows his commands, denoting a certain level of sentience.

Fig. 3 – Monkey pointing to the luminous iron pillar (larger version). From the Qing-Era Painted, Complete Edition Journey to the West (Qing caihui quanben Xiyouji, 清彩繪全本西遊記).

2. Origins

2.1. Literary Precursors

The staff found in the standard Ming edition of JTTW is actually based on two weapons from a 17-chapter storytelling prompt called The Story of How Tripitaka of the Great Tang Procured the Scriptures (Da Tang Sanzang qujing shihua, 大唐三藏取經詩話, c. late 13th-century). Sun Wukong’s precursor, an ageless immortal called the “Monkey Pilgrim” (Hou xingzhe, 猴行者), magically transports Tripitaka and his entourage to heaven. There, the supreme god, the Mahābrahmā Devarāja (Dafan tianwang, 大梵天王; i.e. Vaiśravana), gives the monk a cap of invisibility, a khakkhara (ringed monk’s staff) (fig. 4), and a begging bowl. Tripitaka and the Monkey Pilgrim take turns using these items throughout the journey. The staff is shown capable of shooting destructive beams of light, as well as transforming into magical creatures like an iron dragon or a giant, club-wielding Yaksha. Later, the Monkey Pilgrim also borrows an iron staff from heaven to fight a dragon.

The two staves from this tale were eventually combined by later storytellers. The rings from the first weapon were added to the ends of the second.

Fig. 4 – A beautiful, modern monk’s staff with six rings (larger version).

2.2. Influence from Religion

The Monkey Pilgrim’s magic ringed staff and begging bowl were directly influenced by the Buddhist Saint Mulian (目連; Sk: Maudgalyayana), a disciple of the historical Buddha. One particular 9th to 10th-century story notes that the Saint uses the staff to unlock the gates of hell in order to save his mother (fig. 5). This is where Sun Wukong’s weapon from JTTW gets the power to open locks.

Mulian saves his mother, scroll - small

Fig. 5 – A scroll or mural depicting Mulian rescuing his mother from the underworld (larger version). Originally found here.

The ringed and metal staves used by the Monkey Pilgrim are based on those historically carried by Buddhist monks in ancient China. The aforementioned ringed variety, called “tin staves” (xizhang, 錫杖) where used by religious monks and decorated with six to twelve metal rings (see fig. 4). These rings were designed to make a clanging noise to not only scare away animals on the road but also to alert possible donors to the monk’s presence.

Martial monks charged with protecting monasteries or deployed by the Chinese government against pirates wielded wooden or iron staves (fig. 6). The former were chosen for their diminished capacity for fatal injuries, while the latter were explicitly used for killing during times of war. Sun Wukong wielding the iron variety makes sense as he’s a martial monk charged with protecting Tripitaka from monsters and spirits.

Fig. 6 – A martial monk practicing a drunken staff-fighting form (larger version).

The term “As-you-will” (ruyi, 如意) from Monkey’s staff (mentioned above) is connected with a scepter used in ancient China as a symbol of religious debate and authority and, to a lesser extent, as a weapon. While it can be traced to a Hindo-Buddhist tradition in India, the scepter came to be associated with the highest gods of Daoism thanks to being decorated with a “numinous mushroom” (lingzhi, 靈芝), a real world fungi believed to bestow immortality. This mushroom scepter was at some point associated with the Buddhist Cintamani (Ruyi zhu, 如意珠), or “As-you-will jewel”. This was believed to grant any wish that one might desire. This explains why Monkey’s As-you-will staff grows or shrinks according to his commands. It’s interesting to note that some religious images of the scepter depict it with a syncretic mix of the Daoist mushroom and the Buddhist jewel (fig. 7).

Fig. 7 – An enhanced detail of the Celestial Worthy’s mushroom scepter with a flaming as-you-will jewel (larger version). See here for a fuller version of the deity.

2.3. Influence from Popular literature

The weapon’s portrayal in JTTW as an iron pillar kept in the dragon kingdom comes from old stories about the immortal Xu Xun (許遜), a historical Daoist master and minor government official from Jiangsu province. Popular tales describe him as a Chinese St. Patrick who traveled southern China ridding the land of flood dragons. One 17th-century version titled “An Iron Tree at Jingyang Palace Drives Away Evil” (Jingyang gong tieshu zhenyao旌陽宮鐵樹鎮妖) describes how he chained the flood dragon patriarch to an iron tree (tieshu, 鐵樹) and submerged it in a well, thus preventing the serpent’s children from leaving their subterranean aquatic realm and causing trouble. Pre-JTTW versions of this tale depict the tree as an actual iron pillar (fig. 8). Chinese Five Elements Theory dictates that metal produces water, and as its creator, holds dominion over it. Therefore, an iron pillar would be the perfect item to ward off creatures entrenched in the aquatic environment.

Fig. 8 – A Ming Dynasty woodblock print depicting the immortal Xu overseeing the creation of the iron pillar in a furnace (right) and it’s placement the well (left). Dated 1444-1445 (larger version).

As previously noted, the staff weighs 17,560 lbs. (7,965 kg). This is likely based on an episode from chapter 27 of the Chinese novel Water Margin (Shuihu zhuan, 水滸傳, c. 1400). It involves the bandit Wu Song lifting a heavy stone block said to weigh 300 to 500 catties (san wu bai jin, 三五百斤; 390-650 lbs./177-295 kg) (fig. 9). This scene and the one from JTTW where Monkey lifts the iron pillar are quite similar. Both involve a hero (Wu Song vs. Sun Wukong) asking someone (Shi En vs. Ao Guang) to show them a heavy object that cannot be moved (stone block vs. iron pillar). Both heroes then adjust their clothing before easily lifting the object with both hands. Most importantly, the Chinese characters for the weight of each object (三五百斤 vs. 一萬三千五百斤) are similar. The only difference is the addition of “10,000” (yiwan, 一萬) and “1,000” (qian, 千), respectively. And given the close historical and cultural ties between the two heroes, I believe the author-compiler of JTTW embellished the Water Margin episode to portray Sun as a hero like no other, a divine immortal that can lift weights far beyond even Wu Song himself.

Fig. 9 – Wu Song lifts the stone block (larger version). Image found here.


1) Irwen Wong of the Journey to the West Library blog has suggested that the length is likely an error for 12 feet (zhanger, 丈二) since the staff was already near 20 feet when Monkey first acquired it, and he later asked it to shrink to a more manageable size.

The Monkey King’s Children

Last updated: 04-04-2022

Modern media occasionally depicts Sun Wukong with children. Examples include the book series The Monkey King’s Daughter (2009-2011) and the DC Comics character the Monkey Prince (first appearing in 2021). The anime High School DxD (2012) even features a descendent some generations removed called Bikou. But the idea of the Great Sage having children goes back centuries. Two late-Ming novels influenced by the original Journey to the West (Xiyouji, 西遊記, 1592) reference multiple offspring. In this article, I will highlight these children and discuss their connection to Buddhism and Asian astrology.

Those interested in this subject may fancy learning about Sun’s brothers and sisters.

1. King PāramitāA Supplement to the Journey to the West (Xiyoubu, 西遊補, 1640)

This novel is set between the end of chapter 61 and the beginning of chapter 62 of the original. It follows the Monkey King as he travels time seeking a magic weapon, while also striving to unmask the identity of a mysterious foreign king who has persuaded Tripitaka to give up the quest to India. The first reference to Sun’s children appears in chapter 13 when actors in a royal play describe an alternate timeline where our hero settled down: “His wife is so beautiful, his five sons so dashing. He started out as a monk, but came to such a good end! Such a very good end!” (Dong, Lin, & Schulz, 2000, p. 114). Later, in chapter 15, Monkey meets one of these sons on the battlefield. “King Pāramitā” (Boluomi wang, 波羅蜜王) (fig. 1) is portrayed as a sword-wielding general capable of fighting Sun for several rounds. Pāramitā goes on to recount his family history, revealing that, although he’s never met his father, he’s the son of the Great Sage and Princess Iron Fan (Tie shan gongzhu, 鐵扇公主) (Dong, Lin, & Schulz, 2000, pp. 123-124). In addition, he suggests that he was conceived during an event from chapter 59 of the original:

[Sun Wukong] changed into a tiny insect and entered my mother’s belly. He stayed there a while and caused her no end of agony. When my mother could no longer bear the pain, she had no choice but to give the Banana-leaf Fan to my father, Monkey [1] … In the fifth month of the next year, my mother suddenly gave birth to me, King Pāramitā. Day by day I grew older and more intelligent. If you think about it, since my uncle [the Bull Demon King] and mother had never been together, [2] and I was born after my father, Monkey, had been inside my mother’s belly, the fact that I am his direct descendant is beyond dispute (Dong, Lin, & Schulz, 2000, p. 124).

Fig. 1 – King Pāramitā leaps into battle (larger version). Detail from a modern manhua. Image found here.

1.2. Links to Buddhism

The translators of A Supplement to the Journey to the West explain King Pāramitā’s name serves as a pun:

In the Chinese transliteration for Pāramitā, the character used to render the syllable “mi” [蜜] has the intrinsic meaning of “honey,” while the character t’ang [唐] in T’ang dynasty is homophonous with the character meaning “sugar” [糖]. King Pāramitā is punning on these associations (Dong, Lin, & Schulz, 2000, p. 123 n. 2). [3]

However, the name also has deep connections with Buddhism. The Princeton Dictionary of Buddhism defines the Sanskrit term Pāramitā (“perfection”) as “a virtue or quality developed and practiced by a Bodhisattva on the path to becoming a buddha” (Robert & David, 2013, p. 624). Various traditions recognize six to ten perfections, with the latter including the former six plus an additional four. The Mahayana perfections, for example, include giving, morality, patience, effort, concentration, wisdom, method, vow, power, and knowledge. Bodhisattvas are believed to master these virtues in the listed order, compounding spiritual wisdom and merit over the course of their journey towards Buddhahood (Robert & David, 2013, p. 624).

2. Jidu, Luohou, and Yuebei XingJourney to the South (Nanyouji, 南遊記, 17th-century)

The novel follows Manjusri‘s (Miao Jixiang, 妙吉祥) exile from the Western Paradise through several mischievous reincarnations. [5] As the rogue immortal Huaguang (華光), he works to end his mother’s demonic lust for flesh by procuring an immortal peach in chapter 17. He does this by transforming into Sun Wukong and stealing the magic fruit from heaven. The real Monkey King is subsequently accused of his double’s misdeeds, much like the Six-Eared Macaque episode of the original novel. The Jade Emperor threatens to remand him to the Buddha for punishment but is convinced to give Sun a month-long reprieve to find the true culprit.

Monkey returns to the Mountain of Flowers and Fruit, and it is here, among his people, that the story mentions three children, including sons Jidu (奇都, “Ketu”) and Luohou (羅猴, “Rahu”) and daughter Yuebei Xing (月孛星, “Moon Comet Star”). [4] Sun eventually seeks out Guanyin, who reveals the troublemaker is none other than Huaguang. Returning home once more, Monkey’s news prompts his daughter to volunteer to battle the impostor. But her tribe simply pokes fun at her monstrous appearance. Yuebei Xing is said to have a crooked head with huge eyes and a broad mouth, coarse hands, a wide waist, and long legs with thunderous steps.

Sun travels with his daughter to Huaguang’s home of Mt. Lilou (Lilou shan, 離婁山) to provoke battle by chastising him for stealing the immortal peaches. Monkey strikes at him with his magic staff, causing Huaguang to deploy his heavenly treasure, a golden, triangular brick (sanjiao jinzhuan, 三角金磚). But Sun responds by creating untold numbers of clone monkeys that not only confiscate the weapon but also overwhelm the immortal. Huaguang is seemingly defeated at this point; however, he manages to deploy one last treasure, the Fire Elixir (Huodan, 火丹). This weapon engulfs the Great Sage in heavenly flame (akin to the Red Boy episode), causing him to flee to the Eastern Sea. Yuebei Xing then calls Huaguang’s name while holding her own magic treasure, a skull (kulou tou, 骷髏頭). The immortal is immediately stricken with a headache and stumbles back to his cave in a daze. Her weapon is said to be quite dangerous; anyone whose name is called will die within three days.

Fearing for his disciple’s life, the Flame King Buddha of Light (Huoyan wang guangfo, 火炎王光佛) intervenes on his behalf to sooth the situation between Huaguang and the Great Sage. He promises to bring the rogue immortal to justice on the condition that Yuebei Xing withdraws her deadly magic. In the end, all parties are pardoned by the Jade Emperor and Huaguang and Monkey become bond brothers (Yu, n.d.).

2.1. Links to Asian Astrology

All three of Sun’s children are named after planetary bodies associated with the moon in Asian astrology. [6] His sons Jidu and Luohou are respectively named after Ketu (Jidu, 奇都) and Rahu (Luohou, 羅睺), two of the “Nine Planets” (Sk: Navagraha; Ch: Jiuyao, 九曜, “Nine Luminaries”) from Hindu astrology. [7] These two shadowy planetary deities represent the respective southern (descending) and northern (ascending) lunar nodes, or points where the moon crosses the earth’s orbit around the sun. As such, the pair are associated with eclipses, and sources sometimes depict them as the head (Rahu) and tail (Ketu) of a great eclipse serpent. Other interpretations include Rahu as a disembodied head and Ketu as the torso, or Ketu as a comet or emerging from a cloud of smoke (Gansten, 2009, p. 652-653; Kotyk, 2017, pp. 59-60).

Before continuing, there are two interesting things to note: 1) Sun Wukong singlehandedly battles and defeats the Nine Planets in chapter five of the original novel (Wu & Yu, 2012, vol. 1, pp. 170-172). But the Ketu and Rahu in this group should be considered distinct from his sons; and 2) one of the original Chinese characters for Rahu (Luohou, 羅睺) was changed in Journey to the South to play on Luohou’s (羅猴) primate origins by using the homophonous word for “monkey” (hou, 猴).

The daughter Yuebei Xing is named after Yuebei (月孛, “Moon Comet”), a shadowy planet representing the lunar apogee, or the furthest point in the moon’s orbit. They are counted among the “Eleven Luminaries” (Shiyi yao, 十一曜) (including the Nine Planets) of East Asian astrology. [8] Yuebei is sometimes depicted in Xixia art as a female or male character wielding a sword in one hand and, most importantly, a severed head in the other (Kotyk, 2017, p. 62). Dr. Jeffrey Kotyk was kind enough to direct me to two ancient examples (fig. 2 & 3). In addition, Kotyk (2017) notes that Yuebei appeared in an earlier Chinese novel, Drama of Yang Jiajiang (Yang Jiajiang yanyi, 楊家將演義, 16th-century), as a red-skinned figure “holding in her hand a sk[ull] (手執骷髏骨)” (p. 63). [9] So this likely influenced the portrayal of Monkey’s daughter wielding a skull in Journey to the South.

Fig. 2 – Yuebei as a woman (larger version). Take note of the severed head in her right hand. Detail from a 13th to 14th-century Xixia painting in the Hermitage Museum. Fig. 3 – Yuebei as a man (larger version). He holds a small head in his left hand. Detail from a 13th-century Xixia painting in the Hermitage Museum.

3. Honorable Mention: Sun Luzhen – Later Journey to the West (Hou Xiyouji, 後西遊記, 17th-century)

The novel is set two hundred years after the original and follows the adventures of Sun Wukong’s spiritual descendant Sun Luzhen (孫履真, “Monkey who Walks Reality”) (fig. 4). He too learns the secrets of immortality and causes havoc in heaven, before being tasked to protect the historical monk Dadian (大顛, 732-824) on a similar journey to India. The two are accompanied by the son of Zhu Bajie, Zhu Yijie (豬一戒), and the disciple of Sha Wujing, Sha Zhihe (沙致和). I did not include Luzhen in the main list as he is born from a stone in the same fashion as the original Monkey King (see Liu, 1994).

Fig. 4 – “Small Sage Sun’s Havoc in the Heavenly Palace” (larger version). The cover to a modern manhua. Image found here.

4. Conclusion

The Monkey King has a total of eight children shared between two 17th-century novels, but only four are mentioned by name, and only two of these actually have parts in the respective stories. King Pāramitā is one of the Great Sage’s five sons born to Princess Iron Fan in A Supplement to the Journey to the West. He is portrayed as a handsome, sword-wielding general whom Sun faces on the battlefield. His name references the Pāramitās (“perfections”), or the wisdom and merit-building virtues that Bodhisattvas master in their quest for Buddhahood. Monkey has three children in Journey to the South, including sons Jidu and Luohou and daughter Yuebei Xing. The latter is depicted as a grotesque monster with a magic skull weapon cable of harming even celestials. She uses it to defeat the rogue immortal Huaguang. Jidu and Luohou are respectively named after the lunar nodes Ketu and Rahu, two of the Nine Planets from Hindu astrology. Yuebei is named after a shadowy planet representing the lunar apogee, which counts among the Eleven Luminaries of East Asian astrology. Ancient Xixia art sometimes depicts them as a woman or man bearing a sword and a severed head. The feminine iconography appears holding a skull in an earlier novel from the 16th-century. This likely influenced Monkey’s daughter in Journey to the South.

An honorable mention is Sun Luzhen from Later Journey to the West. He is a stone-bone monkey who follows in his spiritual ancestors footsteps by attaining immortality, causing havoc in heaven, and later protecting a holy monk on the journey to India.

Update: 02-13-22

I’ve recently started watching the Lego Monkie Kid series, which follows the adventures of Sun Wukong’s human disciple, MK, in a very toyetic, Lego-inspired world. This is why @TustiLoliPop‘s lovely drawing of Yuebei xing (fig. 5) really stood out to me. They were kind enough to give me permission to post it here. It’s based on the Xixia dynasty painting from figure 2. 

Fig. 5 – The Lego Monkie Kid-style Yuebei xing (larger version). Used with permission.

Update: 04-03-22

Ronni Pinsler of the BOXS project showed me this vintage pattern sheet of Yuebei from a Southeast Asian idol shop (fig. 6). The listed name, 朱李孚娘 月孛天君 (Zhuli fu niang yuebei tianjun), appears to be a corruption of the way it’s listed among the 36 celestial generals of the Journey to the North (北遊記, 1602): 朱孛娘為月孛天君 (Zhubei wei yuebei tianjun). Unfortunately, the design does not include her trademark head/skull. 

Fig. 6 – The Yuebei pattern sheet (larger version). Original photograph by Keith Stevens.

Update: 04-04-22

I was looking for more folk religion depictions of Yuebei and found a very militarized drawing of her labeled as Taiyi yubei xingjun (太一月孛星君) (fig. 7). It’s likely based on her association as a stellar general (mentioned above). The image thankfully includes her trademark head.

Fig. 7 – The Yuebei general image (larger version). It was posted by an Indonesia Daoist priest of the Quanzhen school on Facebook.

Also, back in November 2021, I made a post on twitter about a lovely Rahu amulet that a collector friend of my was selling (and later sold). The deity is generally portrayed as a sharp-toothed, giant-mouthed monster devouring the moon. This piece is carved in a similar manner but Rahu is instead patterned after Thai depictions of Hanuman (fig. 8). I imagine his association with the monkey god is based on the latter’s attempt to eat the sun in his youth. 

Fig. 8 – The front of the Hanuman-like Rahu amulet (larger version).


1) See Wu & Yu, 2012, vol. 3, p. 129.

2) This statement of course overlooks the conception and birth of the couple’s son Red Boy (Hong haier, 紅孩兒). But King Paramita might be referring to the Bull Demon King’s long absence while living with his mistress.

3) This pun plays out in chapter 14 of Journey to the West when an old patron remarks on Monkey’s monstrous appearance:

“Though you [Tripitaka] may be a Tang man,” the old man said, “that nasty character is certainly no Tang man!” “Old fellow!” cried Wukong in a loud voice, “you really can’t see, can you? The Tang man is my master, and I am his disciple. Of course, I’m no sugar man or honey man! I am the Great Sage, Equal to Heaven!” (Wu & Yu, 2012, vol. 1, p. 312).

Thank you to Irwen Wong for reminding me of this passage.

4) I’m indebted to Jose Loayza for bringing this to my attention.

5) To my knowledge, the only English translation available is this amateur version by Panying Zhao. Thank you to Ronni Pinsler for bringing it to my attention.

6) Thank you to Dr. Jeffrey Kotyk for confirming the astrological connection.

7) Sun, Moon, Mars, Mercury, Jupiter, Venus, Saturn, Rahu, and Ketu (Gansten, 2009).

8) These include the aforementioned Nine Planets (see note #6 above), Yuebei, and another shadowy planet called Ziqi (紫氣/紫炁; “Purple Mist”) (Hart, 2010, p. 145 n. 43; Kotyk, 2017, p. 60).

Engravings of the Eleven Luminaries appear on Zhu Bajie’s battle rake (Wu & Yu, 2012, vol. 1, p. 382). See also note #10 on the linked article.

9) The original source says “skeleton” (Kotyk, 2017, p. 63), but the “骷髏” in 骷髏骨 (kuluo gu) can also mean “skull”. This makes sense considering the planetary Yuebei is depicted with a head in Xixia art and the literary Yuebei from Journey to the South wields a skull.


Dong, Y., Lin, S. F., & Schulz, L. J. (2000). The Tower of Myriad Mirrors: A Supplement to Journey to the West. Ann Arbor: Center for Chinese Studies, The University of Michigan.

Gansten, M. (2009). Navagrahas. In K. A. Jacobsen (Ed.), Brill’s Encyclopedia of Hinduism (Vol. 1) (pp. 647-653). Leiden: Brill.

Hart, R. (2010). The Chinese Roots of Linear Algebra. United States: Johns Hopkins University Press.

Kotyk, J. (2017). Astrological Iconography of Planetary Deities in Tang China. Journal of Chinese Buddhist Studies, 30, 33-88), Retrieved from

Liu, X. (1994). The Odyssey of the Buddhist Mind: The Allegory of the Later Journey to the West. Lanham, Md: University Press of America.

Robert, E. B. J., & David, S. L. J. (2013). The Princeton Dictionary of Buddhism. Princeton University Press.

Wu, C., & Yu, A. C. (2012). The Journey to the West (Vol. 1-4). Chicago, Illinois: University of Chicago Press.

Yu, X. (n.d.). Nanyouji: Huaguang sanxia Fengdu [Journey to the South: Huaguang goes to the Underworld Three Times]. Retrieved from

Archive #24 – Chinese Gods: The Unseen World of Spirits and Demons (1997) by Keith Stevens

The novels Journey to the West (1592) and Investiture of the Gods (1620) are good representations of the syncretic pantheon from Chinese Folk Religion. The number of Buddhas, sages, gods, immortals, spirits, guardians (etc.) revered by people of Chinese descent is enormous, and new figures are being added to the list even to this day. Needless to say, laymen and researchers who visit temples and wish to correctly identify a particular deity need a resource with images, names, and listed attributes. Luckily there is one such source. Keith Stevens (1926-2015), a veteran of the British Army and Foreign and Commonwealth Office, traveled East and Southeast Asia for 40 years collecting information on the folk pantheon. He produced an invaluable monograph titled Chinese Gods: The Unseen World of Spirits and Demons (1997). The book is unfortunately out of print and available copies are expensive to buy. So I am pleased to host a PDF of this wonderful work on my site.

The scan was produced with an overhead document camera. The glossy pages made scanning somewhat difficult. I had to use a soft, indirect light source. Therefore, not all pages are crisp due to the low light levels. The original file was quite large at 520 mb. I compressed it to a smaller file. I can provide the larger file upon request.

Dust Jacket Description

China is a land full of gods and goddesses, ranging from the Creators of the World to Worthies local to only one or two villages.

This book introduces the reader to the most important figures of Chinese folk history, and those of Buddhism, Taoism and Confucianism.

Intensely pragmatic in their religion, Chinese people hold all gods in reverence, but it is only the ones who answer prayers with concrete results that are exceptionally praised. Many gods have particular specialities, for instance, there are different Wealth Gods for success in business and for gambling. There are also individual gods for each trade, from those for removal men in Hong Kong to students at Beijing University.

In addition, there are the City Gods and Kitchen Gods, the Earth Gods who protect a specific piece of land, and myriad spirits who protect wells, mountains or bridges, distribute rain or snow, control flooding or protect humanity from disease and epidemics.

Keith Stevens has spent a lifetime researching the subject, travelling extensively in China, Taiwan and throughout South-East Asia. He has gathered information from hundreds of temple keepers, god-carvers and religious specialists and collected details of images and their stories – providing glimpses into the sometimes little-known folk history of China. The author also provides pointers on how to identify images, together with invaluable background information including chronology of Chinese history, a map of the area covered, a glossary and detailed index with the names of deities in Chinese characters.

Book Link


This has been posted for educational purposes. No malicious copyright infringement is intended. If you like the digital version, please support the official release.


Stevens, K. G. (1997). Chinese Gods: The Unseen World of Spirits and Demons. London: Collins & Brown.

The Book of Xian and Shen (BOXS), a Catalog of Chinese Gods

I recently learned about an interesting website called the Book of Xian and Shen (BOXS), which catalogs information and pictures for Chinese gods from all over the world. There are currently 2,000 listings and counting.

It is based on the work of religious scholar Keith Stevens (d. 2016), who wrote the amazing Chinese Gods: The Unseen Worlds of Spirits and Demons (Collins & Brown, 1997) (fig. 1). I recently volunteered to help the project. So far, I’ve written two articles (see reference no. W1001 and W1011) and updated two other existing listings with information and pictures (see the bottom of W8620 and W9305).

Fig. 1 – My well-worn personal copy of Chinese Gods (larger version).

Due to the great number of listings, there are no direct links. Instead, the site has adopted a somewhat confusing (but necessary) cataloging system based around reference numbers, pinyin, Mandarin, and Wade-Giles. However, it’s easy to use once you get used to it. For example, if you were going to search for Sanqing, the “Three Pure Ones“, using, say, Pinyin, I recommend first getting the reference number (RefNo). 

Deities —> Tabular Listing of Xian Shen Deities —> Field: Pinyin —> Type: Contains —> Value: San qing (you may have to play around with the spacing like I did here) —> Filter —> Then look for the correct listing (since other listings mentioning them might appear in the list) —> ☰ —> copy the “RefNo”, in this case W5540 (fig. 2) —> Deities —> Deities Page with Full Listing Side Bar —> Field: RefNo —> Type: Contains —> Value: W5540 —> Filter (fig. 3) —> The listing (fig. 4)

If you know the Mandarin or Wade-Giles for the deity you are looking for, the process would be similar. You would just need to change the field to “Mandarin” or “Wade-Giles”. You could just jump to “Deities Page with Full Listing Side Bar” to search using pinyin, mandarin, and Wade-Giles, but it’s been my experience that a different listing will pop up first based on a higher RefNo or Romanized spelling. First finding the reference number seems to be the easiest method for me.

I can’t recommend this website enough. New gods, as well as new stories or beliefs associated with more established deities, are appearing all the time, so it is very important to catalog everything as soon as new information becomes available. If you would like to volunteer in some way, please contact Ronni Pinsler using the “contact” form on the BOXS website.

Fig. 2 – How to acquire the reference number (RefNo) (larger version). Fig. 3 – How to navigate to the listing (larger version). Fig. 4 – The listing as seen from the top of the page (larger version).