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).
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.
Look up the terms “monkey” or “ape” in the dictionary and you’ll find that they serve as verbs meaning to mimic the movements or actions of another. This is because monkeys and apes have a propensity for observation and mimicry. Being primates ourselves, humans are no different. But interestingly this mimicry sometimes mirrors our primate cousins. Chinese martial arts, for example, has developed several primate-based fighting arts, including White Ape Connected Arms boxing (Baiyuan tongbei quan, 白猿通背拳) and several flavors of Monkey boxing (Houquan, 猴拳), and other styles have even adopted primate techniques, such as the monkey footwork of Praying Mantis boxing (Tanglang quan, 螳螂拳). Humans have long marveled at the physical prowess and acrobatic mastery of apes and monkeys. So it’s only natural that boxers would want to incorporate the powerful arm movements and awe-inspiring leaps and flips of primates into various fighting arts. But how long have our cousins been associated with martial arts in Chinese culture, and when and how did primate-based martial arts develop?
Two approaches can be used in an attempt to answer both questions. The first method involves charting similarities in techniques shared between modern regional primate-based Chinese martial arts styles and relying on folk lineages, ethnographic data, and (when possible) historical manuals to discover the earliest vestiges of primate boxing in China. A second method is to search for references to primate-based martial arts in the historical record. A benefit of the first approach would be pinpointing the areas in China where these styles likely first emerged in recent history. The downside is that martial arts are passed from teacher to student via embodied practices (e.g. fist and weapons forms and sparring), often without the material being recorded in a manual. This means such styles can’t be reliably traced beyond a certain time period. A benefit of the second approach is that it provides a deeper view of history, giving the researcher license to record not only the odd mention of historical boxing styles but also associations between primates and weapons and other forms of physical exercise in ancient folklore, literature, medicine, and religion. Obviously, the best approach would be a combination of the two. However, I lack the necessary encyclopedic knowledge of Chinese martial arts techniques. Such a grand project will have to wait for a more qualified researcher. I have instead decided to adopt the second approach.
This article is divided into five sections. The first presents a folk history for Tai Shing Pek Kwar, a popular modern form of Monkey boxing, to serve as an example of how such styles can be created. The second provides three references to premodern Monkey boxing appearing in military and travel writings of the 16th-century during late Ming (1368-1644), pointing to the commonplace nature of the style. Here I suggest the lack of evidence for pre-Ming references to primate-based boxing points to the style emerging during this time. This section also gives examples of armed techniques associated with apes in military literature of the 16th and 17th-century. The third discusses the story of the noted literary monkey hero Sun Wukong (孫悟空), his portrayal as a master of armed and unarmed fighting, and how he bridges the gap between the aforementioned lack of pre-Ming boxing references and older material associating apes and monkeys with armed combat. The fourth presents ancient stories pitting a magic white ape against the martial skills of legendary Chinese heroes, including the archer Yang Youji (養由基, 7th-c. BCE) and the swordswoman the Maiden of Yue (Yuenu, 越女, 5th-c. BCE). And the fifth discusses ancient animal mimicry and suggests primate-based boxing is tied to war-like shamanic totemic dances and yoga-like daoyin calisthenics (8th-c. to 2nd-c. BCE). 
I. Tai Shing Pek Kwar Monkey boxing
There are three main styles of monkey boxing:
Shaolin Monkey – This combative style is said to have developed among various animal styles at the famed Shaolin Monastery (Shaolin si, 少林寺) in Henan province, China. Matsuda (2013) claims this particular style to be thousands of years old (p. 50); however, this has no basis in history, as will be explained below.
Wushu Monkey – This modern, non-combative style focuses on gymnastic leaps and flips for entertainment purposes. It is used in both Chinese opera and the floor routines of form competitions (video 1) (Matsuda, 2013, pp. 54-56).
Tai Shing Pek Kwar Monkey – This is the Cantonese variant of the Mandarin Dasheng Pigua men (大聖劈掛門), or the “Great Sage Ax School” of boxing. This combative style is said to be quite young, being a little over 100 years old (Matsuda, 2013, p. 56).
Video 1 – The first half of this video shows a youth performing Wushu Monkey for a form competition.
Tai Shing Pek Kwar is a combination of two different styles. The first, which I will only describe briefly, is Pek Kwarkyun (Pigua quan, 劈掛拳), a style that mimics the swinging of an ax, relying on the lively arm movements to generate power much like the Choy Li Fut style of southern China. It is said to have been created over two hundred years ago in Shandong (northern China) by a woodcutter named Ma Chi Ho (Matsuda, 2013, pp. 64-68). The weapons practiced by this style include the double-edged sword (jian, 劍), the single-edged saber (dao, 刀), and the staff (gun, 棍) (Matsuda, 2013, pp. 70-75).
The Tai Shingkyun (Dasheng quan, 大聖拳) style is said to have been founded in northern China around the year 1911 (the end of the Qing dynasty) by a prisoner named Kou Si (寇四).  After being sent to jail for murder, Kou discovered his cell faced a forest where he could observe the day-to-day lives of a troupe of monkeys. He noted five distinct behaviors among them that, when combined with his knowledge of Great Earth boxing (Di tang quan, 地趟拳), a type of ground combat, could be adapted for fighting.
Lost Monkey (Mi Hou, 迷猴) – This form mimics the behavior of a frightened monkey, comprising periods of attack and retreat, with lots of rolling, low kicks, and quick, frantic running low to the ground (video 2).
Stone Monkey (Shi Hou, 石猴) – This form mimics the behavior of an enraged alpha male, comprising slower but drastically more powerful fist, elbow, and knee strikes, all of which are delivered from a low stance.
Tall Monkey (Qi Hou, 企猴) – This form mimics the behavior of a tall monkey, comprising longer, quicker swinging arm strikes and higher-level kicks.
Drunken Monkey (Zui Hou, 醉猴) – This form mimics the behavior of intoxicated monkeys, comprising falls, swaying motions with broken footwork, and circular punches, all of which are delivered from a low stance.
Wooden Monkey (Mu Hou, 木猴) – This form mimics the behavior of an intelligent, deceptive monkey, comprising quick, low attacks and rolls similar to the Lost Monkey, but feigning retreat only to turn and unleash strikes upon the pursuing opponent.
After perfecting the style, Kou Si is said to have named it “Great Sage boxing” in honor of the monkey hero Sun Wukong (Matsuda, 2013, pp. 86-116). This is a reference to the title taken by the character during his rebellion against heaven (see section III below). The weapons practiced by this style include the staff and the metal ring (Matsuda, 2013, pp. 118-131).
Video 2 – The Lost Monkey form.
II. Primates and martial arts during the Ming
Textural evidence for Monkey boxing actually predates Kou Si’s lineage, appearing in late Ming dynasty (1368-1644) records. The first reference appears in the eighteen volume edition of famed general Qi Jiguang‘s (戚繼光, 1528-1588) (fig. 1) New Treatise on Military Efficiency (Jixiao Xinshu shiba juan ben, 紀效新書十八卷本), a military training manual completed in 1561 or 1562. The fourteenth chapter, titled “Chapter on the Fist Canon and the Essentials of Nimbleness” (Quanjing Jieyao Pian, 拳經捷要篇), reads:
Among the past and present fist specialists, the Song Great Founder had the Long Fist system with thirty-two positions. Moreover there are six pace and fist techniques, the Monkey Fist, and the Feinting Fist. The famous positions each have their own names, but in reality they are quite similar and scarcely differ from one another (Gyves, 1993, p. 34).
While Qi believed boxing had no place in armed conflict, he thought such training was useful as it strengthened soldiers’ bodies, coordinated their limbs, improved their weapons skills, and bolstered their courage (Gyves, 1993, pp. 33-37). Qi gathered what he considered the most efficient techniques to achieve this goal, meaning he consulted with many martial artists in the process. The fact that he mentions Monkey boxing suggests it was a common style among fighters of this time.
The second reference appears in Zheng Ruozeng’s (郑若曾, 1505-1580) Strategic Situation in Jiangnan (Jiangnan jinglue, 江南經略, 1564), which was written in response to the ever-present threat of the Woukou (倭寇), a conglomeration of Japanese, Chinese, and Korean sea bandits, invading China’s coastline. In the eighth volume, Zheng provides a long list of armed and unarmed martial arts, including the “thirty-six roads (forms) of Monkey boxing” (Houquan sanshiliu lu, 猴拳三十六路) (Zheng, 1564). Again, this suggests Monkey boxing was quite common.
The third appears in scholar Wang Shixing’s (王士性, 1547-1598) A Journey to Mt. Song (Song you ji, 嵩遊記), a travel log of the mountain on which the famed Shaolin monastery is located:
Martial monks again each came to present skills. With fists and staves contending, they struck as if flying. Their teacher with folded hands looked on. Among them was a monkey striker, spinning and leaping, just like a monkey… (Wells & Chang, 2004, p. 23).
This shows a single Shaolin warrior monk practiced Monkey boxing. But does this mean the style was part of the monastery’s official curriculum at this time? The answer is no. According to Shahar (2008), textual evidence suggests Shaolin officially took up boxing in the proceeding 17th-century, and the first styles practiced were Drunken Eight Immortals boxing (Zui baxian quan, 醉八仙拳) and Lost Track boxing (Mizong quan, 迷蹤拳), possibly followed by Plum Flower boxing (Meihua quan, 梅花拳) in the 18th-century. The monks adopted pugilism as a form of calisthenic exercise, later combining it with Daoyin (導引) calisthenics and spirituality to create a new form of self-cultivation.  Prior to this, the Shaolin monks were only known for their proficiency with the staff. Therefore, given the seeming commonplace nature of Monkey boxing during the late Ming, the monk could have learned the style from an outside source.
Modern folklore associated with one primate-based style, White Ape Connected Arms Boxing (Baiyuan tongbei / bi quan, 白猿通背 / 臂拳), traces its origins to religious and military figures of the Song dynasty (960-1279), centuries prior to the Ming (Lu, 2006, pp. 103-105, for example). However, it should be said that having a Song-era foundation is a reoccurring theme in many martial arts legends. For instance, the famed Song general Yue Fei (岳飛, 1103-1142) is commonly attributed Eagle Claw boxing (Yingzhao quan, 鷹爪拳) and Form-Intent boxing (Xingyi quan, 形意拳) (Liang & Yang, 2002, pp. 15-16, for example). But textual evidence for these styles don’t appear until the Ming and Qing, respectively.  Most importantly, the oldest source associated with White Ape Connected Arms Boxing, titled the Connected Arms Boxing Manual (Tongbi quan pu, 通臂拳谱), was written during the late Ming and finally published in 1665 during the early Qing (List of surviving Ming period martial arts, 2017). Likewise, concrete references to primate-based boxing do not predate the Ming. This might suggest such styles arose during this time when there was an explosion in the popularity of pugilism. But this tells us nothing about how primate-based boxing may have developed. The history of animal mimicry in Chinese martial arts can be traced to much older concepts based in medicine and religion. This is discussed in section V below.
Fig. 2 – A compilation of images of the sword-fighting apes from the Collection of Military Works (c. 1621) (larger version). By the author. Fig. 3 – A compilation of the original stick figures and Japanese calligraphy from the fourteen volume edition of the New Treatise on Military Efficiency (1584) (larger version). From Qi, 1584/2001, p. 83. Note the similarities in stance and the position of the blades.
As for the association between primates and armed combat during the Ming, the animals are occasionally referenced in the named fighting techniques of military literature. For example, the tenth volume of Qi Jiguang’s aforementioned manual includes a feinting lance technique titled “White Ape Trailing Sword Stance” (Baiyuan tuo dao shi, 白猿拖刀勢) (Yang & Xie, 1995, p. 336). The 35th volume of the Collection of Military Works (Wubei zhi, 武備志, c. 1621), a Ming treatise on military armaments and fighting techniques compiled by Mao Yuanyi (茅元儀, 1594-1640), includes “White ape exits cave” (Baiyuan chudong shi, 白猿出洞勢), a stance appearing in the sequence for an overhead sword guard.  (Incidentally, this is also the name of a fist set practiced in some lineages of Praying Mantis boxing). Additionally, the same volume includes a two-section sword manual, the first section of which portrays fanciful images of apes practicing with the “Sprout saber” (miaodao, 苗刀) (Mao, 1621), a long, two-handed blade similar to the Japanese Katana (fig. 2). These strange images differ from the human-based figures in the rest of the source. It’s important to note that the original sword manual, called Saber Techniques of the Xinyou-era (i.e. 1561) (Xinyou daofa, 辛酉刀法), is taken directly from the fourth volume of the revised fourteen volume edition of Qi’s New Treatise on Military Efficiency (Jixiao Xinshu shisi juan ben, 紀效新書十四卷本, 1584). The first of the aforementioned two sections reproduces a series of sword-wielding stick figures taken from a Shadow School (Kage-ryu, 影流 / 陰流) manual of Japanese sword fighting. The section is prefaced by lively Japanese calligraphy, and the few words recognizable to readers of Chinese include “ape flying” (yuanfei, 猿飛) and “ape returning” (yuanhui, 猿回) (fig. 3), both of which are Kenjutsu techniques still practiced today (video 3).  This then might explain why the stick figures were changed to apes when the material was reproduced in the Collection of Military Works decades later. But I would also like to suggest that the change (as well as the allusion to the sword-wielding white ape from the lance technique mentioned earlier) was influenced by a famous first-century Chinese story about a talented swordswoman who has her skills tested by a magic white ape. This is discussed in section IV below.
Video 3 – A modern demonstration of the “ape-flying” technique.
III. Sun Wukong the Monkey King
By far, the most famous weapon-bearing primate of the late Ming-period is Sun Wukong (a.k.a. “Monkey”), the simian protagonist of the highly popular Chinese novel Journey to the West (Xiyouji, 西遊記, 1592). According to the tale, the stone-born monkey rules a mountain utopia before learning magic, martial arts, and thesecret of immortality under a Buddho-Daoist sage. He soon thereafter acquires a magic, size-changing iron staff, which he uses to wage war against the celestial realm (fig. 4), proclaiming himself the “Great Sage Equaling Heaven” (Qitian Dasheng, 齊天大聖, hence the name for Kou Si’s Monkey boxing). But his rebellion is eventually quelled by the Buddha, who imprisons the indestructible monkey demon beneath a mountainfor his crimes. Five hundred years later, the repentant immortal is called upon to use his great strength, martial arts, and powers of transformation to protect the monk Tripitakaon a journey to procure scriptures from India.
The narrative portrays Sun as a well-rounded martial artist proficient in both weapons and boxing. For example, during his rebellion with heaven, he trains his monkey children as soldiers, teaching them troop movement and weapons, including swords, spears, axes, and bows and arrows. But he is best known for his skill with the staff (fig. 5). One episode sees Monkey give a display of his martial prowess while he and his master travel through a spooky mountain. His skill is so great that the story likens it to the strategy taught in two of the Seven Military Classics of China:
“Going through this tall mountain and rugged cliff must have made master [Tripitaka] rather apprehensive, that’s all. Don’t be afraid! Don’t be afraid! Let old Monkey put on a show for you with my rod to calm your fears somewhat.” Dear Pilgrim! Whipping out his rod, he began to go through a sequence of maneuvers with his rod as he walked before the horse: up and down, left and right, the thrusts and parries were made in perfect accord with the Six Secret Teachings and Three Strategies [Liu Tao San Lue, 六韜三略)].  What the elder saw from the horse was a sight incomparable anywhere in the world (Wu & Yu, 2012, vol. 2, p. 105).
Fig. 5 – A modern action figure of Sun Wukong with his magic staff (larger version).
Furthermore, Monkey displays a mastery of unarmed fighting (fig. 6) in two episodes. A poem in chapter 51, for example, is important because it describes a battle between Sun and a rhinoceros demon in which they use real boxing techniques, many of which are still known and practiced to this day:
Hitching up his clothes and walking forward, the fiend assumed a boxing posture; his two fists upraised looked truly like two iron sledge hammers. Our Great Sage also loosened his legs at once and moved his body to attack; right before the cave entrance, he began to box with the demon king. This was quite a fight! Aha!
Opening wide the “Four Levels Posture”; The double-kicking feet fly up. They pound the ribs and chests; They stab at galls and hearts. “The Immortal pointing the Way”; “Lao Zi Riding the Crane”; “A Hungry Tiger Pouncing on the Prey” is most hurtful; “A Dragon Playing with Water” is quite vicious. The demon king uses a “Serpent Turning Around”; The Great Sage employs a “Deer Letting Loose its Horns.” The dragon plunges to Earth with heels upturned; The wrist twists around to seize Heaven’s bag. A green lion’s open-mouthed lunge; A carp’s snapped-back flip. Sprinkling flowers over the head; Tying a rope around the waist; A fan moving with the wind; The rain driving down the flowers. The monster-spirit then uses the “Guanyin Palm,” And pilgrim counters with the “Arhat Feet.” The “Long-Range Fist,” stretching, is more slack, of course. How could it compare with the “Close-Range Fist’s” sharp jabs? The two of them fought for many rounds— None was the stronger, for they are evenly matched (Wu & Yu, 2012, vol. 3, pp. 12-13).
While the techniques are not Monkey boxing, the narrative certainly helped solidify the connection between primates and martial arts during the late Ming when references to the style were recorded.
Fig. 6 – Sun teaching a young human apprentice martial arts. Drawing by Celsohenrique on deviantart (larger version).
Sun Wukong’s image as a master of armed and unarmed combat led to his veneration among northern Chinese martial artists at the end of the Qing. As noted in this article, fighters of the anti-foreign Boxer Rebellion (1899-1901) were known to channel the spirit of the Monkey King (among other deities) in order to gain his martial prowess. A German catholic missionary active in Shandong in the late-19th and early-20th-century recorded how four boxer youths were chosen as possible vessels, and after a ritual enticed the deity to earth, the “possessed” individual performed a frightening saber dance, indicating the Great Sage had taken control. Additionally, Dudbridge (1970) cites one 17th-century source that describes Sun’s veneration in the southern Chinese province of Fujianfor “appear[ing] in the clouds to beat back an attack from Japanese pirates” (p. 158). This refers to the preceding 16th-century when China’s coast was plagued by the aforementioned Wokou pirates. Interestingly, Sun Wukong fighting pirates puts him in the same company as the Shaolin warrior monks, who used their martial arts skills to rout the same bandits during the 1550s (Shahar, 2008, pp. 68-70).
Fig. 7 – The Monkey Pilgrim stone relief carving, 1237, from the Kaiyuan Temple Western Pagoda, Quanzhou City, Fujian Province, China (larger version).
Monkey is important to this study because he bridges the gap between the lack of pre-Ming references to primate-based boxing and older material associating apes and monkeys with armed combat. Sun first appears as the “Monkey Pilgrim” (Hou xingzhe, 猴行者) in The Story of How Tripitaka of the Great Tang Procures the Scriptures (Da Tang Sanzang qujing shihua, 大唐三藏取經詩話), a seventeen chapter storytelling prompt dated to the late 13th-century. The narrative presents our hero wielding two staves, one a golden-ringed monk’s staff and the other an iron staff, in defense of his Buddhist master. These two staves would later be combined by storytellers to create his signature weapon.
Older still, the Kaiyuan Temple (Kaiyuan si, 開元寺) of Fujian is home to a nearly life-sized carving of the hero (fig. 7), who is presented as a saber-wielding guardian deity. He appears alongside other such wrathful gods, as well as bodhisattvas, arhats, patriarchs, and eminent monks, on a stone pagoda that was erected in the year 1237. So Monkey was associated with various weapons as far back as the 13th-century.
Fig. 8 – A Han-era stone tomb rubbing showing a sword-wielding hero striking at a fleeing white ape (center). A woman can be seen held captive in a teardrop-shaped cave (left). The hero is followed by an assistant beating a gong (right) (larger version). From Wu, 1987, p. 88.
Apart from possible Indian influences, Sun Wukong’s origins can be traced to a body of Han (206 BCE-220 CE) and Tang (618-907 CE) dynasty tales in which a magical white ape or gibbon (baiyuan, 白猿) kidnaps human woman and spoils their innocence (fig. 8). For example, the unnamed primate antagonist of “A Supplement to Jiang Zong’s Biography of a White Ape” (Bu Jiang Zong baiyuan zhuang, 補江總白猿傳, c. late 7th-c.) is described as a 1,000-year-old hermit who lives in a mountain utopia, practices Daoist longevity arts, wields the power to fly and change his shape, and has supernatural strength and an iron-hard, nigh-invulnerable body immune to most efforts to harm him. Most importantly, he is depicted as a master of armed combat, one displaying a fondness for sword dancing. His blade is said to “circl[e] his body as fast as lightning and as round as a full moon”.  As noted above, this is not the first story involving a magic white ape who is fond of swordplay.
IV. Magic apes and ancient Chinese heroes
The Chinese classic theWater Margin(Shuihu zhuan, 水滸傳, c. 1400) describes the literary heroes Hou Jian(侯健),Lin Chong(林沖), andZhang Qing(張清) (fig. 9) each having ape-like arms, denoting their great strength and agility. This same nickname was applied to powerful archers of the past. Ma (2010) writes:
[I]t is said that the Xiongnu warrior Liu Chong ‘had arms like an ape, was skilled at archery (yuanbei shanshe 猿臂善射), and could pull a bow of three hundred jin’ 斤(Book of Wei《魏書》). Similarly, History of Ming describes General Chang Yuchun 常遇春 as ‘distinguished looking, with peerless courage and strength, had arms like those of an ape and was skilled at archery’; and in the same vein, Tang poet Cui Daorong 崔道融 wrote that ‘the ape-armed general runs as if on wings, sparing no one with his bow from a hundred paces’ (General Li’s Biography [Ti Li jianjun zhuan 題李將軍傳]) (p. 24).
Fig. 9 – A woodblock print of the hero Zhang Qing by Kuniyoshi produced between 1827 and 1830 (larger version). It is part of the artist’s “One of the 108 Heroes of the Popular Water Margin” series (Tsuzoku Suikoden goketsu hyakuhachinin no hitori, 通俗水滸傳濠傑百八人一個). Original image found here. Look closely and you’ll notice that the tattoo on Zhang’s back portrays Sun Wukong producing magical clones of himself from his mouth.
Oddly enough, the earliest tales mentioning archers and magic white apes do not liken one to the other. In fact, they are diametrically opposed. For example, a third-century BCE tale about the famed archer Yang Youji (養由基, 7th-c. BCE) portrays the creature as an elusive target for his arrow:
Once in the palace of Jing 荊 there was a supernatural white ape. Even the skillful archers of Jing could not hit it. Then the king of Jing asked … Yang Youji to shoot it. Yang straightened his bow and went to the palace with arrows in his hands. Before shooting he aimed at a place where the [moving] ape had not yet arrived. When he let the arrow fly, the ape fell immediately. Thus Yang Youji could be called the archer who could hit a target before it was there (Wu, 1987, p. 103; see also Gulik, 1967, p. 41).
A similar version of the tale states the ape recognizes Yang’s supernatural skill, anticipating the arrow and crying out in pain moments before actually being struck (Wu, 1987, p. 103; Gulik, 1967, p. 41).
Perhaps the most famous story associating the magic white ape with martial arts is the “Maiden of Yue” (Yuenu, 越女, 1st-c. BCE), named after its protagonist, a peerless swordswoman of the 5th-century BCE. The story describes how she participates in a sparring match with the shape-changing ape:
The Young Woman of Yue travelled north for her audience with the king [Goujian of Yue]. On the way, she met an old fellow who said his name was “Old Mr. Yuan” [Yuan Gong, 袁公].
He said to the young woman, “I hear you fight well with a [sword]. I’d like to see a demonstration.”
She replied, “I wouldn’t presume to keep anything from you: you are welcome to test my skill, Sir.”
So Old Man Yuan drew out a length of Linyu bamboo. But the bamboo was rotten at one end. The end fell to the ground and the young woman immediately snatched it up. The old man wielded the top end of the staff and thrust towards the young woman, but [she] parried straight back, thrust three times, and finally raised her end of bamboo and drove home her attack against Old Man Yuan [fig. 10]. Old Man Yuan hopped off up a tree, turning into a white ape [baiyuan, 白猿, hence the surname]. Then each went their own way, and she went on to meet with the king. 
Upon meeting the king, the Maiden reveals the secret to her fighting ability is the application of yin and yang energy, which are metaphorically described as the opening and closing of large and small swinging doors. This is “[t]he earliest extant published exposition of [the] theory applied directly to the martial arts” (Henning, 2001, p. 746), predating the artificial categorization of Chinese boxing into “internal” (neijia, 内家) and “external” (waijia, 外家) styles during the 17th-century (Henning, 2007, p. 26). Therefore, the importance of the story in the annals of Chinese martial arts history can’t be overstated. Nor can the inclusion of the white ape. His supernatural challenge and subsequent defeat respectively tests and confirms the effectiveness of the theory.
This tale likely influenced the association between white apes and swordplay in later sources, such as the sword-dancing antagonist of the Tang-era “Supplement to Jiang Zong’s Biography of a White Ape” (section III) and the sword-wielding primates of military literature (section II). For example, “White Ape Trailing Sword Stance”, the aforementioned feinting lance technique from New Treatise on Military Efficiency (c. 1561/1562), may refer to Old Mr. Yuan’s defeat.
Fig. 10 – A modern drawing of the Maiden of Yue fighting Old Mr. Yuan by martial historian Stan Henning (larger version). From Henning, 2007, p. 24.
Our heroes’ respective stories make no reference to animal mimicry, the cornerstone of primate-based boxing. In fact, it’s the reverse in the second narrative: an ape mimics man.  The tales instead promote the idea of trained human skill conquering the raw, often magical, power of nature. In the case of the Maiden of Yue, her mastery of yin and yang energy enabled her to best the magic white ape. Yang Youji is more of a mythic figure capable of miraculous feats, such as sinking an arrow into a boulder simply because he mistook it for a rhino (i.e. mind over matter) (Selby, 2000, p. 131). But he succeeded in falling a white ape when many archers failed. These tales are therefore the antithesis of primate-based boxing, representing what might have been considered more “civilized” or “noble” forms of martial arts, namely the armed disciplines of archery and swordplay.
V. Animal mimicry in Chinese medicine and religion
I suggested above that primate-based styles may have arisen during the Ming. But how the styles developed is likely tied to the long history of animal mimicry in China. For example, around the year 60 BCE (during the Han), the courtier Tan Changqing (檀長卿) is said to have been reprimanded for violating ritual norms by performing the dance of the “dog and macaque combat” (wu wei mu hou yu gou dou, 舞為沐猴與狗鬭) while at a drunken party (Harper, 2001, p. 18). This dance may have some connection to a funerary motif appearing in Han-era stone tombs in which dogs are shown intimidating apes, the motif representing the conquering of evil influences.  Tan’s display can’t be assigned a martial role, however, because it was likely a comical pantomime.  But this shows mimicking primates served a variety of purposes in Chinese culture.
Primate-based movements figure in a number of ancient therapeutic exercises. For instance, the monkey appears in the Five Animals’ Frolic (Wuqin xi, 五禽戲), a 3rd-century system of daoyin calisthenics, which mimics the movements or behaviors of the tiger, deer, bear, monkey, and bird (in that order), each animal set strengthening a particular area of the body (Kohn, 2008, pp. 163-169). Movements mimicking the bear, monkey, and bird actually predate this system, appearing among forty-four exercises listed in the Illustrations of Guiding and Pulling (Daoyin tu, 導引圖, 168 BCE), the oldest known diagram of daoyin exercises, discovered in Mawangdui (馬王堆) (fig. 11 and 12). Primate-based exercises include the “Monkey Bawling to Pull Internal Hotness” (muhou guan yinling zhong, 沐猴灌引靈中) (#35) and “Gibbon Shouting” (yuanhu, 猿謼) (#40) (fig. 13 and 14) (Harper, 1998, pp. 315 and 316). 
The Masters of Huainan(Huananzi, 淮南子, 139 BCE), a compendium of Daoist, Confucian, and Legalist thought, references another primate-baseddaoyinset in a section criticizing such exercises as inferior to spiritual cultivation:
If you huff and puff, exhale and inhale, blow out the old and pull in the new, practice the Bear Hang [xiongjing, 熊經], the Bird Stretch [niaoshen, 鳥伸], the Duck Splash [fuyu, 鳧浴], the Ape leap [yuanjue, 蝯躩], the Owl Gaze [chishi, 鴟視], and the Tiger Stare [hugu, 虎顧]:
This is what is practiced by those who nurture the body. They are not the practices of those who polish the mind (Liu & Major, 2010, p. 236).
Fig 11 – (Top left) The Illustrations of Guiding and Pulling, 2nd-c. BCE, paint on silk, 142 x 70 cm (55.9 x 27.5 in) (larger version). Image originally found here. Fig. 12 – (Top right) A modern reconstruction (larger version). Image originally found on Wikipedia. Harper (1998) warns such reconstructions “should be regarded as conjectural in many details” since the original is in such poor condition (p. 191). Fig. 13 – (Bottom left) The reconstruction of “Monkey Bawling to Pull Internal Hotness” (larger version). Fig. 14 – (Bottom right) The reconstruction of “Gibbon Shouting” (larger version).
These therapeutic exercises likely find their origin in ancient Shamanic animal dances designed to drive away demonic illness and influences (Harper, 1985, pp. 487-488). One such dance was the seasonal Da Nuo (大儺 / 難; Jp: Tsuina, 追儺) ritual in which a bearskin-clad exorcist (Ch: fangxiangshi; Jp: hōsōshi, 方相氏) and his army of fur, feather, and horn-clad youths, representing twelve animal deities, expelled evil spirits from human dwellings. Evidence suggests it may have been performed as early as the Shang (17th to 11th-c. BCE), but the earliest concrete references come from the Eastern Zhou (8th to 3rd-c. BCE) (Poo, 2009, p. 286). What’s interesting for our purposes is that the exorcism has a martial aspect; not only does the exorcist bear a lance and shield for ritual combat (fig. 15), but also the group travels throughout the given location dancing and shouting, with the youths beating drums and commanding twelve spirits by name to devour or eviscerate anthropomorphic representations of malevolent influences (Poo, 2009, pp. 287-288). So by wearing animal products, the exorcist and his ritual army gained the strength of animal deities to combat dark forces.
Fig. 15 – A Japanese woodblock print portraying the Da Nuo exorcist expelling a “pestilence” spirit with his lance and shield (larger version). Originally found here. Note the four-eyed mask. This is based on the four golden-eyed bear skin worn by the exorcist in ancient Chinese records (Poo, 2009, p. 287).
It’s possible that the “twelve animals” of the Da Nuo exorcism refer to some precursor of the Chinese zodiacal animals (rat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog, and pig). If true, monkey fur could have been among the animal products worn by the ritual army. After all, monkeys have long been associated with curing illness and expelling evil in East Asia.  A modern example of exorcists who don monkey fur are the shamans of the Qiang ethnic group of Sichuan. The Qiang worship monkeys as the source and savior of their sacred knowledge, as well as the progenitor of their people, the latter being a myth cycle common among ethnic groups of Tibet and southwestern China.
Henning (2001) highlights the connection between animal totemism and animal boxing:
Another view is that at least some animal forms may hark back to a distant totemic past that still occupies a place in the Chinese psyche. This totemic influence is difficult if not impossible to trace in majority Han Chinese boxing styles; however, it can be seen in the combination of martial arts and dance practiced by some of China’s many national minorities. Cheng Dali, in his Chinese Martial Arts: History and Culture, points to Frog Boxing, practiced by the Zhuang Nationality of the Guangxi Zhuang Autonomous Region, as an example, the frog being considered their protector against both natural and man-made disasters (p. 16).
Therefore, the primate-based martial arts of the Ming could descend from totemic mimicry of apes and monkeys in Chinese spiritual practices. The development could have gone something like this:
Early shamanic dances drawing on the totemic power of primate deities (via their fur) to exorcise evil influences through ritual combat, including the bearing of weapons, drumming, dancing, and the shouting of spells.
The animal fur and martial dancing give way to calisthenics drawing on primate mimicry to expel sickness and strengthen the body.
These calisthenic movements are adapted for fighting.
It’s even possible that the war-like shamanic dancing gave way directly to boxing. Martiality (wu, 武) and dance (wu, 舞) have long been associated in Chinese history, for drums and gongs were used to direct the movements of both troops and dancers (Lorge, 2012, p. 26-27). Musical accompaniment remains a staple of folk martial arts performances. A modern example of totemic mimicry, dancing, and martial arts is the Lion Dance (wushi, 舞獅) popular in Asian communities throughout the world (video 4).
Video 4 – Five lion dancing teams performing before a crowd.
Apes and monkeys have been associated with armed and unarmed martial arts in Chinese culture for over two thousand years. Tai Shing Pek Kwar, a popular modern combat style of Monkey boxing created in the early 20th-century, is predated by even older instances of Monkey boxing alluded to in military and travel writings of the 16th-century, suggesting it was a common form of pugilism. Additionally, military literature of the 16th and 17th-century associates white apes with swordplay. The lack of historical references to primate-based boxing prior to the Ming (1368-1644) suggests such styles developed during the explosion in popularity of pugilism at this time. The image of the highly popular late Ming literary monkey hero Sun Wukong as a master of armed and unarmed martial arts, as well as his association with staff and sword fighting in 13th-century oral literature and Buddhist art, respectively, helps bridge this gap between the lack of historical boxing references and older material associating primates with armed combat. He can be traced to a body of Han (206 BCE-220 CE) and Tang (618-907 CE) dynasty stories about magic white apes who, due to their supernatural abilities, were portrayed as the ultimate test of a warrior’s martial skills. The most famous of these tells how the Maiden of Yue, a talented swordswoman of the 5th-century BCE, vets her yin-yang theory-based sword style by defeating a white ape-turned-old man in a sparring match. This story is important because it’s the first recorded association of yin-yang theory and martial arts in Chinese history. This tale and another involving the mythic archer Yang Youji are the antitheses of primate-based boxing because each touts the superiority of trained human skill over the raw, magical power of nature. Despite this, animal mimicry played a large role in early therapeutic yoga-like Daoyin calisthenics, such as the Five Animals Frolic (3rd-c. CE) and those appearing in the Illustrations of Guiding and Pulling (168 BCE), which copied the movements of monkeys and apes (among other animals) to strengthen given areas of the body. These exercises likely find their origin in ancient war-like Shamanic animal dances designed to drive away demonic illness and influences, one example being the seasonal Da Nuo exorcism of the Eastern Zhou (8th to 3rd-c. BCE). The Da Nuo exorcist and his ritual army wore animal products (fur, horns, feathers, etc.) to invoke the power of animal deities capable of driving away malevolent forces. Monkey fur may have been worn by members of the ritual army because the animal and its products have long been associated with curing illness and expelling evil in East Asia. Shamans among the modern Qiang ethnic group of Sichuan worship monkeys and draw on the power of their fur to perform exorcisms. Animal totemism plays a part in some animal-based martial arts, such as the Frog boxing of the Zhuang ethnic group. Therefore, the primate-based martial arts of the Ming may have been influenced by the ancient totemic mimicry of apes and monkeys in Chinese spiritual practices, those that formed the basis of later animal-based therapeutic exercises. This is where the historical study would benefit from modern ethnographic field research. A follow-up study might bridge the gap between the historical data and modern practice.
1) A shorter paper with a similar focus is Ma (2010). The editor of the Journal of Chinese Martial Studies was gracious enough to provide me with a PDF copy of the article when I was nearing completion of this paper.
2) Regarding the name of the creator of Monkey boxing, Kou Si (寇四), kou (寇) means “bandit, foe, or enemy”. I find this especially interesting given he was imprisoned for murder, the reasons for which range from accidentally killing a villager in a fight to purposely killing a military official to avoid service (Matsuda, 2013, pp. 86-87). It’s possibly this name is simply a folk title given to an unknown creator, or one known to have been active in crime.
3) See chapters three and four.
4) The earliest mention of Eagle Claw appears in Qi Jiguang’s training manual. It refers to “Eagle Claw Wang’s grappling methods” (Yingzhao Wang zhi na, 鷹爪王之拿) (Gyves, 1993, p. 35). Qing-era manuals and family histories suggest Xingyi was created by a certain Ji Jike (姬際可, fl. 1650) (Shahar, 2008, pp. 134-135).
5) For an English translation of the sword technique mentioning the stance, see Chen, 2018, pp. 73-75.
6) Qi, 1584/2001, p. 83. I’m indebted to the operator of the Great Ming Military blog for explaining the connection between the ape images and the visible characters from the Japanese calligraphy, as well as providing me with a digital copy of the fourteen volume edition of Qi’s training manual.
7) The original English translation omits the two named books from the Chinese version. It reads, “…the thrusts and parries were made in perfect accord with the manuals of martial arts” (Wu & Yu, 2012, vol. 2, p. 105).
8) Chen, 1998, p. 84. Some readers may have noticed the sword is a reoccurring theme in Sun Wukong’s history: 1) The Qing-era boxers are said to have performed a saber dance under his possession; 2) he is depicted with a saber on the Kaiyuan temple pagoda in Fujian; and 3) the magic white ape on whom he is likely based loves performing sword dances. In addition, two other sources mention Monkey’s association with the sword. First, a 15th-century Zaju play describes Guanyin giving Sun Wukong a Buddhist saber (jiedao, 戒刀) (apart from other magic items) to protect his master on the eve of their journey. Second, a 17th-century tale set in Fujian describes the Great Sage magically afflicting a merchant with painful leg sores using a “Bodhisattva Saber” (Pusa dao, 菩薩刀).
I don’t think these have any unifying significance, however. For example, the saber requires less training and is cheaper than other implements of war. So it was often the go to weapon for soldiers and bodyguards. Monkey’s association with the saber on the pagoda is likely tied to this same concept. As a guardian deity, he is portrayed with the same weapon used by mortals to protect others in times of need. The magic white ape is portrayed as a Daoist gentleman, one in possession of a pair of treasure swords (baojian, 寶劍), the kind used in Daoist ritual. His fancy for the sword may be based on Old Mr. Yuan from the Maiden of Yue (see section IV). Another literary character with Buddhist sabers is Wu Song from the Water Margin (Shuihu zhuan, 水滸傳, c. 1400). I explain in this article (footnote #2) that his sabers are based on real world Buddhist knives issued to monks. The same concept is no doubt tied to Monkey’s weapon from the play. Having said that, I will admit, though, that the saber from the pagoda may have had some influence on that mentioned in the 17th-century story. After all, the pagoda example is portrayed with a lick of heavenly flame, just like one would expect from a celestial sword. Also, both the story and the pagoda take place/are located in Fujian, home to the Great Sage’s cult.
9) Selby, 2000, pp. 155-156. The famous Tang poet Li Bai (李白) referenced Mr. Yuan’s defeat in one of his poems. A line reads “The White Ape was ashamed of his fencing” (Ma, 2010, p. 24). This is fascinating as Li Bai was also known to have been a proficient swordsmen in his youth (Liu, 1967, pp. 46-47).
10) This is based on an old concept in which primates were thought to progress through a type of magical evolution, similar to modern day Pokémon. The Baopuzi (抱朴子, 2nd-c. CE) states a monkey will transform into a gibbon after 800 years of life. It will then change into several legendary apes over some 3,500 years, before evolving into an old man (Ball, 1927, p. 117). Gulik (1967) cites a tale in which the soothsayer Zhou Qun (周羣 / 周群) learns the secrets of divination from a gibbon-turned-old man (p. 50).
11) As noted in this article, Sun Wukong’s capture at the mouth of Lord Erlang’s hound is tied to the Han-era tomb motif of dogs intimidating apes.
12) Ma (2010) translates the historical passage, noting those at the party were “drinking wine and making merry, then Tan Changqing, the high official of Changxin Palace, starts to dance, to imitate a monkey fighting with a dog, bringing laughter to all present” (p. 25).
13) Harper (1998) suggests an alternate reading for “Gibbon shout” (yuanhu, 猿謼) is “Gibbon Jump” (yuanjue, 蝯躩) based on graphical similarities to an exercise from the Huainanzi. (淮南子, 139 BCE) (p. 316, n. 1).
14) This is tied to a Song-era (and likely older) superstition from Sichuan where people would place monkeys in stables to ward off equine sickness (Eberhard, 1969, p. 52). This is why heaven appoints Sun Wukong the Bimawen (弼馬溫, “Keeper of the (Heavenly) Horses”), which is a pun on Bimawen (避馬瘟, “Avoid the horse plague”). Due to his former exalted position, earthly horses are shown to fear the Monkey King throughout the narrative (Wu & Yu, 2012, vol. 1, p. 309, for example).
In Japan, monkeys were also associated with horses and healing via the warding of evil. Apart from monkeys being kept in stables like their Chinese counterparts, their fur was applied to the harnesses and quivers of Samurai because the warriors believed it gave them more control over their mounts. Furthermore, monkey body parts have been consumed for centuries as curative medicines, and their hides have even been stuffed to make protective amulets (kukurizaru) to ward off illness. Likewise, a genre of painting depicts divine monkeys (saru gami), messengers of the mountain deity, performing Da Nuo-like dances to ensure a good rice harvest (Ohnuki-Tierney, 1987, pp. 43-50)
Ball, K. M. (1927). Decorative motives of oriental art. London, John Lane; New York, Dodd, Mead and Co.
Chen, J. (1998). A supplement to Jiang Zong’s biography of a white ape. Renditions 49, pp. 76-85.
Chen, J. (2018). Ancient art of Chinese long straight sword. (n.p.): Chen Jiayi.
Dudbridge, G. (1970). The Hsi-yu chi: A study of antecedents to the sixteenth-century Chinese novel. Cambridge: Cambridge Univ. Press.
Eberhard, W. (1969). The local cultures of south and east China. Leiden: E.J. Brill.
Gulik, R. H. (1967). The gibbon in China: An essay in Chinese animal lore. Leiden: E.J. Brill.
Gyves, C. M. (1993). An English Translation of General Qi Jiguang’s “Quanjing Jieyao Pian” (Master’s thesis). The University of Arizona, Arizona, USA.
Harper, D. (1985). A Chinese demonography of the Third Century B.C. Harvard Journal of Asiatic Studies, 45 (2), pp. 459-498.
Harper, D. (1998). Early Chinese medical literature: The Mawangdui medical manuscripts. London: Wellcome Asian Medical Monographs.
Harper, D. (2001). Poets and Primates: Wang Yanshou’s Poem on the Macaque, Asia Major 14(2), pp. 1-25.
Henning, S. (2001). Written Texts: China In T. A. Green (Ed.), Martial arts of the world: An encyclopedia, volume two: r–z (pp. 745-748). Santa Barbara, Calif: ABC-CLIO.
Henning, S. (2007). The maiden of Yue: Fount of Chinese martial arts theory. Journal of Asian Martial Arts, 16(3), pp. 24-27.
Kohn, L. (2008). Chinese healing exercises: The tradition of Daoyin. Honolulu: University of Hawaiʻi Press.
Liang, S. Y., and Yang, J. M. (2002). Xingyiquan: Theory, applications, fighting tactics and spirit. Boston: YMAA Publication Center.
Here I present four PDFs comprising the complete four volume 2012 revised edition of Journey to the West translated by Anthony C. Yu. Each has been converted from an EPUB into a PDF. The resulting PDF files do not match the exact page count for the published editions. This means they are not suitable for citing in research. However, they are still perfect for those looking to read THE most accurate translation of the tale available. I hope those who read and enjoy the digital version will support the official release.
Anthon C. Yu (October 6, 1938 – May 12, 2015) was Carl Darling Buck Distinguished Service Professor Emeritus in the Humanities and Professor Emeritus of Religion and Literature in the Chicago Divinity School. I shared a long email correspondence with Prof. Yu, during which we became friends. He was always quick to answer my many questions. His translation remains a treasure trove of explanatory notes and sources.
Information about the translation
Anthony C. Yu’s translation of The Journey to the West,initially published in 1983, introduced English-speaking audiences to the classic Chinese novel in its entirety for the first time […] With over a hundred chapters written in both prose and poetry, The Journey to the West has always been a complicated and difficult text to render in English while preserving the lyricism of its language and the content of its plot. But Yu has successfully taken on the task, and in this new edition he has made his translations even more accurate and accessible. The explanatory notes are updated and augmented, and Yu has added new material to his introduction, based on his original research as well as on the newest literary criticism and scholarship on Chinese religious traditions. He has also modernized the transliterations included in each volume, using the now-standard Hanyu Pinyin romanization system. Perhaps most important, Yu has made changes to the translation itself in order to make it as precise as possible (source).
It recently occurred to me that Sun Wukong from Journey to the West (Xiyouji, 西遊記, 1592) (hereafter, JTTW) and Wu Song (武松) from the Water Margin (Shuihu zhuan, 水滸傳, c. 1400) (hereafter, WM) share a number of similarities. Each is a reformed supernatural spirit, a tiger-slayer, a Buddhist monk nicknamed “Pilgrim”, and a monastic martial artist, and each wears a moralistic headband and wields a weapon made from the same fanciful metal. Since the WM predates the publication of JTTW by nearly two hundred years, one might be tempted to speculate that the latter influenced the former. However, both story cycles first appeared during the Song dynasty, with various iterations from the Yuan to the Ming (see Ge, 2001). In this article I show the parallels are due to the respective narratives drawing on similar religious, folkloric, and historical source material. I feel such a comparison is important as it presents a fuller picture of the cultural landscape in which the Monkey King developed.
Fig. 1 – A modern action figure of Sun Wukong’s imprisonment under a section of Five Elements Mountain (larger version).
Chapter one of the WM tells how one hundred and eight spirits were quelled by a Daoist sage during the Tang dynasty and imprisoned in a bottomless pit under a great stone slab. Four or five hundred years later during the Song dynasty, a haughty government official orders the slab dug up and removed to sate his curiosity, allowing the spirits to escape in a plume of miasmic black fumes and later be reborn on earth. Wu Song, whose main story appears in chapters 23 to 32, is one of these extraordinary men and women who come to use their martial, intellectual, or magical skills to rebel against the corrupt Song government. A heaven-sent stone slab in chapter 71 is later discovered to list the names of each bandit with the corresponding name of their previous incarnation, which make up the “Thirty-Six Heavenly Stars” (Tiangang sanshiliu xing, 天罡三十六星) and the “Seventy-Two Earthly Fiend Stars” (Disha qishier xing, 地煞七十二星). Wu Song is listed as the “Heavenly Harm Star” (Tianshang xing, 天傷星), the fourteenth of the Thirty-Six Heavenly Stars.
So we see both are formerly evil spirits who were conquered by a religious figure and imprisoned under stone for centuries. After being released, each rebellious figure becomes a force for good.
Monkey’s punishment can be traced to Tang and Song dynasty tales about the sage king Yu the Great imprisoning a simian water demon under a mountain. To my knowledge, the first recorded mention of this punishment appears in an early Ming zaju play in which Guanyin traps Sun Wukong under Flower Fruit Mountain. Wang (1992) suggests the stone slab from the WM was likely influenced by the Taishan stone (taishan shi, 泰山石) (fig. 2), a class of “evil-warding stones” (shigandang, 石敢當) often placed outside of homes and temples or at the intersection of roads as protection from malevolent forces (pp. 71-72 and 254). The Taishan stone represents Mount Tai and its deity. The landmass is considered the heaviest thing imaginable in Chinese culture. This means the evil would be completely immobilized by the great weight.
Fig. 2 – A modern Japanese example of a Taishan stone (larger version). They often read “Taishan stone takes upon itself” (Taishan shi gandang, 泰山石敢當), denoting its duty of protection (Wang, 1992, p. 71). Original image from Wikipedia.
Additionally, the pit containing the spirits can be traced to a Song-era Daoist ritual in which an exorcist draws the character for “well” (jing, 井/丼) on the ground, thereby dividing the ritual space into nine sections, representing the Nine Palaces (jiugong, 九宮),  and creating an earth prison. The Compilation of Rituals of the Way (Daofa huiyuan, 道法會元) reads:
[U]se the Sword mudrā to draw the character for “well” on the ground. Transform it into a black prison, ten-thousand zhang deep, and ten thousand li wide.  Black vapors burst out of it. Inside the prison, visualize how cangues and locks, as well as tools and machinery are laid out. Then recite the Spell for Fast Arrest [cu zhuo zhou, 促捉咒] (Meulenbeld, 2007, p. 142).
The black vapors should remind readers of that released upon the spirits’ escape from their centuries-long imprisonment.
Fig. 3 – The Chinese character for mountain (shan, 山) (larger version). Fig. 4 – The Mountain mudra (shanzi jue, 山字訣) (larger version). Photo by the author. Fig. 5 – The double-handed Mount Tai mudra (Taishan jue, 泰山訣) (larger version). Original picture from here.
Another version of the ritual sees the spirits being coaxed or forced inside of a liquid-filled jar placed in the center of the well diagram. Afterwards, the opening is sealed with paper and the exorcist performs a mudra representing the immense pressing weight of a mountain (just like the aforementioned Taishan stone).  Meulenbeld (2007) writes:
The spirits captured within the grid of the Nine Palaces were kept inside their prison by symbolically pressing them down underneath a mountain. The symbolism here lies in the fact that the mountain was represented by a posture of the hand forming the character for mountain (“Mountain Mudrā” 山字訣 with the thumb, index-finger, and little finger all pointing upward [fig. 3 and 4]. Oftentimes the specific “mudrā of Mt. Tai” 泰山訣 [fig. 5], was used, representing the heaviest of all mountains. Moreover, many present-day exorcist talismans contain a character composed of a “demon” 鬼 underneath a “mountain” 山, namely the character wei 嵬 (p. 145, n. 92).
This means the respective punishments of Sun Wukong and Wu Song (and his brethren) are for all intents and purposes the same: they are imprisoned under mountains. The Taishan stone and the Mountain mudra are no doubt based on the same belief that mountains can immobilize evil spirits. Most importantly, the mudra likely influenced the concept of the Buddha transforming his hand into Five Elements Mountain in chapter 7 of JTTW. The fictional mountain is then a cognate of Mount Tai.
Fig. 6 – A paper fu talisman marked with an image of the Five Thunders(Wu Lei, 五雷) (larger version).
Lastly, the idea that evil spirits can be reformed and their powers put to good use—i.e. Sun Wukong protecting Tripitaka and Wu Song standing against a corrupt government—is tied to the Song-era “Thunder Ritual” (Leifa, 雷法). Meulenbeld (2007) explains stories from the Tang to the Song present the characteristics of the thunder god, Sire Thunder (Lei Gong, 雷公), becoming increasingly demonic, changing from a muscular deity to a number of animals and finally a Garuda-like bird monster. Likewise, while he was a respected force of nature in the past, Sire Thunder becomes an impulsive agent of heaven, one capable of being challenged and even captured by a brave individual or ritual master. The subjugation of this demonic god allows his captors to appropriate his heavenly power for their own purposes. The deity and his four brothers, comprising the “Five Thunders” (Wu Lei, 五雷) (fig. 6), can be summoned on command via talismans and charms and made to bring rain, heal sicknesses, or conquer demons.  Such ritual accouterments are just a small part of a much larger subsequent Thunder Ritual liturgy that is, according to one Song dynasty source, capable of “control[ing] the demons and spirits of the Sixfold Heavens, [expelling] evil and avert[ing] disaster” (Meulenbeld, 2007, p. 67).
JTTW, ch. 14 – Sun Wukong’s first act of protecting Tripitaka upon his release is effortlessly killing a tiger with a single stroke of his staff. This happens the day after a huntsman had come to the monk’s defense by fighting a tiger for hours before dispatching it with a trident. The difference in power between the immortal and human heroes leads the monk to exclaim, “For the strong, there’s always someone stronger!” (Wu & Yu, 2012, vol. 1, p. 310).
WM, ch. 23 – Wu Song gets drunk on a trip home to see his elder brother, and after ignoring warnings not to take a mountain shortcut, the hero is set upon by a ferocious man-eating tiger. In the process of initially defending himself, Wu snaps his walking staff on a nearby tree, forcing him to resort to brute strength. He manages to wrestle the big cat’s face into the dirt and rains down sixty or seventy fist blows before it stops moving (fig. 7). He then finishes off the beast with the remains of his staff.
Fig. 7 – “Wu Song Beats the Tiger” (Wu Song da hu, 武松打虎) by Wang Kewei (王可偉) (larger version).
I can’t help but imagine the episode from JTTW is a sly nod to that from the WM. Tripitaka’s statement could be a way of propping up the Monkey King as the most powerful hero, one who can dispatch tigers with no effort at all.
The ability to kill a tiger was considered the sign of a powerful warrior in Chinese folklore. For example, A New Account of the Tales of the World (Shishuo xinyu, 世說新語, 5th-century), a collection of historical and fictional anecdotes, tells the story of how the Western Jin general Zhou Chu (周處, 236–297) was originally a wayward youth considered the worst of Yixing‘s “Three Scourges”—a tiger, a dragon, and himself. Wanting to prove his strength, Zhou is said to have easily killed the tiger but disappeared for three days and nights fighting the dragon. The youth later returned to find the people celebrating his apparent death. This caused Zhou to mend his ways and eventually become a great general (Knechtges & Chang, 2010, pp. 2274-2275).
III. Buddhist monks with matching religious nicknames
JTTW, ch. 14 – Sun Wukong takes the tonsure as a Buddhist monk upon his release.  His master Tripitaka then gives him the religious nickname “Pilgrim Sun” (Sun xingzhe, 孫行者), and the character is often simply referred to as “Pilgrim” (xingzhe, 行者; literally: “traveler”) throughout the narrative.
WM, ch. 31 – Wu Song kills a thug and his Song government official friend for framing the hero for theft and attempting to have him murdered en route to a prison camp. As a result, he is forced to dress as a Buddhist monk, taking a slain priest’s religious garb and ordination certificate (jiedie, 戒牒) and calling himself “Pilgrim Wu” (Wu xingzhe, 武行者).
The term Pilgrim refers to a “postulant”, a lay Buddhist acolyte who has yet to be ordained but lives as an untonsured monk, one expected to follow the Five Precepts (Pali: Pañcasīla; Ch: Wujie, 五戒) against killing, lying, stealing, sexual misconduct, and drinking alcohol (Robert & David, 2013, pp. 1011-1012). Ch’en (1956) writes that such trainees were historically required to complete a long period of intense religious study and pass a rigorous examination before being awarded the aforementioned ordination certificate (fig. 8), thereby becoming a full-fledged monk. This certification system was originally initiated during the Tang to weed out those wanting to evade the draft and taxes, as well as bandits like Wu Song who sought refuge from the law. However, during the Song, the government sold these documents like war bonds in order to help pay for their ongoing struggle against the barbarians of northern China. Therefore, ordination certificates were often exuberantly expensive,  meaning those who had the training but could not afford the document were doomed to live as a postulant. This contrasts with the thousands upon thousands of people who bought their way into the Buddha’s fold simply for the draft and tax exemption. They forwent the training altogether and were monks only on paper. This continued practice naturally resulted in a major decline in the quality of monks during the Song.
Fig. 8 – A present day monk showing his ordination certificate (jiedie, 戒牒) (larger version). Original image found here.
Having read the above, we can say Sun Wukong is called Pilgrim because he assists a Buddhist priest but lacks the religious education and ordination certificate. While Wu Song has the document (taken from a dead priest), he lacks the required education. It should be remembered that Wu is a bandit-turned-monk. At the same time, both characters typify the “itinerant monk”, the second meaning of Pilgrim (xingzhe, 行者), as both are on a journey: Sun is traveling to India and Wu is traveling the road—albeit secretly to meet with fellow outlaws. But I would like to suggest that the titles may have also been meant as a jab at the violent, untrained riffraff passing for monks during the Song (more on this below). After all, the earliest references to our characters with these titles come from this period.
“Pilgrim Wu” appears in scholar-painterGong Shengyu‘s (龔聖予, 1222–1307) In Praise of the Thirty-Six [men] of Song Jiang (Song Jiang sanshiliu zan, 宋江三十六贊), a collection of poems eulogizing each of the thirty-six bandits then associated with the early WM story cycle.
Pilgrim Wu Song: You resisted women, obeyed the Five Precepts, among Wine, Women, Wealth and Force, you were inclined to kill people (Børdahl, 2013, p. 29).
Gong claims the poems were based on “stories of the streets and tales of the lanes” (jie tan xiang yu, 街談巷語), popular narratives performed by storytellers at local venues. Given that such early tales no longer exist, its impossible to say whether or not Wu Song was always a monk or a bandit-turned-impostor monk like his counterpart from the published edition of the WM (Børdahl, 2013, pp. 28-29). Either way, this suggests Wu’s predilection for killing was a prominent aspect of his story cycle by at least the 13-century.
Sun Wukong first appears as the “Monkey Pilgrim” (Hou xingzhe, 猴行者) in The Story of How Tripitaka of the Great Tang Procures the Scriptures (Da Tang Sanzang qujing shihua, 大唐三藏取經詩話), a seventeen chapter storytelling prompt dated to the late 13th-century. Like Wu Song, Monkey is also depicted as comfortable with killing.For example, in chapter five, he turns an evil sorcerer’s wife into grass so that she will be eaten by a young monk who had been transformed by her husband into a donkey. After both parties are changed back to normal, Monkey threatens to “mow down all the grass of [his] house” (i.e. kill his wife and anyone else he loves) if the man ever misuses his magic again.  Later in chapter six, Monkey brutally tortures and then kills a white tiger demon who tries to eat his master (Wivell, 1994, pp. 1181-1207)
Fig. 9 – The “Pilgrim” Wu Song (right) and the “Flower Monk” Lu Zhishen (left) from a recent WM television series (larger version).
Additionally, two early WM-related tales titled “Pilgrim Wu” (Wu xingzhe, 武行者) and the “Flower [Tattooed] Monk” (Hua heshang, 花和尚) are listed under the “staff” (ganbang, 桿棒) category of popular stories in The Drunken Man’s Talk (Zuiweng tanlu, 醉翁談錄), a circa 13th-century collection of short stories, anecdotes, and poetry.  So-called staff tales were character-driven narratives about heroes, in this case Wu Song and his fellow outlaw-turned-monkLu Zhishen (fig. 9), righting injustices using staves.  I should note that The Story describes the Monkey Pilgrim wielding two such weapons in his adventures.
Sun and Wu’s association with killing and staff fighting were likely influenced by historical warrior monks and bandit monks. Shahar (2008) explains warrior monks were seasoned fighters who lived in subsidiary shrines away from the devout community and protected monasteries in times of trouble. These “monks” regularly drank wine and ate meat, associating the latter with physical strength and fighting ability, and even worshiped wrathful deities like Vajrapani, who is described in scripture as killing in the name of Buddha. Their weapon of choice was a wooden staff, which was originally chosen for being non-lethal. However, a metal staff like the one wielded by Sun Wukong in JTTW was sometimes used by warrior monks for its killing capacity in times of war. The most famous monastic staff method belongs to the Shaolin Monastery (Shaolin si, 少林寺) (video 1). After the Shaolin warrior monks helped the Ming dynasty government repelJapanese pirate incursions from the Chinese coast during the 1550s, their staff method was touted in military encyclopedias and civilian weapons manuals. 
Video 1 – A demonstration of Shaolin Wind Devil Staff (Fengmo gun, 風魔棍).
Bandit monks are outlaws like Wu Song who dressed as monks to avoid problems with the law.  Lorge (2012) comments that the characteristics of bandit monks were nearly indistinguishable from that of warrior monks.
[I]t is easy to see how bandit-monks are virtually the same as warrior-monks. These men drank wine, at meat, and had sex with women—practices alien to true Buddhist monks. A number of Buddhist authorities were deeply troubled by the presence of monks who directly violated Buddhist precepts. We do not know whether there was a sharp break between ordained and trained monks who carefully followed monastic rules in their search for enlightenment and men who simply claimed to be monks, wore monastic robes, shaved their heads, but otherwise did not follow monastic rules (p. 174).
He goes on to explain that the Shaolin monastery, for example, became heavily militarized after a nasty defeat in 1356 during the Red Turban Rebellion and so may have replenished its ranks using formerly deactivated soldiers at the turn of the Ming dynasty. Such violence-prone men would naturally turn towards a life of crime. Therefore, these bandits “would have been easy enough to recruit and send out as warrior-monks to fight against [other] bandits” (Lorge, 2012, p. 175).
So we see there existed a class of staff-bearing pseudo-monks who regularly took life and drank alcohol. Serving as mainly monastic bodyguards, these fighters lacked the devotion to the precepts and, especially, the religious education to be considered real monks. Therefore, Sun and Wu’s characterization as such warriors may further explain why they are called Pilgrim.
IV. Monastic martial artists
I want to preface this section by stating upfront that it overlaps to some degree with the previous one. But while the former explored Sun and Wu’s connection to staff-wielding warrior monks by way of their characterization in late Song oral literature, this one will discuss the connection between their images as monastic martial artists and the historical practice of boxing by warrior monks.
While the Great Sage is primarily known for his skill with the staff, he displays a mastery of unarmed combat twice in JTTW. Chapter 51, for example, describes Sun and a demonic opponent fighting with a long list of punches, kicks, grapples, and throws.
Hitching up his clothes and walking forward, the fiend assumed a boxing posture; his two fists upraised looked truly like two iron sledge hammers. Our Great Sage also loosened his legs at once and moved his body to attack; right before the cave entrance, he began to box with the demon king. This was quite a fight! Aha!
Opening wide the “Four Levels Posture”; The double-kicking feet fly up. They pound the ribs and chests; They stab at galls and hearts. “The Immortal pointing the Way”; “Lao Zi Riding the Crane”; “A Hungry Tiger Pouncing on the Prey” is most hurtful; “A Dragon Playing with Water” is quite vicious. The demon king uses a “Serpent Turning Around”; The Great Sage employs a “Deer Letting Loose its Horns.” The dragon plunges to Earth with heels upturned; The wrist twists around to seize Heaven’s bag. A green lion’s open-mouthed lunge; A carp’s snapped-back flip. Sprinkling flowers over the head; Tying a rope around the waist; A fan moving with the wind; The rain driving down the flowers. The monster-spirit then uses the “Guanyin Palm,” And pilgrim counters with the “Arhat Feet.” The “Long-Range Fist,” stretching, is more slack, of course. How could it compare with the “Close-Range Fist’s” sharp jabs? The two of them fought for many rounds— None was the stronger, for they are evenly matched (Wu & Yu, 2012, vol. 3, pp. 12-13)
I show in this article that many of the named techniques are real and are still practiced to this day. Furthermore, the poem’s bias for close-range fighting over long-range “is typical of late Ming and early Qing military literature”, as noted by Shahar (2008, p. 117). He continues, “Sixteenth- and seventeenth-century military experts allude to various short-range styles including ‘Cotton Zhang’s Close-Range Fist’ (Mian Zhang duanda [綿張短打]), ‘Ren Family Close-Range Fist’ (Renjia duanda [任家短打]), and ‘Liu [Family] Close-Range Fist’ (Liu duanda [劉短打])” (Shahar, 2008, p. 117). This shows the author-compiler of JTTW consulted real martial arts material to make this fight more authentic.
Having donned the monk persona, Pilgrim Wu stops by an inn while on a journey to meet with fellow outlaws in chapter 32. The monk’s great tolerance for wine (fig. 13) and request for meat surprises the inn keeper, whom Wu slaps to the ground upon seeing the man serve better wine and even chicken to a different patron. The patron and his friends attack the monk but are soundly beaten by his superior strength and fighting ability. 
Wu’s characterization as a meat-eating, alcohol-drinking monk with a thirst for combat is obviously tied to the warrior and bandit monks discussed earlier.
Fig. 15 – A modern depiction of Pilgrim Wu holding a jar of wine and brandishing a saber (larger version). By Leewiart user Du_YH. Original image found here.
While it precedes Wu becoming a monk, the best example of his martial prowess appears in chapter 29:
But Jiang was scornful of his foe [Wu Song], thinking that he was drunk, and he closed in rapidly. Quicker than it takes to tell, Wu Song flourished his two fists at Jiang’s face, then turned and started away. Enraged, Jiang raced after him. Wu Song lashed out backwards with his left foot and kicked him in the groin. As Jiang clasped his injured section and doubled over in pain, Wu Song whirled around and swung his right foot in a flying kick to the forehead that slammed the big man over on his back. Wu Song planted one foot on his chest and, with keg-like fists, began pommeling Jiang’s head.
This maneuver we just described—the flourish of fists and turning away, the backward left kick, the whirling around and the forward right kick—is called “the Jade-Circle Steps with Duck and Drake Feet” [Yuhuan bu, yuanyang jiao, 玉環步, 鴛鴦腳]. It was one of Wu Song’s most skillful moves. A remarkable trick! (Shi, Luo, & Shapiro, 2015, p. 332).
Wu’s style is possibly another name for “Piercing Foot” (Chuojiao, 戳腳), a northern Chinese martial art known for its dynamic kicking skills. Modern folklore traces the style to the Song dynasty due to its association with WM heroes. 
While JTTW never openly describes Sun Wukong training in martial arts, it does imply that he learns armed and unarmed combat as a young monk studying under the Buddho-Daoist Sage Subhuti. Monkey learning boxing in a religious institution is actually a faithful depiction of one aspect of monastic life during the Ming. Shahar (2008) shows Shaolin warrior monks took up unarmed combat during the late Ming-period, when boxing saw an explosion in popularity in Chinese culture (as demonstrated by the named techniques recorded in JTTW and the WM). Textual evidence suggests the first styles practiced by Shaolin were Drunken Eight Immortals Boxing (Zui baxian quan, 醉八仙拳), popularized by Jackie Chan in The Drunken Master (1978), and Lost Track Boxing (Mizong quan, 迷蹤拳), the fighting style of the national hero Huo Yuanjia popularized by Bruce Lee in Fist of Fury (1972). The monks may have adopted boxing as a form of calisthenic exercise. To this they later added Daoyin (導引), a regimen of yoga-like Daoist breathing and stretching exercises designed to absorb qi (氣) energy and circulate it throughout the body. Therefore, the monks elevated their boxing practice from mere fighting to a form of spiritual cultivation. This synthesis of martial and spiritual practices simultaneously took place in wider Ming culture, leading to the creation of so-called “internal” (Neijia, 内家) martial arts like Taiji and Xingyi boxing. 
Fig. 10 – A modern drawing of the monk Sengchou showing off his newfound powers by jumping above the rafters of the Shaolin monastery (larger version). Original image found here.
That’s not to say Shaolin monks did not practice unarmed martial arts prior to the 17th-century. It’s just boxing was only a form of entertainment practiced by a few and not part of the official training regimen. For example, the Tang-era anthology Complete Records from Court and Commonality (Chaoye qian zai, 朝野僉載, c. 8th-century), contains the story of the famed dhyana master and Shaolin monk Sengchou (僧稠, 480–560) beseeching a religious statue of Vajrapani to bless him with martial strength so that the other monks, who enjoy sparring in their free time, will stop bullying him. After six straight days of prayer, the deity appears before him and offers the young novice a bowl of sinews to eat. Sengchou initially refuses due to the prohibition against eating meat, but he ultimately finishes the meal for fear Vajrapani will smite him with his vajra club. Like the radioactive spider bite that changes Peter Parker into Spider-Man, the sinews transform the monk, blessing him with a god-like physique and miraculous powers, such as the ability to walk on walls, leap great heights (fig. 10), and lift thousands of pounds. Most importantly, it drastically improves his fighting skills, so much so, in fact, that his former tormentors come to grovel in his presence (Shahar, 2008, pp. 35-37).
From whom might have Sengchou’s religious brothers learned their unarmed martial arts centuries prior to it becoming an official part of Shaolin’s training regimen? The simplest answer is someone like Wu Song who learned boxing as a bandit or soldier and later joined the sangha. Readers may recall such violence-prone men may have been tapped as warrior monks to protect the monastery in times of trouble. They could have easily passed their fighting skills to the next generation of warrior monks.
A good example of a soldier-turned-monk is the brutish former general Huiming (惠明) from the Platform Sutra (Liuzu tanjing, 六祖壇經, written from the 8th to 13th-c.). The text tells how the disciples of Hongren (弘忍, 601–674), the fifth Chan patriarch, were enraged when their master passed the mantle onto the illiterate postulant laborer Huineng (惠能, 638–713). Hundreds of monks are said to have pursued the fleeing Pilgrim south intent on forcefully taking the patriarchal symbols of the begging bowl and robe for themselves. Huiming persevered and managed to corner Huineng on a mountain. He attempted to wrestle the treasures away, but, by a miracle, he could not lift them. Realizing Huineng was the rightful heir, the monk became his disciple (Huineng & Cleary, 1998, pp. 11-12). Jealousy and anger are obviously qualities unbecoming of a real monk. In fact, the only thing that separates Huiming’s actions of hounding and attempted strong arm robbery from a bandit is his monkhood.
So we see Sun Wukong typifies a next generation warrior monk who learns boxing inside a religious institution. Wu Song typifies the soldier or bandit who learns boxing outside the monastery and later becomes a monastic fighter, one who passes on their skills to younger monks.
V. Moralistic headbands
JTTW, ch. 14 – The Monkey King is tricked into wearing a brocade hat under the pretense of gaining the ability to recite scripture without rote memorization. However, the hat houses a golden fillet (jinguquan, 金箍圈) that soon takes root and painfully tightens around the immortal’s head when the correct spell is chanted (fig. 11). This allows the feeble monk Tripitaka to control the celestial monkey’s unruly nature.
WM, ch. 31 – When Wu Song disguises himself as a monk, he wears the garments of a priest who had previously been killed by bandits. The habit includes a metal “Precepts fillet” (jiegu, 戒箍) that he wears over his long hair (fig. 12).
Fig. 11 – (Top left) Sun Wukong’s golden fillet from the 1986 JTTW television series (larger version). Fig. 12 – (Top right) Wu Song’s Precepts fillet from a recent WM television series (larger version). Fig. 13 – (Bottom left) A late 11th to early 12th-century copper alloy statue of the wrathful deity Hevajra (larger version). He is portrayed with the same Esoteric Buddhist ritual attire as his followers, including the headband, arm cuffs, a bone (skull) rosary, bracelets, a girdle, anklets, and a tiger skin sarong. Courtesy of the Los Angeles County Museum of Art. Fig. 14 – (Bottom center) A detail of the Monkey Pilgrim’s fillet featured in an 11th-century mural from Eastern Thousand Buddha Cave number two in Gansu Province, China (larger version). It has been slightly enhanced for clarity. A fuller version of the image can be seen here. Fig. 15 – (Bottom right) A military monk from a modern Beijing Opera production (larger version). From Bonds, 2008, p. 178.
I explain in this article that the heroes’ fillets share a common origin in an ancient Indo-Tibetan Esoteric Buddhist ritual headband, one representing the Buddha Akshobhya and thereby moral self-restraint. It was one of several ritual items worn while worshiping wrathful protector deities like Heruka. Such deities were often depicted wearing the same attire as their followers, leading to the band becoming a symbol of powerful Buddhist spirits (fig. 13). The Hevajra Tantra (Ch: Dabei kongzhi jingang dajiao wang yigui jing, 大悲空智金剛大教王儀軌經), the original 8th-century Indian Buddhist text mentioning the ritual items, was translated into Tibetan and Chinese during the 11th-century. Interestingly, the earliest example of Monkey wearing the circlet (likely symbolizing the taming of the monkey of the mind) hails from this time (fig. 14). But Wu’s association with the headband was likely influenced by the Precepts fillet worn by the warrior monks of Chinese Opera(fig. 15). These heroes wear the band to show that they have taken a vow of abstinence (Bonds, 2008, pp. 177-178 and 328).
VI. Bin steel weapons
JTTW, ch. 3 – Sun Wukong comes into possession of a magic staff (fig. 16) taken from the Dragon King’s underwater treasury. A poem in chapter 75 describes the weapon being hand-forged from Bin steel (bintie, 鑌鐵) by the high Daoist god Laozi.
WM, ch. 31 – Apart from wearing the fallen monk’s religious clothing, Wu Song also takes possession of his Buddhist sabers made from “snowflake pattern” Bin steel (huaxue bintie jiedao, 雪花鑌鐵戒刀) (fig. 17). 
Fig. 16 – A modern action figure of Sun Wukong holding his magic Bin steel staff (larger version). Fig. 17 – A modern painting of Wu Song wielding his Bin steel sabers (larger version). Artist unknown.
Sun’s staff and Wu’s sabers are not the first bin steel weapons to appear in Chinese literature. A bladed pole arm example is the Bin steel great sword(bintie da podao, 鑌鐵大潑刀) wielded by a bandit from the Old incidents in Xuanhe period of the Great Song Dynasty (Da Song Xuanhe Yishi, 大宋宣和遺事, mid-13th-century), a storytelling prompt containing WM material predating the published novel.  Another pole arm is the Bin steel spear (bintie qiang, 鑌鐵槍) wielded by a general from The Three Sui Quash the Demons’ Revolt (San sui pingyao zhuan, 三遂平妖傳, c. late 16th-century), which also takes place in the Song-era (Luo, n.d.).
I explain in this article that Bin steel is a real world metal akin to Damascus that was imported to China from Persia starting from the 6th-century, and the secret of its manufacture eventually reached the Middle Kingdom by the 12th-century. The metal was considered an exceptionally fine steel and was often used to make strong, durable, and sharp knives and swords, some worth more than silver. One general is described as boasting that rebels would “have to nick (chi, 齒) his sword of bin iron” if they wished to rise up (Wagner, 2008, p. 269). This is a simultaneous declaration of his unbreakable resolve and a statement praising the seemingly indestructible metal. Therefore, JTTW and the WM portray the finest of heroes wielding the finest of steel weapons.
As shown, the parallels between Sun Wukong and Wu Song are the result of JTTW and the WM borrowing from the same cultural source material. Monkey’s imprisonment under Five Elements mountain and Wu’s time as an evil spirit trapped in a well beneath stone was influenced by the Daoist belief that mountains—be they sympathetically represented by stone or hand mudras—could immobilize malevolent forces. Likewise, our heroes’ portrayal as reformed demons can be tied to the Daoist “Thunder Ritual”, which aims to conquer evil and repurpose its power for good. Sun and Wu’s image as tiger-slayers was influenced by stories of tiger-killing strongmen from Chinese folklore. Their religious nickname “Pilgrim” and characterization as monastic martial artists can be tied to uneducated pseudo-monks and holy warriors skilled in both staff fighting and boxing from Chinese history. Their religious fillets were inspired by an Esoteric Buddhist ritual headband worn as a reminder of moral self-restraint. And the metal comprising Sun and Wu’s weapons can be traced to a real world steel prized in ancient China for its durability.
This was a fun piece to write because it shows the Great Sage obviously didn’t develop in a vacuum. It’s interesting to me that much of Sun and Wu’s influences hail from the Song dynasty. These include the Daoist rituals for trapping and reforming spirits, the Pilgrim nickname and characterization as staff-wielding warrior monks, and the translation of the tantric text mentioning the moralistic headband and Monkey’s earliest known depiction wearing it.
I have written a follow up article explaining the parallels between Monkey and the historical Buddha.
1) The nine palaces are a cosmic geographical concept in which stars are mapped according to the five Chinese cardinal directions(N, S, E, W, and center) and the four intermediate directions. Thus, they represent the universe as a whole.
2) A zhang (丈) is ten Chinese feet, so 10,000 zhang would be 100,000 feet. A li (里) is one-third of a Western mile. More importantly, in Chinese culture, the number 10,000 represents an infinitely large concept. Therefore, by squaring the number, the well prison is described as an unfathomably large and inescapable place. I would like to thank the Dragon Ball scholar Derek Padula (his website) for suggesting this note as it helps better visualize the prison. He was kind enough to read an earlier draft of this article.
3) See Meulenbeld, 2007, pp. 143-145 for more information about the jar ritual. It likely influenced media that influenced Akira Toriyama of Dragon Ball fame to create the Mafuba (魔封波; Ch: mofengbo), or “Demon Containment Wave” ritual. Padula (2016) describes the etymology and background of the Mafuba (pp. 122 to 126). He graciously provided me with a digital copy of his book.
4) See chapter two.
5) This is not openly stated in chapter 14 but is implied in chapter 27. See this article for more information.
6) Ch’en (1956) gives examples. During the Song, the official selling prices for the certificates ranged from one hundred thirty to eight hundred strings of cash. To put these prices in perspective, he notes the lowest cost would pay for the equivalent of seventy-five bolts of silk or one hundred twenty-five bushels of rice (pp. 316-317).
7) Wivell, 1994, p. 1187. The full episode appears on pages 1186-1187.
8) Ge, 2001, p. 38. The eight types of stories appearing in The Drunken Man’s Talk are: “lingguai [靈怪] (spirits and demons), yanfen [煙粉] (rouge and powder), chuanqi [傳奇] (marvels), gong’an [公案] (court cases), podao [朴刀] (broadsword), ganbang [桿棒] (staff), shenxian [神仙] (immortals), and yaoshu [妖術] (sorcery)” (Ge, 2001, p. 209, n. 6).
9) Huang, 2018, p. 61 and n. 8. It’s interesting to note that the monk Lu Zhishen is said to wield an impossibly heavy metal staff like Sun Wukong. See this article for more details.
10) See chapters three and four.
11) Lorge (2012) cites a Tang-era story about an 8th-century prince who discovers an abandoned wardrobe while hunting in the forest. It is found to contain a young woman who had been kidnapped the previous night by bandits but was subsequently whisked away by two monks among the group. The prince replaces her with a wild bear that later mauls the bandit monks to death when the wardrobe is reopened (pp. 106-107). The monks were likely impostors like Wu Song.
12) Wu Song is famed in Chinese folklore for his martial arts ability. This led to the creation of a wushu form known as “Wu Song Breaks Manacles” (Wu Song tuo kao, 武松脫拷), which mimics a person fighting with their hands clasped as if shackled, forcing them to rely on doubled fist and elbow strikes and lots of kicking. The form is based on an episode from chapter 30 of the WM when the hero is attacked by assassins while being led in shackles to a prison camp. Wu Song is forced to defend himself in such a manner before breaking his restraints.
13) See, for example, Chlumsky, 2005, p. 72. The author also repeats folklore further tying the style to the Song dynasty heroes Yue Fei and his teacher Zhou Tong.
14) See chapters five and six.
15) I think it’s interesting that each weapon is presented as having somelevel of sentience. Called the “As-you-wish” Gold-Banded Cudgel (Ruyi jingu bang, 如意金箍棒), Sun’s staff grows or shrinks according to his whim. Wu’s peerless blades are said to “often groan in the night” (Shi, Luo, & Shapiro, 2015, p. 350),suggesting a magic longing for combat. The sentience of each weapon is based on different sources, however. I note in this article that the compliance of Monkey’s weapon is based on the Ruyi (如意) scepter, a symbol of religious and secular authority that was at some point associated with the similarly named wish-fulfilling cintamanijewel (ruyi zhu, 如意珠) from Buddhist mythology. The vocal ability of Wu Song’s blades may be based on the Chinese belief that swords have a soul. Two prime examples are the famed treasure swords Longyuan (龍淵, a.k.a. Longquan, 龍泉) and Tai’e (泰阿/太阿) made by the legendary swordsmith Ou Yezi (歐冶子) during the Spring and Autumn period. Yuan poet Jia Penglai (賈蓬萊, c. mid-14th-ccentury) described them as mated lovers who pine for each other when separated and even leap from the scabbard to seek out their beloved (Lee & Wiles, 2015, pp. 161-163).
16) See Luo (n.d.). The original source says “po bintie dadao” (潑鑌鐵大刀). This is likely a transcription error. I have corrected it above.
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Robert, E. B. J., & David, S. L. J. (2013). The Princeton Dictionary of Buddhism. Princeton University Press.
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Shi, N., Luo, G., & Shapiro, S. (2015). Outlaws of the marsh. California: CreateSpace Independent Publishing Platform.
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Wivell, C.S. (1994). The story of how the monk Tripitaka of the great country of T’ang brought back the sūtras. In V. Mair (Ed.). The Columbia anthology of traditional Chinese literature (pp 1181-1207). New York: Columbia University Press.
Wu, C., & Yu, A. C. (2012). The journey to the West: Vol. 1-4. Chicago, Illinois: University of Chicago Press.
Different mythologies and fictional universes have their own magical metals. For example, Marvel’s Asgardians have Uru and the elves of Middle-earth have Mithril. The great Chinese classic Journey to the West (Xiyouji, 西遊記, 1592 CE) hosts a long list of magical weapons, armor, and objects made from all kinds of metal (steel, iron, brass, gold, silver, etc.). A specific type is called Bin iron or Bin steel (bin tie, 鑌鐵) and it is mentioned several times in the narrative.
I. Mentions in the novel
When Zhu Bajie first faces Sun Wukong in combat, he recites a poem praising the celestial origin of his weapon (fig. 1).
This is divine ice steel greatly refined, Polished so highly that it glows and shines. Laozi wielded the large hammer and tong; Mars himself added charcoals piece by piece. Five Kings of Five Quarters applied their schemes; Twelve Gods of Time expended all their skills. They made nine prongs like dangling teeth of jade, And brass rings were cast with dropping gold leaves. […] (Wu & Yu, 2012, vol. 1, p. 382)
The “divine ice steel” (shen bing tie, 神冰鐵) is likely an error for “divine Bin steel” (shen bin tie, 神鑌鐵) as bing (冰) and bin (鑌) sound similar. This may also have something to do with the snowflake-like grain pattern of Bin steel (see sections one and two below). Take note that the metal is associated with Laozi and his furnace. We will see this association again.
Fig. 1 – A modern action figure of Zhu Bajie with his battle rake (larger version).
On the cusp of his battle with the Monkey King, the demon King Silverhorn (Yinjiao wang, 銀角王) is described as wearing polished armor made from the material.
He wears a phoenix helmet white than snow And armor made of bright [Bin] steel.  The belt on his waist is dragon’s tendon. Plum-flower shaped gaiters top his goat-skin boots. He seems the living Lord of Libation Stream; He looks no different from Mighty Spirit. He holds in his hands the sword of seven stars, Stern and imposing in a towering rage (Wu & Yu, 2012, vol. 1, p. 127).
The monster is later revealed to be one of two young attendants of Laozi’s furnace sent by heaven to test the resolve of the pilgrims (Wu & Yu, 2012, vol. 2, p. 145).
The Monkey King recites a poem about his divine staff (fig. 2) prior to battling a lion demon.
The rod of [Bin] steel nine cyclic times refined Was forged in the stove by Laozi himself. King Yu took it, named it “Treasure Divine,” To fix the Eight Rivers and Four Seas’ depth. In it were spread out tracks of planets and stars, Its two ends were clamped in pieces of gold. Its dense patterns would frighten gods and ghosts; On it dragon and phoenix scripts were drawn. Its name was one Rod of Numinous Yang, Stored deep in the sea, hardly seen by men. Well-formed and transformed it wanted to fly, Emitting bright strands of five-colored most. […] (Wu & Yu, 2012, vol. 3, p. 375)
Here again we see Laozi is associated with the material.
Fig. 2 – A modern action figure of Sun Wukong with his magic staff (larger version).
II. The metal of heroes
I want to reiterate the fact that Zhu Bajie and Sun Wukong, two of Tripitaka’s three main disciples and bodyguards, have weapons made from Bin steel (Sha Wujing’s staff is made from a heavenly tree). Each is the product of Laozi refining Bin steel in his magic furnace and smelting the polearms by hand. Just like dwarves imbued Thor’s uru-metal hammer with magical abilities, so too did the high god of Daoism for Zhu and Sun’s weapons. Each has supernatural durability and the power of transformation. In fact, the Monkey King’s staff is one of the strongest weapons in the entire novel, making its association with Bin steel very important. After all, a great hero requires a great weapon.
Another example of a hero wielding a Bin steel weapon is Wu Song (武松) from the classic Chinese novel the Water Margin (Shuihu zhuan, 水滸傳, c. 1400). The former constable-turned-outlaw comes into possession of a pair of Buddhist sabers (fig. 3) made from “snowflake [pattern] Bin steel” (xuehua bintie jiedao, 雪花鑌鐵戒刀) and housed in a sharkskin sheath.  They are described as being made from the “finest steel, and obviously hadn’t been made in a day” (Shi, Luo, & Shapiro, 2015, p. 317). In addition, the blades are said to “often groan in the night” (Shi, Luo, & Shapiro, 2015, p. 350), suggesting a magical, sentient longing for combat. Wu later sates this desire by using the sabers in a prolonged skirmish with an evil Daoist priest, eventually beheading the brigand with a single strike (Shi, Luo, & Shapiro, 2015, pp. 352-353).
Fig. 3 – A modern drawing of Wu Song with his Buddhist sabers (larger version).
III. Real world history
Wagner (2008) suggests the name Bin (鑌) is a transliteration of a foreign term, possibly the Sanskrit word Piṇḍa, meaning “steel” or “lump” (p. 270). The material is mentioned in Chinese records of the 6th and 7th-centuries as being imported from Persia (Bosi, 波斯) and Jaguda (Cao, 漕, modern day Ghazni) in Afghanistan. Mentions of the metal strangely disappear for centuries, only to reappear in early 10th-century records. This is possibly due to the disruption of Persian trade wrought by theIslamic conquest of Persiaand the subsequent rise of Muslim trade with the east. Bin steel is believed to have originally been transported in a raw “lump” state prior to smelting in China. But the secret of its manufacture eventually reached the Middle Kingdom, for a 12th-century report shows the metal was produced in Inner Mongolia. The early Yuan government is known in 1275 to have established the “Office for Bin iron” (Bintie ju, 鑌鐵局), which possibly catered to elite blacksmiths (Wagner, 2008, pp. 268-272).
Fig. 4 – Persian-made Damascus steel blades of the 13th-century (larger version). Take note of the intricate grain pattern. Bin steel was known to have various patterns (see below).
The best description of the material comes from Cao Zhao’s (曹昭) The Essential Criteria of Antiquities (Ge gu yao lun, 格古要論, 1368), an early guide for connoisseurs.
Bin iron: It is produced by the Western Barbarians. Some [types] have a spiral self-patterning, while others have a sesame-seed or snowflake patterning. When a knife or sword is wiped clean and treated with ‘gold thread’ alum, [the pattern] appears. Its value is greater than silver.
An ancient saying holds that “knowing the strength of iron is like knowing gold” [i.e., the ability to judge the properties of steel is as valuable as the ability to assay the purity of gold]. Forgeries have a black patterning. One should examine [a steel object] very carefully.
There are three rules for knives. The first is that in the blade there should be perfect control of fire, metal, and water [i.e., the blade should be correctly quench-hardened and tempered]. The second is that the haft should be of xichi wood from the Western Barbarians, and the third is that the sheath should be of Tatar birchbark.
I once had a pair of scissors of bin iron, of exquisite workmanship. It had a raised gilt pattern on the inside, and on the outside a silver-inlaid inscription in Islamic characters (Wagner, 2008, p. 271).
So we see Bin steel is comparable to Damascus steel (fig. 4), as both require quench-hardening and produce a number of intricate grain patterns visible after an acid treatment. One such pattern is the snowflake pattern associated with Wu Song’s sabers (and possibly Zhu Bajie’s rake). Most importantly, the metal was considered an exceptionally fine steel. One general is described as boasting that rebels would “have to nick (chi, 齒) his sword of bin iron” if they wished to rise up (Wagner, 2008, p. 269).  I take this statement to be symbolic of his unbreakable resolve. At the same time, it shows Bin steel was considered exceptionally durable.
Highly durable Bin steel weapons could have seemed like magic in comparison to those made from lesser quality metal. Therefore, it’s interesting that Journey to the West presents the metal being smelted by a god in his magic furnace. It seems only natural that a magical forge would produce the finest steel. In fact, after the 10th-century, the very name Bin steel came to be used as a term for any type of exquisite steel (Wagner, 2008, p. 271). So the author-compiler of Journey to the West may have been using it in that sense instead of referring to imported Persian steel.
I have written an article that discusses the magic powers of the staff. These include the ability to shrink and grow, control the ocean, astral project and entangle with Monkey’s spirit, multiply endlessly, pick locks, and transform into various objects. It also has sentience to a certain degree.
1) Anthony Yu’s original translation says “…bright Persian steel.” The historical origin is discussed in the second section of the article.
2) While the Water Margin presents them as sabers, Buddhist knives (jiedao, 戒刀, lit: “precept knife”) were historically small, unadorned, curved, finger-length blades used for cutting robes, trimming fingernails, opening wounds, or slicing food (Yifa, 2009, p. 250, n. 37).
3) Wagner (2008) states the story is listed as coming from the 9th-century but the housing source is from the 11th-century (p. 269, n. 103). Therefore, it likely originates after the reappearance of Bin steel in Chinese records during the early 10th-century.
Shi, N., Luo, G., & Shapiro, S. (2015). Outlaws of the marsh. California: CreateSpace Independent Publishing Platform.
Wagner, D. (2008). Science and civilisation in China: volume 5, chemistry and chemical technology, part 11, ferrous metallurgy. Cambridge: Cambridge Univ. Press.
Wu, C., & Yu, A. C. (2012). The journey to the west: vol. 1-4. Chicago, Ill: University of Chicago Press.
Yifa. (2009). The Origins of Buddhist monastic codes in China: An annotated translation and study of the Chanyuan Qinggui. Honolulu: University of Hawai’i press.
In chapter 88, the pilgrims arrive in the lower Indian prefecture of Jade Flower District (Yuhua xian, 玉華縣), which strikes Tripitaka as a spitting image of the Tang Chinese capital of Chang’an. There, the disciples’ monstrous appearance rouses the local ruler’s three sons to action, respectively wielding two staves and a battle rake against what they think are demons come to harm their father. However, they soon learn Monkey, Pigsy, and Sandy are celestial warriors possessing magical versions of their mere earthly arms. The three princes are later accepted as disciples, the oldest wanting to learn Monkey’s techniques and the second and third oldest wanting to learn from Pigsy and Sandy in turn. But when they fail to lift the monks’ celestial weapons, Monkey performs an arcane ritual in which he bestows each prince with superhuman strength and durability:
In a secluded room behind the Gauze-Drying Pavilion, Pilgrim traced out on the ground a diagram of the Big Dipper. Then he asked the three princes to prostrate themselves inside the diagram and, with eyes closed, exercise the utmost concentration. Behind them he himself recited in silence the true sayings of realized immortality and intoned the words of Dharani as he blew divine breaths into their visceral cavities. Their primordial spirits were thus restored to their original abodes. Then he transmitted secret oral formulas to them so that each of the princes received the strength of tens of thousands of arms.  He next helped them to circulate and build up the fire phases, as if they themselves were carrying out the technique for shedding the mortal embryo and changing the bones. Only when the circulation of the vital force had gone through all the circuits of their bodies (modeled on planetary movements) did the young princes regain consciousness. When they jumped to their feet and gave their own faces a wipe, they felt more energetic than ever. Each of them, in fact, had become so sturdy in his bones and so strong in his ligaments that the eldest prince could handle the golden-hooped rod, the second prince could wield the nine-pronged muckrake, and the third prince could lift the fiend-routing staff (Wu & Yu, 2012, pp. 202-203).
1. “Pilgrim traced out on the ground a diagram of the Big Dipper.”
The Big Dipper (gang dou, 罡斗), also known as the Northern Dipper (beidou, 北斗), is a pattern of seven stars associated with the constellation Ursa Major(fig. 1). Daoism considers the pole star of this pattern to be the center of the cosmos through which imminates “primordial breath” (generative qi), which has long been deified as the great god Taiyi. The constellation is associated with a Daoist ritual known as Bugang (步綱/罡, “Walking the Guideline”) in which a practitioner paces the Big Dipper pattern with their feet on the ground. This ritual dance is synonymous with the much older shamanistic Yubu (禹步, “Paces of Yu”) used by ancient Sage Kings to conquer primordial chaos by pacing the stars and planets into motion, thereby directing the seasons and passage of time. The ritual involved pacing an inwardly spiraling circular pattern while dragging one foot behind the other in imitation of the limp adopted by Yu the Great after over-exerting himself quelling the fabled World Flood (fig. 2). Later Daoists viewed Yubu as a means of gaining immortality because the limping, three pace-style walking pattern symbolized the practitioner spanning the three realms of Earth, Man, and finally Heaven (this has an interesting Vedic correlation).  But, most importantly, by the Tang and Song dynasties, bugang served the purpose of purifying the area before an altar, ensuring the liturgy to follow takes place in a consecrated space. In fact, some sources interchange the characters for Bugang with the homonyms 布剛, meaning “distributing strength”, which denotes the demonifugic properties of the dance (Andersen, 1989). Therefore, Monkey draws the Big Dipper talisman on the ground in order to create a sacred space free of any negative influences.
Fig. 1 – The location of the Big Dipper in relation to the Ursa Major constellation (larger version). Originally from this Futurism article. Fig. 2 – A diagram showing the inwardly spiraling pattern of Yubu (top) and the dipper pattern of Bugang (bottom) (larger version). Take note of the spiral’s limping, three pace-style walking pattern. Originally found on this wordpress article.
2. “Then he himself recited in silence the true sayings of realized immortality and intoned the words of Dharani…”
The “true sayings” (zhenyan, 真言) is the Chinese term for Mantra, meaning “spell” or “magical formula”. A mantra is “a syllable or series of syllables that may or may not have semantic meaning, most often in a form of Sanskrit, the contemplation or recitation of which is thought to be efficacious” (Robert & David, 2013, p. 529). The most famous mantra is of course Om Mani Padme Hum, the very same six-syllable prayer that was used to weigh down the mountain holding Monkey prisoner for rebelling against heaven.
The “true sayings” is often used as an abbreviation for Dharani (tuoluoni/zongchi, 陀羅尼/總持), a Sanskrit term meaning “mnemonic device” (fig. 3). Like mantras, dharani are comprised of syllables, but these instead serve to remind practitioners of broader concepts, for example a single syllable representing the first letter of a much longer phrase. There exists four types of dharani said to be used by Bodhisattvas to achieve enlightenment: 1) those used for teaching interpretations of Buddhist law; 2) those used for understanding the exact meaning of important words; 3) those used for casting spells; and 4) those used for spiritual endurance in the face of suffering (Robert & David, 2013, pp. 241-242). The third type, which concerns us, falls under a category of sutra recitation called Paritta (minghu/minghu jing, 明護/明護經), which is Pali for “protection”. The historical Buddha is known to have delivered paritta verses, including those for “protection from evil spirits, the assurance of good fortune, exorcism, curing serious illness, and even safe childbirth” (Robert & David, 2013, p. 630).
In both cases zhenyan/mantra and dharani refer to magical formulas of sorts and were no doubt chosen because they gave the ritual an heir of arcane authenticity. Additionally, I suggest the use of dharani may have also been chosen to denote a spell of protection, as in Sun wanted to protect the princes during the transformation of their bodies.
(Note 06/15/19: Feng Dajian of Nankai University notified me via Twitter that he disagrees with Anthony C. Yu’s 2012 revised translation (cited above) associating the “True Sayings” with the Buddhist Dharani. This is because he feels the ritual is overtly Daoist, noting that the religion also has its own True Sayings.)
3. “…as he blew divine breaths into their visceral cavities. Their primordial spirits were thus restored to their original abodes.”
Journey to the West translator Anthony C. Yu notes this section “is an abbreviated or paraphrastic account, in fact, of the neidan (internal or physiological alchemy process)” (Wu & Yu, 2012, p. 396, n. 8). Monkey already went through this process in chapter two when he practiced a series of breathing and energy circulation exercises that resulted in his immortality. Therefore, he uses his own hard-won “divine breath” or “immortal energy” (xianqi, 仙氣) to fortify the princes’ bodies by drastically speeding up the years-long process of internal cultivation to only a matter of hours or minutes. Monkey’s breath bolsters their own energy, helping them to achieve “primordial spirits” (yuanshen, 元神), a term commonly associated with Buddhahood or enlightenment. In Daoism, the term is synonymous with the attainment of immortality via the formation of a “Sacred Embryo” (shengtai, 聖胎) (fig. 4), which is forged from spiritual energies over long years of self-cultivation (Darga, 2008).
Fig. 4 – The Sacred Embryo is sometimes depicted as a baby (or in this case a Buddha) on a practitioner’s stomach (larger version). Found on this blog.
4. “He next helped them to circulate and build up the fire phases…”
The fire phases (huohou, 火候) comprise the process of circulating spiritual energy throughout the body at prescribed times (fig. 5). Monica Esposito (2008) writes there are three phases in total, making up two distinct periods of activity and rest:
The first is a phase of “yangization” in which Yang augments and Yin decreases. This is described as a warlike or martial period, corresponding to the advancement of a light called Martial Fire (wuhuo 武火) or Yang Fire (yanghuo 陽火) that purifies by burning and eliminates defiled elements to release the Original Yang and increase it. At the cosmic level, the beginning of this phase is symbolized by the winter solstice (zi 子) and by the hexagram fu 復 ䷗ (Return, no. 24), which indicates the return of Yang. This is followed by a phase of balance, a time of rest called muyu ([沐浴] ablutions). At the cosmic level, this phase is symbolized by the spring and autumn equinoxes and by the hexagrams dazhuang 大壯 ䷡ (Great Strength, no. 34) and guan 觀 ䷓ (Contemplation, no. 20). The third stage is a phase of “yinization” in which Yin augments and Yang decreases. This period, called Civil Fire (wenhuo 文火) or Yin Fire (yinfu 陰符), corresponds to a decrease of the light. The adept achieves the alchemical work spontaneously and without any effort or voluntary intervention; water descends to moisten, fertilize, and temper fire. At the cosmic level, this phase is symbolized by the summer solstice (wu 午) and by the hexagram gou 姤 ䷫ (Encounter, no. 44) (p. 531).
Mastering the complicated chronological rhythm of this process is considered the best kept secret of internal alchemy (Esposito, 2008). Therefore, Monkey navigates this temporal maze for the princes, ensuring the spiritual energy that he has helped them cultivate ebbs and flows when prescribed. Once again we see Sun has sped up a lengthy process to only a few hours or minutes.
Fig. 5 – A chart showing the fire phases, the 12 phases of the moon, and the corresponding hexagrams (larger version). From Kim, 2008, p. 528.
This fascinating strength-bestowing ritual draws on multiple aspects of Buddho-Daoist ceremony and internal alchemy. First, Sun chooses a secluded room where he traces a diagram of the Big Dipper on the floor in order to consecrate the space. Second, he recites magical spells likely intended to protect the princes during their bodily transformation. Third, Monkey uses his own divine breath to ignite their spiritual energy, manually fanning the flames to higher levels of spiritual attainment. Finally, he controls the ebb and flow of the resulting energy throughout their bodies according to a prescribed chronological rhythm. In all, Sun shortens a years-long process to only a few hours or minutes.
Despite the ritual’s relationship to internal cultivation and the attainment of immortality, the process only bestows the princes with new, adamantine bodies capable of superhuman strength. They in essence become the fantasy equivalent of today’s comic book superheroes. The princes gaining power from a divine being is similar to the concept of “Divine Empowerment” from DC Comics. A good example is Captain Marvel (fig. 6), a child-turned-adult who receives super strength (among other powers) from a battery of Western gods and sages through the medium of a divine wizard.
1) The original English translation says “a thousand arms”, but the Chinese says 萬千 (wanqian), which is a literary term for “tens of thousands” or “myriad”. Therefore, the translation has been corrected
2) Andersen (2008) notes the three paces are similar to those used by Vedic priests:
It would appear, in other words, that even in this early period the Paces of Yu constituted a close parallel to the three Strides Viṣṇu in early Vedic mythology, which are thought to have taken the god through the three levels of the cosmos (thereby establishing the universe), and which indeed, just like the Paces of Yu in Taoist ritual, are known to have been imitated by Vedic priests as they approached the altar—and in the same form as the Paces of Yu, that is, dragging one foot after the other (pp. 238-239).
Andersen, P. (1989). The Practice of Bugang. Cahiers d’Extrême-Asie, 5. Numéro spécial Etudes taoïstes II / Special Issue on Taoist Studies II en l’honneur de Maxime Kaltenmark. pp. 15-53.
Andersen, P. (2008). Bugang In F. Pregadio (Ed.), The encyclopedia of Taoism: Volume 1 (pp. 237-240). London [u.a.: Routledge].
Darga, M. (2008). Shengtai In F. Pregadio (Ed.), The encyclopedia of Taoism: Volume 2 (pp. 883-884). London [u.a.: Routledge].
Esposito, M. (2008). Huohou: 2. Neidan In F. Pregadio (Ed.), The encyclopedia of Taoism: Volume 1 (pp. 530-532). London [u.a.: Routledge].
Kim, D. (2008). Houhou: 1. Waidan In F. Pregadio (Ed.), The encyclopedia of Taoism: Volume 1 (pp. 526-530). London [u.a.: Routledge].
Robert, E. B. J., & David, S. L. J. (2013). The Princeton Dictionary of Buddhism. Princeton University Press.
From time to time I like to post a fun blog not directly related to (though sometimes informed by) my research. A past example can be seen here. Regular articles will resume after this entry.
As noted in part one, the immortal sage Subhuti teaches Sun Wukong Chan (Zen) and Daoist philosophy; the secret of immortality; the 72 heavenly transformations; cloud-somersaulting; general Daoist magic; military arts like troop maneuvering, weapons, and boxing; and medicine. But why would a Daoist monk need to know how to wield weapons and fight in battle formations? In this piece I would like to speculate that the Sage’s school is a training ground for an immortal monastic army! I am by no means suggesting there is actual textual support for my conjecture. This is purely a fun exercise, fodder for fanfiction, if you will. I plan to supplement what we already know from the novel with historical information about monastic armies in China, particularly focusing on the warrior monks of the famed Shaolin monastery (Shaolinsi, 少林寺) (fig. 1).
I. The Evolution of Shaolin’s Monastic Army: A Brief Survey
Founded in 496 during the Northern Wei Dynasty, the Shaolin monastery was built on Song Mountain, a mountain range located in Henan Province, China (fig. 2). It became the home of Chan Buddhism and a center for Buddhist learning, even attracting the likes of Xuanzang (on whom Tripitaka is based), whose request to move there in 645 was denied by the Tang Emperor Taizong (Shahar, 2008, p. 17). Despite being a school of higher religious learning, the monastery later came to be associated with elite warriors. The term “Warrior Monk” seems like an oxymoron considering Buddhism is generally considered a religion of peace. However, evidence suggests the monks may have first taken up arms to protect their property, for monasteries were often lavishly decorated and laden with treasures from rich donors, making them prime targets for bandits (Shahar, 2008, p. 18). For example, one of Shaolin’s worst bandit raids took place in 1356 when Red Turban rebels attacked, “peeling off the gold coating of the Buddha images and breaking the statues in search of hidden treasures”, eventually destroying part of the complex (Shahar, 2008, p. 85).
Fig. 2 – A map showing the location of Shaolin and the nearby town of Dengfeng in northern Henan (larger version). The ancient Sui and Tang capital of Luoyang is visible to the left, while the modern day capital of Zhengzhou is visible to the right. Henan shares a border with the provinces of Shanxi and Shandong to the north. Adapted from Shahar, 2008, p. 10. By the author.
The first documented case of Shaolin monks protecting their monastery took place in 610 when they repelled a bandit attack that saw many of their stupas burnt. Their combat experience would come in handy years later when, in 621, the monks aided Li Shimin, the future Emperor Taizong of the newly formed Tang Dynasty, by assaulting a stronghold and capturing the nephew of Wang Shichong, a former general of the defunct Sui Dynasty and the founder of a competing dynasty. Wang had captured valuable farmland belonging to Shaolin and established the stronghold there because it was located in a valley through which passed the strategically important route to the Sui capital of Luoyang. The monks’ intervention was not a display of loyalty to the fledgling Tang but solely a move to regain control of their property, a political gamble that paid off and benefited the monastery for centuries (Shahar, 2008, pp. 25-27). Three of the monks who took part in the battle were awarded titles by Li. One in particular was given the high military rank of Generalissimo (Da Jiangjun, 大將軍) (Shahar, 2008, p. 31). This wasn’t the last time Shaolin soldier monks came to the aid of the Chinese empire.
By the late Ming Dynasty Shaolin was famed far and wide for their mastery of the staff, their method appearing in various military encyclopedias. The interest in their martial prowess was likely spurred by news of their military victories during the 1550s against the Wokou (倭寇, “Dwarf/Japanese pirates”), a conglomeration of Japanese, Chinese, and Korean sea bandits who plagued China’s eastern and southeastern coasts (fig. 3). The Ming’s hereditary army was all but useless at this time, forcing local governments to rely more on prefectural level troops (xiang bing, 廂兵), including contingents of Buddhist warrior monks from different monasteries (Shahar, 2008, p. 68). Monks from Shaolin and sister temples were mobilized in the spring of 1553 and fought the pirates a total of four times through the autumn of 1555. Shahar (2008) explains:
The monks scored their biggest victory in the Wengjiagang battle. On July 21, 1553, 120 fighting monks defeated a group of pirates, chasing the survivors for ten days along the twenty-mile route southward to Wangjiazhuang (on the Jiaxing Prefecture coast). There, on July 31, the very last bandit was disposed of. All in all, more than a hundred pirates perished, whereas the monks suffered four casualties only. Indeed, the monks took pity on no one in this battle, one employing his iron staff to kill an escaping pirate’s wife (p. 69).
It’s interesting to note that the head priest who led the monastic army in their victory over the Wokou was himself from Shaolin and was documented to have single-handedly defeated eight armed monks from a neighboring temple who challenged his position (Shahar, 2008, pp. 69-70).
In a chapter titled “The Monastic Armies’ First Victory” (Seng bing shou jie ji, 僧兵首捷記, 1568), the geographer Zheng Ruoceng extolled Shaolin’s skill and called for their regular use, along with other holy warriors from sister temples, in combat:
In today’s martial arts, there is no one in the land who does not yield to Shaolin. Funiu [in Henan] should be ranked as second. The main reason [for Funiu’s excellence] is that its monks, seeking to protect themselves against the miners, studied at Shaolin. Third comes Wutai [in Shanxi]. The source of the Wutai tradition is the method of the “Yang Family Spear” (Yangjia qiang), which has been transmitted for generations in the Yang family. Together, these three [Buddhist centers] comprise hundreds of monasteries and countless monks. Our land is beset by bandits inside and barbarians outside. If the government issues an order for [these monks’] recruitment it will win every battle (Shahar, 2008, p. 70).
The warrior monks were just one type of disciple at Shaolin. For example, modern Shaolin has four types: 1) ordained monks; 2) ordained martial arts monks who often leave to open their own schools around the monastery or abroad; 3) non-ordained martial arts performers (a.k.a. “fake monks”); and 4) lay disciples. Only the first type strictly adheres to Buddhist dietary laws. The martial type are historically known for eating meat and drinking alcohol, associating the former with physical strength and fighting ability. During the Ming and Qing Dynasties, such monks lived in subsidiary shrines (fangtou, 房頭) away from the monastery proper or lived an itinerant lifestyle (Shahar, 2008, pp. 46-51). Therefore, the warrior monks who bloodied their hands during wartime and regularly ate meat lived away from the devout, vegetarian body within the main monastery. Their unruly nature was for the most part accepted because of the protection they provided.
Now the fun begins! Here I would like to take what we know about the novel (part I) and the above information to speculate on the martial history of Subhuti’s school.
Like Shaolin, Subhuti’s school is located in the mountains and most likely houses great heavenly treasures, the likes of which might be sought after by demon kings. Conflict with these demons would naturally necessitate the immortal monks take up arms in defense of their school. Continued conflict would allow them to hone their skills until their services might be called upon by one of two celestial factions vying for control of heaven during times immemorial, much like Li Shimin’s struggle against Wang Shichong. Chinese mythology is full of numerous baddies threatening the primacy of heaven. One in particular is the headless deity Xingtian (刑天) (fig. 4) from the Classic of Mountains and Seas (c. 4th–1st century BCE):
Xingtian and the Supreme God Di came to this place and struggled against each other for ultimate power. The Supreme God cut off Xingtian’s head and buried him at Eternally Auspicious Mountain. Xiangtian’s nipples then transformed into eyes, and his navel became a mouth. He performs a dance with an ax and shield (Strassberg, 2002, p. 171).
Xingtian was originally a retainer of the Flame emperor, who lost his bid for power against the Yellow Emperor. Xingtian then continued his master’s war, even refusing to die after being beheaded (Strassberg, 2002, p. 171).
Fig. 4 – A modern depiction of Xingtian (larger version). Artist unknown.
The deity’s sustained, obsessive defiance, illustrated by his war dance, could serve as an ever present threat working in the shadows, waiting and plotting. Perhaps untold millennia after his first defeat Xingtian amasses a huge army that attacks the celestial realm via the Tianhe (天河, “Heavenly River), or the Milky Way, much like the Wokou attacked the Chinese coast by sea. The Yellow emperor then calls up Master Subhuti’s immortal warriors to help neutralize the threat, emerging victorious and winning the admiration of deities throughout the cosmos like their Shaolin counterparts.
So where does Sun Wukong fit in to this fanciful yarn? As an ordained-martial monk, Monkey would regularly train in weapons and fight in the monastic army, possibly rising through the ranks due to his supernatural talent and becoming a general who leads an assault against Xingtian’s forces. (Perhaps he would even have to defend his position against older, jealous immortals, much like the aforementioned Shaolin monk during the Ming.) Sun’s time in the monastic army would explain why, as noted in part I, the young immortal knows how to train his monkey children to march, go on patrol, follow orders directed by flags and battle drums, and advance and retreat. Only a person who studied military classics and had prior experience with leading troops would have such knowledge.
This in turn would explain why Subhuti expels Monkey and warns him to never reveal the sage had been his teacher. Sun Wukong is a powerful immortal and seasoned fighter with vast magical powers. Combine that with little impulse control and you’ve got the makings of a demon. Heaven discovering that Subhuti had trained the very demon who came to rebel against it would stain the sage’s name and the achievements of his school.
I would love to see someone use this information to write a prequel set during Sun Wukong’s time in Subhuti’s monastery.
Shahar, M. (2008). The Shaolin monastery: History, religion, and the Chinese martial arts. Honolulu: University of Hawai’i Press.
Strassberg, Richard (2002). A Chinese Bestiary: Strange Creatures from the Guideways Through Mountains and Seas. University of California Press.
Wu, C., & Yu, A. C. (2012). The journey to the west: Volumes 1-4. Chicago: University of Chicago Press.
This entry will explore the curriculum that Sun Wukong follows while studying under the immortal sage Master Subhuti in India. Monkey stays in the immortal’s monastery for a total of ten years, the first seven living as a junior Daoist monk and the last three as a close disciple of Subhuti. Apart from menial tasks like fetching firewood and water, tending the garden, and cleaning the monastery grounds, Monkey first receives lessons on human language and etiquette, calligraphy, scripture reading, and minor ritual procedures like incense burning. These are taught to him by his senior religious brothers, thereby freeing up the Sage to teach higher level lessons on philosophy, internal alchemy, magic, and other skills to his more advanced students.
I should point out that Sun’s greatest asset during his training appears to be a supernatural mental acuity. Upon becoming Subhuti’s close disciple, Monkey rapidly masters skills that even his more senior religious brothers cannot grasp. The novel therefore refers to our hero as “someone who, knowing one thing, could understand a hundred” (Wu & Yu, 2012, vol. 1, p. 122). Monkey’s intellect allows him to outsmart many opponents and bypass many obstacles during his later adventures.
I. Overtly stated
These subjects are overtly mentioned in chapter two.
1) Chinese Philosophy – One poem best describes the philosophical lessons taught by Subhuti:
With words so florid and eloquent
That gold lotus sprang from the ground.
The doctrine of three vehicles he subtly rehearsed,
Including even the laws’ minutest tittle.
The yak-tail waved slowly and spouted elegance:
His thunderous voice moved e’en the Ninth Heaven.
For a while he lectured on Dao;
For a while he spoke on Chan–
To harmonize the Three Parties is a natural thing.
One word’s elucidation filled with truth
Points to the birthless showing nature’s mystery
(Wu & Yu, 2012, vol. 1, p. 122).
This poem is a prime example of the Ming syncretic philosophy of the Three Teachings (Sanjiao, 三教): Confucianism, Daoism, and Buddhism. “The doctrine of the three vehicles” could refer to the three main branches of Buddhism, namely Theravada, Mahayana, and Vajrayana, but could also be referring to the Three Teachings (the same as the “Three Parties” mentioned further down the poem). “The yak-tail waved slowly and spouted elegance” refers to the bingfu (秉拂), or “to take hold of the whisk”, a metonym for a sermon by a learned Chan (Zen) master conducted from a high chair. The phrase derives from the fly whisk (Sk: vālavyajana; Ch: fuzi, 拂子; Jp: hossu, 払子), a symbol of religious authority held in hand during a lesson (Robert & David, 2013, p. 120). “His thunderous voice moved e’en the Ninth Heaven” refers to the Nine Heavens (jiutian, 九天) of Daoism (Pregadio, 2008, pp. 593-594). And of course the poem goes onto mention Subhuti lecturing on both Chan and the Dao, thereby identifying him as a teacher of unparalleled knowledge.
2) The Secret of Immortality – As I’ve explained in this article, Sun achieves immortality via breathing exercises designed to absorb yang energy during prescribed times (after midnight and before noon), the retention of chaste semen and transformation into qi energy, and the purification and circulation of the resulting spiritual energy throughout his body. While these practices are traditionally associated in Daoist internal alchemy with the formation of an immortal spirit that is eventually freed from the mortal shell, Monkey’s practice results in an ageless, adamantine physical body, one capable of lifting even cosmic mountains.
Monkey achieves immortality. Photomanipulation by the author (larger version).
3) The 72 Transformations – This series of oral formulas allows Wukong to change his physical appearance into anything from gods, monsters, and humans to animals, insects, and even inanimate objects like buildings. Subhuti teaches this skill to Monkey with the expressed purpose of escaping three heaven-sent calamities meant to destroy immortals for defying their fate. Despite the intended use, this skill becomes one of his greatest strengths.
Because of Monkey’s mental acuity he is able to instantly remember all of the oral formulas imparted to him and, after some practice, he quickly masters the transformations.
Sun’s heated battle of transformations with the god Erlang. From the 1965 animated classic Havoc in Heaven.
4) Cloud-Somersaulting – The combination of a hand mudra and an oral formula allows Monkey to rise above the ground and travel at immense speed by somersaulting from cloud to cloud, each leap being 108,000 li, or 33,554 miles (54,000 km) long.
This skill is mastered in a single night.
Monkey flying on clouds. Drawing by Funzee on deviantart (larger version).
Sun Wukong’s tutelage in these subjects are never stated but are understood to have taken place.
5) General Daoist Magic – This skill allows him to call forth gods and spirits, grow or shrink to any size, part fire and water, create an impassable barrier, conger a wind storm, cast illusions, freeze someone in place, unlock any lock, give human disciples superhuman strength, etc.
What’s interesting is that, during his training, Monkey expressly passes on learning the bureaucratic-style magic rites normally used by earthly priests simply because the skill won’t result in his immortality. Instead, after achieving eternal life, Sun is just so powerful he can command the very gods themselves to do his bidding. His lack of ritual knowledge is highlighted in chapter 45 when he agrees to engage in a rain-making competition with an animal spirit disguised as a Daoist priest. The spirit relies on an established liturgy involving a ritual sword and tablet, as well as the burning of a written note. This elaborate ritual initiates a bureaucratic chain in which the request is sent to heaven, the Jade Emperor agrees to the appeal, and then heavenly officials, namely the gods of wind, clouds, lightning, and rain, are dispatched to fulfill the application. But Monkey rises into the clouds above to bully the respective deities into helping him instead, noting: “I don’t know how to burn charms, issue summons, or strike any tablet. So all of you must play along with me” (Wu & Yu, 2012, vol. 2, p. 293).
Likewise, Monkey is so powerful that he can bring the dead back to life by simply fetching a person’s soul from the underworld (like he does for an elderly benefactor in chapter 97).
Sun casting a magic spell. Drawing by Poppindollars on deviantart (larger version).
6) The Art of War – I’m including military and civilian martial arts in this section as both are related.
Weaponry – After returning home in chapter 3, the young immortal teaches his children how to wield a plethora of weapons, including swords, spears, axes, bows and arrows, etc. Of course, he shortly thereafter acquires his magic staff, the weapon most commonly associated with him. Monkey’s skill with the staff is so great, in fact, that his supernatural technique is likened in chapter 33 to two of the Seven Military Classics of China.
Monkey’s broad knowledge of weapons implies that he learns the famous “Eighteen Martial Arts” (Shiba ban wuyi, 十八般武藝). A vague list of these war implements first appeared during the Song Dynasty, but a later definitive list became “a standard shorthand for complete martial arts knowledge” in Yuan-period stage plays (Lorge, 2012, p. 146). One version of the list appearing in the great Chinese classic The Water Margin (c. 1400) includes everything from chains, clubs, and whips to axes, halberds, and even early firearms (Lorge, 2012, p. 147). Variations on the eighteen weapons remained a staple of Chinese stage plays, oral literature, and written fiction. Therefore, it’s no wonder a great warrior like Monkey would come to be associated with the mastery of so many weapons.
Monkey assaults heavenly forces with his magic staff. Drawing by JeremyBLZ on deviantart (larger version).
Military Maneuvers – Monkey goes onto train his children how to march, go on patrol, follow orders directed by flags and battle drums, and advance and retreat, turning the tangled mass of monkeys into an elite army.
Sun’s children engaging in mock battles during their training. From Havoc in Heaven.
Boxing – Sun displays a mastery of unarmed boxing in chapters one and 51, the former against a demon who takes over his mountain home in his absence and the latter against a Rhinoceros demon who steals his staff. Both chapters describe Monkey using techniques akin to short fist, a style known for quick, compact punches. Learning this close range style may be out of necessity, though, considering Sun is so short (he’s less than 4 ft (122 cm) tall).
In his wonderful book The Shaolin Monastery (2008), Prof. Meir Shahar of Tel Aviv University shows Shaolin kungfu developed during the Ming-Qing transition from a synthesis of Daoist gymnastics (stretching and breathing exercises), religious rituals, and fist techniques. This new form of spiritual cultivation ushered in the era of so-called “internal martial arts“, Taiji boxing being the most famous among them.
Interestingly, some of the real world techniques used by Monkey and his opponent in chapter 51 appear in Taiji boxing.
Journey to the West (1592) was published during the late Ming when this synthesis was in full swing. Therefore, Sun’s study of martial arts in a religious institution is an accurate snapshot of one facet of 16th-century monastic life.
Sun teaching a young human apprentice martial arts. Drawing by Celsohenrique on deviantart (larger version).
7) Chinese Medicine – This skill is displayed only once in the novel. In chapter 69, Monkey works to diagnose the long-standing malady of a foreign emperor. But due to the immortal’s monstrous appearance, he is forced to analyze the ruler from afar, using three magic hairs-turned-golden strings to measure the vibrations of the pulse from three locations of each forearm. Sun deduces the illness is caused by fear and anxiety over the loss of the monarch’s queen, who had been kidnapped by a demon. Monkey then concocts three pills from a recipe of herbs, kettle soot, and dragon horse urine and administers the elixir with dragon king saliva. The medicine causes the emperor to pass an obstruction in his bowls, thus restoring the natural qi flow in his body and curing him of his sickness.
Baring the strings, Monkey’s method of reading the pulse aligns with real Chinese medicinal practice. The area of the forearm analyzed by traditional Chinese doctors is known as Cunkou (寸口, the “inch opening”), and this is broken up into the three spots Cun (寸, “inch”), Guan (關, “pass”), and Chi (尺, “foot”). The mirrored spots on each arm are believed to correspond to specific internal organs. For example, the Cun spot (nearest the wrist) on the right hand corresponds to the lung, while that of the left hand corresponds to the heart (Liao, 2011, pp. 55-56). Therefore, analyzing the pulse at these spots is believed to reveal the health of the corresponding organs.
Monkey stays in Subhuti’s monastery for a total of ten years, the first seven living as a junior Daoist monk and the last three as a close disciple of Subhuti. During his time as a junior monk, he learns human language and etiquette, calligraphy, scripture reading, and incense burning. These foundational skills are taught to him by his senior religious brothers. During his time with Subhuti, Sun learns Chan and Daoist philosophy; the secret of immortality; the 72 heavenly transformations; cloud-somersaulting; general Daoist magic; military arts like troop maneuvering, weapons, and boxing; and medicine.
The skills learned by Sun are varied, straddling the religious, the literary, and the martial. Therefore, Monkey is a perfect example of what Deng Mingdao (1990) calls the “Scholar Warrior”:
Skill is the essence of the Scholar Warrior. Such a person strives to develop a wide variety of talents to a degree greater than even a specialist in a particular field. Poet and boxer. Doctor and swordsman. Musician and knight. The Scholar Warrior uses each part of his or her overall ability to keep the whole in balance, and to attain the equilibrium for following the Tao. Uncertainty of the future inspires no fear: whatever happens, the Scholar Warrior has the confidence to face it (p. 10).
I’ve written a continuation of this article where I use the above info to speculate Sun Wukong is a warrior monk in Master Subhuti’s immortal monastic army. It’s good fodder for fanfiction. I even suggest a mythological baddie for the warrior monks to fight, the headless deity Xingtian.
The Monkey King is well known for his prowess with the staff, but the first seven chapters detailing his early life, attainment of immortality, and rebellion against heaven surprisingly do not mention him training in martial arts. It’s generally understand, however, that he learns the art of combat while studying under the immortal sage Subhuti. Beyond the staff, Sun Wukong comes to master boxing, a skill he displays only a few times in the novel. A poem appearing in chapter 51 describes his unarmed battle with a rhinoceros demon. Martial historian Meir Shahar (2008) notes it “[gave] the author an opportunity to display his familiarity with the contemporary jargon of ‘postures’ (shi and jiazi), ‘Long-Range Fist’ (changquan), and ‘Close-Range Fist’ (duanquan)” (pp. 131-132).
Hitching up his clothes and walking forward, the fiend assumed a boxing posture; his two fists upraised looked truly like two iron sledge hammers. Our Great Sage also loosened his legs at once and moved his body to attack; right before the cave entrance, he began to box with the demon king. This was quite a fight! Aha!
Opening wide the “Four Levels Posture”;
The double-kicking feet fly up.
They pound the ribs and chests;
They stab at galls and hearts.
“The Immortal pointing the Way”;
“Lao Zi Riding the Crane”;
“A Hungry Tiger Pouncing on the Prey” is most hurtful;
“A Dragon Playing with Water” is quite vicious.
The demon king uses a “Serpent Turning Around”;
The Great Sage employs a “Deer Letting Loose its Horns.”
The dragon plunges to Earth with heels upturned;
The wrist twists around to seize Heaven’s bag.
A green lion’s open-mouthed lunge;
A carp’s snapped-back flip.
Sprinkling flowers over the head;
Tying a rope around the waist;
A fan moving with the wind;
The rain driving down the flowers.
The monster-spirit then uses the “Guanyin Palm,”
And pilgrim counters with the “Arhat Feet.”
The “Long-Range Fist,” stretching, is more slack, of course.
How could it compare with the “Close-Range Fist’s” sharp jabs?
The two of them fought for many rounds—
None was the stronger, for they are evenly matched (Wu & Yu, 2012, vol. 3, pp. 12-13)
Interestingly, many of these techniques are still known to this day, some better known by slightly different names. I consulted with martial artist Joshua Viney to learn what each technique involves. Joshua has lived and studied folk martial arts from village masters around the noted Shaolin Monastery (少林寺) for ten years. He currently maintains the Shaolin Yuzhai Youtube channel where he posts instructional videos. Please check it out.
1) Opening wide the “Four Levels Posture” (Zhuai kaida siping, 拽開大四平) – An open fighting posture where the boxer stands in the horse stance (Mabu, 馬步) with arms outstretched to his sides. Also known as “Single Whip Horse Stance” (Mabu danbian kai siping, 馬步單鞭開四平) (fig. 1), which is often associated with Taiji boxing (太極拳).
2) The double-kicking feet fly up (Ti qi shuangfei jiao, 踢起雙飛腳) – Also known as “Double kicking feet” (Er qi jiao, 二起腳), this technique involves lifting up one knee to build upward momentum and then kicking high with the other (fig. 2). It is reminiscent of the “crane kick” from the Karate Kid (1984).
3) They pound the ribs and chests (Tao xie pi xiong dun, 韜脅劈胸墩) – Possibly referring to the “Pushing palm” (Tui zhang, 推掌) or “Splitting palm” (Pi zhang, 劈掌), which is delivered into the solar plexus and up into the rib cage (fig. 3).
4) “The Immortal pointing the Way” (Xianren zhilu, 仙人指路) – A double finger attack aimed at the eyes (fig. 4). The stance is often seen used in tandem with a sword.
5) “Lao Zi Riding the Crane” (Laozi qihe, 老子騎鶴) – Most likely another name for the Crane stance (fig. 5).
6) “A Hungry Tiger Pouncing on the Prey” (E hu pu shi, 餓虎撲食) – This name has been applied to many techniques. One variation known as “Fetching the moon from the seabed” (Haidi lao yue, 海底撈月) involves a powerful hip and/or palm strike to the groin/lower midline of the body (fig. 6). The force of the hip strike is powerful enough to send someone flying backwards.
7) A Dragon Playing with Water (Jiaolong xi shui, 蛟龍戲水) – Also known as “Dragon puking water” (Jiaolong xi shuineng xiong’e, 蛟龍戲水能兇惡), this technique involves fluid, sweeping arm movements (most likely blocks or fake strikes) followed by simultaneous double fist blows (fig. 7). The technique is associated with Shaolin and Chang Family Fist (Changjia quan, 萇家拳), a martial art that influenced the development of Taiji boxing.
8) “Serpent Turning Around” (Mang fanshen, 蟒翻身) – Also known as “Python turns over” (Guai mang fanshen, 怪蟒翻身), this technique involves a simultaneous chop to the throat and a pulling leg sweep, effectively knocking the opponent backwards (fig. 8).
9) “Deer Letting Loose its Horns” (Lu jie jiao, 鹿解角) – A series of elbow strikes to the torso (fig. 9). One variant called “Plum blossom deer lies on a pillow” (Meihua lu wo zhen, 梅花鹿臥枕) places the fist of the attacking arm against the temple, looking as if the practitioner is propping his head up in a resting posture.
10) The dragon plunges to Earth with heels upturned (Qiao gen cui dilong, 翹跟淬地龍) – A shooting maneuver using the Falling stance (Pubu, 仆步) to dip below the opponent’s defenses and attack the lower extremities (fig. 10). Also known as Qiao dilong zou xiapan zhao (雀地龍走下盤找).
11) The wrist twists around to seize Heaven’s bag (Niu wan na tiantuo, 扭腕拿天橐) – UNKNOWN. Mostly likely a headlock.
12) A green lion’s open-mouthed lunge (Qingshi zhangkou lai, 青獅張口來) – More commonly known as “Lion opens mouth” (Shizi dazhang zui, 獅子大張嘴), this technique has two variations. The large frame version involves shooting in low, pulling up the opponent’s knee with one hand, while simultaneously pushing on their head with the other hand, knocking them over (fig. 11). This can be used for throwing an opponent as well. The small frame version involves cupping the hands to intercept strikes.
13) A carp’s snapped-back flip (Liyu die ji yue, 鯉魚跌脊躍) – This can refer to both throwing an opponent and a move commonly referred to as a “kip-up”. The latter involves the practitioner flipping up from a supine position to a standing fighting stance (fig. 12).
14) Sprinkling flowers over the head (Gai ding sa hua, 蓋頂撒花) – Also known as “Double cloud over peak” (Shuang yun ding, 雙雲頂), this technique involves flourishing the hands above the head as a means of blocking, twisting an opponent’s arm, or disengaging from combat (fig. 13).
15) Tying a rope around the waist (Rao yao guan suo, 遶腰貫索) – UNKNOWN. Possibly a circling step similar to one later used in Bagua Palm Boxing (Bagua zhang, 八卦掌) (fig. 14).
16) A fan moving with the wind (Yingfeng tie shan er, 迎風貼扇兒) – Crossed hands shooting out to intercept an opponent’s punch (fig. 15).
17) The rain driving down the flowers (Ji yu cui hua luo, 急雨催花落) – Most likely a rapid succession of punches.
18) “Guanyin Palm” (Guanyin zhang, 觀音掌) – A style of palm strikes. It is listed as number 70 of the “72 Training Methods of Shaolin” (Shaolin qishi’er yi lian fa, 少林七十二藝練法) (Jin & Timofeevich, 2004, p. 229).
19) “Arhat Feet” (Luohan jiao, 羅漢腳) – A style of kicking.
What follows is Joshua’s reconstruction of the fight. He makes an interesting observation that the fight may in fact be a theatrical stage combat version of known techniques.
I think what we are seeing here is a Chinese Opera like performance of a fight that the author saw and perhaps asked about the names or recognised. I expect it would be very contrived. After this we are not told explicitly who does what and it may not be a one for one exchange. Nevertheless looking at the wording we can make a guess.
It begins with a large fighting stance, probably the ‘single whip’ posture of holding the arms straight to the sides. Then both performers do a jumping kick towards each other to enter striking range. Given it uses the phrase 劈胸 ‘pi xiong’ (split chest) I expect they begin by using the chest splitting palm at one another and so cross hands in the center of the arena [fig. 16].
Once they have crossed hands I think the demon grasps Monkey’s hand and attacks with the fingers of the other hand at his eyes, doing the ‘immortal points the way’ technique. Monkey defends against this by shielding his face with his forearms, then spreading his hands and kicking at the monster’s stomach. This pushes the monster away and Monkey is left with one knee suspended and arms spread to the sides in the ‘Lao Tzu rides a crane’ posture.
The Demon takes advantage of this unstable posture by rushing at him with the ‘hungry tiger pounces on prey’ technique, striking Monkey with his hips and grasping hold of him. Monkey uses the ‘dragon puking water’ technique, which erupts from below the demons arms and casts them aside, then rushes forwards again to attack with both hands. The Demon defends this by sticking close to the monkey and uses the ‘python turning its body’ technique to trip him up. But Monkey is strong and keeps his footing, counter attacking with a headbutt and multiple elbow strikes which form the ‘Deer-Horn’ technique.
The Demon jumps away but Monkey pursues with the ‘ground dragon’ technique and attacks the demons groin, causing him to buckle over, whereby Monkey grasps his head with the ‘twisting heavens sack’ technique. The Demon defends by using the ‘Lion opens mouth lunge’ to stop Monkey and throw him down. The monkey recovers by flipping his body in the ‘carp jump’ technique. Then he withdraws from the center by a few steps ‘covering his head with the flowers’ overhead technique. The Demon similarly disengages from the center and puts up a guard, prowling slowly around Monkey with the ‘turning waist’ technique.
I think the rest is describing more how they are evenly matched and face each other down rather than any other moves. ‘Iron fan stands against the wind’ is a common technique, a guard, and ‘rain falling on flowers’ is perhaps an eye strike but could also mean the intensity of the fight is like an urgent rain of punches. ‘Guanyin palm’ and ‘Luohans feet’ are both style names. Long fist vs short fist, how can they overcome one another? 10 rounds without a victor.
He goes onto describe the physical and psychological aspects of Long-range and Close-range fist:
Long fist and Short fist are the classic methods of Shaolin shenfa [身法, “Body postures”]. In order to strike the opponent one needs momentum, both physical AND psychological. Momentum is achieved by moving the dantian  as the centre of mass. In Short fist the dantian is rotated to add to power. In Long fist the whole dantian is thrown in the direction of the strike instead of rotated–much more powerful but also more wild and uncontrollable. In Shaolin philosophy, mind and matter are not severed, so physical momentum and psychological momentum are intertwined; when one has physical forward momentum, one simultaneously feels more confident.
Similarities with other literary combat
A poem similar to that from Journey to the West appears in the 120 chapter version of the Water Margin (Shuihu zhuan, 水滸傳, c. 1594) by Yu Xiangdou (余象斗, c. 1560–c. 1640). The poem describes unarmed combat between a young man and woman.
Opening wide the “Four Levels Posture”;
The double-kicking feet fly up.
“The Immortal pointing the Way”;
“Lao Zi Riding the Crane”;
“Phoenix Elbow” to the heart;
“The Guard Head Cannon Stance” strikes the temples;
The dragon plunges to Earth with heels upturned;
The wrist twists around to seize Heaven’s bag;
This girl, sprinkling flowers over the head;
This boy, tying a rope around the waist;
Two fans moving with the wind;
The rain driving down the flowers.
We can see many named techniques from Monkey’s battle appear in this poem. There are only two years between the publishing of Journey to the West (1592) and this version of the Water Margin. However, I am unsure if either source borrowed from the other, especially since Journey to the Westwasn’t in its final form upon its initial publishing. But it’s very well possible that both authors drew upon common source material. Joshua discovered two techniques from the Water Margin poem, namely “Phoenix Elbow” (Aoluan zhao, 拗鸞肘), and “The Guard Head Cannon Stance” (Dang toupao shi, 當頭砲勢), appearing together in the same print of an edition of the Collection of Military Works(Wubei zhi, 武備志, c. 1621), a Ming treatise on military armaments and fighting techniques (fig. 17). This suggests Yu Xiangdou borrowed these moves from similar boxing or military manuals. Likewise, given “his familiarity with the contemporary jargon”, as noted earlier by Shahar, the author of Journey to the West may have also borrowed from such literature.
Fig. 17 – The plate mentioning “Phoenix Elbow” and the “Guard the Head Cannon Stance”.
The available evidence suggests Short fist is Monkey’s fighting style. As mentioned above, the poem in chapter three reads: “The ‘Long-Range Fist,’ stretching, is more slack, of course. How could it compare with the ‘Close-Range Fist’s’ sharp jabs?” (Wu & Yu, 2012, vol. 3, p. 13). Furthermore, after facing the rhino monster, Sun Wukong asks heavenly warriors to critique his boxing skills: “‘[H]ow did the fiend’s ability compare with Old Monkey?’ ‘His punches were slack’, said Devaraja Li, ‘and his kicks were slow; he certainly could not match the Great Sage for his speed and tightness'” (Wu & Yu, 2012, vol. 3, p. 14).
Earlier in chapter one, Monkey faces a demon who had taken over his Water Curtain cave in the immortal’s absence. The two resort to boxing since Monkey is unarmed.
The Monstrous King shifted his position and struck out. Wukong closed in on him, hurtling himself into the engagement. The two of them pummeled and kicked, struggling and colliding with each other. Now it’s easy to miss on a long reach, but a short punch is firm and reliable. Wukong jabbed the Monstrous King in the short ribs, hit him on his chest, and gave him such heavy punishment with a few sharp blows that the monster stepped aside, picked up his huge scimitar, aimed it straight at Wukong’s head, and slashed at him (Wu & Yu, 2012, Vol. 1, p. 128). (emphasis mine)
I initially thought Sun Wukong used Short fist out of necessity as he is described being less than four feet tall. But the novel’s bias for close-range fighting over long-range “is typical of late Ming and early Qing military literature”, as noted by Shahar (2008). He continues, “Sixteenth- and seventeenth-century military experts allude to various short-range styles including ‘Cotton Zhang’s Close-Range Fist’ (Mian Zhang duanda [綿張短打]), ‘Ren Family Close-Range Fist’ (Renjia duanda [任家短打]), and ‘Liu [Family] Close-Range Fist’ (Liu duanda [劉短打])” (p. 117).
Wing Chun (Mandarin: Yong Chun, 詠春) is an example of Short fist. Although the style postdates the novel by at least two centuries, it showcases the quick, compact punches associated with Short fist. Take this video of Jackie Chan, for example. Now imagine Monkey using similar techniques in a fight with a much larger opponent, blocking or ducking to avoid attacks and replying with sharp punches targeted at vulnerable areas.
I have found a few more instances of martial arts terms, this time related to weapons. Joshua was again kind to lend his knowledge to the subject.
The compliant rod,
The black-tasseled lance.
Two men display their power before the cave;
Stabbing at the heart and face;
Striking at the head and arm.
This one proves handy with a death-dealing rod;
That one tilts the lance for swift, triple jabs. The “white tiger climbing the mountain” extends his paws; The “yellow dragon lying on the road” turns his back.
With colored mists flying
And bright flashes of light,
Two monster-god’s strength is yet to be tried.
One’s the truth-seeking, Equal-to-Heaven Sage;
One’s the Great Black King who’s now a spirit.
Why wage this battle in the mountain still?
The cassock, for which each would aim to kill! (Wu & Yu, 2012, vol. 1, p. 354) (emphasis mine)
22) “White tiger climbing the mountain”extends his paws (Baihu pashan, 白虎爬山來探爪) – Mountain climbing stance is synonymous with Gong bu (弓步), or the bow stance. The white tiger denotes an overt attack of sorts. I imagine it would look similar to this spear technique.
23) “Yellow dragon lying on the road” turns his back (Huanglong wo dao zhuanshen mang, 黃龍臥道轉身忙) – Possibly a retreating maneuver.
Dear Monkey King! He raised the rod above his head, with both hands, using the style “Tall-Testing the Horse.” The fiend did not perceive that it was a trick. When he saw there was a chance, he wielded the scimitar and slashed at the lower third of Pilgrim’s [Monkey’s] body. Pilgrim quickly employed the “Great Middle Level” to fend off the scimitar, after which he followed up with the style of “Stealing Peaches Beneath the Leaves” and brought the rod down hard on the monster’s head. This one blow made the monster vanish completely (Wu & Yu, 2012, vol. 2, p. 83). (emphasis mine)
24) “Tall-Testing the Horse” (Gao tanma, 高探馬) – Tanma (探馬) refers to a military scout, so a better translation would be the “High Scout”. This is a double-handed thrust aimed at the opponent’s face as a high fake. A corresponding fist technique, essentially a jab, is associated with Taiji boxing.
25) “Great Middle Level” (Da zhong ping, 大中平) – Holding the staff level at the navel while in the horse stance. This allows for quick defense below the waist.
26) “Stealing Peaches Beneath the Leaves” (Ye di tou tao shi, 葉底偷桃勢) – UNKNOWN. The name of this technique is normally associated with an attack to the groin, not the top of the head as implied in the quoted battle.
Based on the sequence of events described above, it seems like Monkey fakes high, blocks the strike to his body, and then attacks the top of the stooping opponent’s head (since the latter ducked the high fake and attacked low).
Here is Joshua’s interpretation:
The two weapons are stuck together: the monkey is forcing down, the demon up. The monkey releases the pressure, circling his staff below the opponents weapon, so with the release of pressure, the opponent’s weapon flings upwards but with no control. The monkey circles from this lower position, then turns over in a big circle and strikes the opponent downwards on the head.
The Great Sage walked forward and picked up the rod with no effort at all. Assuming the style of the Python Rearing its Body, he pointed at the bandits and said, ‘Your lucks running out, for you have met Old Monkey! (Wu & Yu, 2012, vol. 3, p. 81). (emphasis mine)
27) Python Rearing its Body (Mang fanshen, 蟒翻身). UNKNOWN. This is a differently translated version of a similarly titled technique mentioned above. See number eight (“Serpent Turning Around”). The previous listing referred to a boxing technique, while this again is for a weapon.
In closing, I would like to quote a particular passage. While it doesn’t list a given technique, it highlights Monkey’s mastery of the staff.
“Going through this tall mountain and rugged cliff must have made master [Tripitaka] rather apprehensive, that’s all. Don’t be afraid! Don’t be afraid! Let old Monkey put on a show for you with my rod to calm your fears somewhat”. Dear Pilgrim! Whipping out his rod, he began to go through a sequence of maneuvers with his rod as be walked before the horse: up and down, left and right, the thrusts and parries were made in perfect accord with the manuals of martial arts [六韜三略, Liu Tao San Lue]. What the elder saw from the horse was a sight incomparable anywhere in the world (Wu & Yu, 2012, vol. 2, p. 105). (Emphasis mine)
The portion that Anthony Yu translates as “manuals of martial arts” actually lists the names of two noted military manuals, both of which are listed among the Seven Military Classics of China. The first, the Six Secret Teachings (Liu tao, 六韜), was published during the Warring States period (c. 475 – 221 BCE) but possibly contains information from as far back as the Qi state (1046 – 221 BCE). The second, the Three Strategies (San lue, 三略), was most likely published during the Western Han period (206 BCE – 9 CE) (Sawyer, 1993). Associating Monkey’s martial arts skill with ancient and historically important manuals serves to further elevate his status as a great warrior and cultural hero.
The only reference to Monkey actually studying martial arts that I know of appears in a poem in chapter 67:
Purvavideha was my ancestral home,
I did cultivation on Mount Flower-Fruit. I bowed to the Patriarch of Heart and Mind and perfected with him the martial arts.
I can tame dragons, stirring up the seas;
I can tote mountains to chase down the sun.
In binding fiends and demon’s I’m the best;
Moving stars and planets, I scare ghosts and gods.
Stealing from heav’n and Earth gives me great fame,
Of boundless change, Handsome Stone Monkey’s my name (Wu & Yu, 2012, vol 3, p. 243). (emphasis mine)
Readers may think the Ancestor of Heart and Mind (Fangcun zu, 方寸祖) is referring to Sun’s teacher, Master Subhuti. However, the supreme immortal threatened Monkey with eternal torment if he ever revealed the sage had been his teacher. A more literal translation of the aforementioned figure is “Ancestor Square Inch”. Square Inch (fangcun, 方寸) is a common metaphor for the “heart / mind” (xin, 心), a broad concept written with a small character. This is just an interesting way of saying Monkey learned martial arts on his own via self-cultivation, thereby not revealing his true master. At the same time, it is a veiled admission of studying martial arts under the sage.
The above passage uses the term Wuyi (武藝), which was used to refer to Chinese martial arts as far back as the third-century CE. The term predates the more familiar Wushu (武術) by some three centuries (Lorge, 2012, p. 10).
1) For more information on Chang Family Fist and its progenitor Chang Naizhou, see Wells (2005).
2) The dantian (丹田, “cinnabar field”) is an area near the navel believed to be the body’s storehouse of spiritual energy.
3) Adapted from the original Chinese text: 拽開大四平，踢起雙飛腳。/ 仙人指路，老子騎鶴。/ 拗鸞肘出近前心，當頭砲勢侵額角。/ 翹跟淬地龍，扭腕擎天橐。/ 這邊女子，使個蓋頂撒花；/ 這裏男兒，耍個遶腰貫索。兩個似迎風貼扇兒，無移時急雨催花落 (水滸傳 (120回本)/第104回, n.d.)。
One of the most famous primate characters in world literature appears in the great Chinese classic Journey to the West (Xiyouji, 西遊記, 1592 CE). The story follows the adventures of Sun Wukong (孫悟空, a.k.a. “Monkey”) (fig. 1), an immortal rhesus macaque demon, who gains extraordinary power from long years of spiritual cultivation and rebels against the primacy of heaven. Like Loki in Norse mythology and Lucifer in Judeo-Christian mythology, this trickster god falls from grace when a supreme deity, in this case the Buddha, banishes him to an earthly prison below. But unlike his western counterparts, the monkey repents, becoming a Buddhist monk and agreeing to use his abilities to protect a priest on his journey to collect sutras from India. What follows is a concise overview of Monkey’s story. It will primarily focus on the first seven of the novel’s one hundred chapters, but chapters eight through one hundred will be briefly touched upon, along with a lesser-known literary sequel to Journey to the West.
In the beginning, the mystical energies of heaven and earth and the light of the sun and moon come together to impregnate a boulder high atop the Mountain of Flowers and Fruit (Huaguo shan, 花果山), an island that lies in a vast ocean near the Aolai Country (Aolai guo, 傲來國) of the Eastern Pūrvavideha continent (Dongshengshen zhou, 東勝神洲). The stone gestates for countless ages until the Zhou Dynasty (1046–256 BCE), when it hatches a stone egg that is eroded by the elements into a simian shape. The Stone Monkey (Shihou, 石猴) awakens and crawls around, before bowing to the four cardinal directions as light bursts forth from his eyes. The light is so bright that it reaches heaven, alarming the August Jade Emperor (Yuhuang dadi, 玉皇大帝) and his celestial retinue. The light soon subsides, however, once he ingests food for the first time.
The Stone Monkey happens upon other primates on the island and becomes their king when he proves himself in a test of bravery by blindly leaping through a waterfall and discovering a long-forgotten immortal’s cave. He rules the mountain for nearly four centuries before the fear of death finally creeps in. One of his primate advisers notes that only Daoist immortals and Buddhist saints can avoid death, and so he suggests the king find a transcendent to teach him the secrets of eternal life. Monkey sets sail on a makeshift raft and explores the world for ten years, adopting human dress and language along way. His quest takes him to the Western Aparagodāniya continent where he is finally accepted as a student by the Buddho-Daoist sage Subhuti (Xuputi, 须菩提). He is given the religious name Sun Wukong, meaning “monkey awakened to the void” or “monkey who realizes sunyata“. The sage teaches him the seventy-two methods of earthly transformation, or endless ways of changing his shape and size; cloud somersaulting, a type of flying that allows him to travel 108,000 li with a single leap; all manner of magical spells to command gods and spirits; traditional medicine; armed and unarmed martial arts; and, most importantly, an internal breathing method that results in his immortality. He is later disowned by the sage for selfishly showing off his new found magical skills to his less accomplished classmates.
Sun eventually returns to his island home and faces a demon whom had taken control of it during his prolonged absence. After killing the monster, he realizes that he needs a weapon to match his celestial power, and so his adviser suggests that he go to the undersea palace of Ao Guang (敖廣), the Dragon King of the Eastern Sea, to find such a weapon. There, he tries out several weapons weighing thousands of pounds, but each one is too light. He finally settles on a massive nine ton iron pillar that was originally used by Yu the Great (Dayu, 大禹), a mythical king of the Xia Dynasty (c. 2070–1600 BCE), to set the depths of the fabled world flood, as well as to calm the seas. Named the “‘As-You-Wish’ Gold-Banded Cudgel” (Ruyi jingu bang, 如意金箍棒), the iron responds to Sun’s touch and follows his command to shrink or grow to his whim—as small as a needle or as tall as the sky—thus signifying that this weapon was fated to be his. In addition to the staff, Monkey bullies the Dragon King’s royal brothers into giving him a magical suit of armor.
Shortly after returning home to the Mountain of Flowers and Fruit, he shows off his new weapon by turning into a frightful cosmic giant and commanding the staff to grow, with the top touching the highest heaven and the bottom the lowest hell. This display of power prompts demon kings of the seventy-two caves to submit to his rule and host a drunken party in his honor. Soon after falling asleep, Sun is visited by two psychopomps who drag his soul to the Chinese underworld of Diyu (地獄) in chains. There he learns that, according to the Ledgers of Life and Death, it is his time to die. This greatly enrages Monkey for he is no longer subject to the laws of heaven since he had achieved immortality. He plucks the iron cudgel from his ear (where he keeps it the size of a needle) and begins to display his martial prowess. This so scares the denizens of hell that King Yama (Yanluo wang, 閻羅王), ruler of the underworld, begs him to halt his immortal rage. Sun orders the ledger containing his information to be brought out and he promptly crosses out his name with ink, as well as the names of all monkeys on earth, thus making them immortal too. He wakes up in the mortal world when his soul returns to his body.
Fig. 1 – A modern depiction of Sun Wukong (by the author) (larger version).
Both the Eastern Dragon King and King Yama submit memorials to heaven concerning Sun’s misconduct. But the court adviser, an embodiment of the planet Venus, convinces the August Jade Emperor to give Sun the menial position of “Keeper of the Heavenly Horses” (Bimawen, 弼馬温) in order to avoid further conflict. Monkey accepts and steadfastly performs his duties, that is until he learns from an assistant that he’s not a full-fledged god but a glorified stable boy. He immediately storms out of the heavenly gates and returns home to proclaim himself the “Great Sage Equaling Heaven” (Qitian dasheng, 齊天大聖) in rebellion. Heaven mobilizes an army of powerful demon hunters, including the Heavenly King Li Jing (Li Jing tianwang, 李靖天王) and his son, the child god Prince Nezha (哪吒), but they all fall to Monkey’s magical and martial might. The embodiment of the planet Venus once again steps in to convince the August Jade Emperor to acquiesce to Monkey’s wishes, thereby granting him the empty title of Great Sage Equaling Heaven and even promoting him to be the “Guardian of the Immortal Peach Groves”.
Sun tours the heavenly orchard housing the magical peaches that ripen every few thousand years. The sweet aroma of his charge is too much for him to resist, and so he eats all but the youngest life-prolonging fruits. His theft is soon discovered when fairy attendants of the Queen Mother of the West (Xiwangmu, 西王母), an ancient primordial goddess, arrive to pick the choicest specimens for her long-awaited immortal peach banquet. It is from these fairies that Monkey learns he has not been invited due to his rough nature. Enraged, Sun then incapacitates the fair maidens with magic and crashes the party before the guests arrive. He eats all of the celestial food and drinks all of the immortal wine, and then drunkenly stumbles into the laboratory of Laozi (老子), the supreme god of Daoism. There, he gobbles up the deity’s alchemically-derived pills of immortality, thus increasing his level of invincibility.
Sun returns home once again to await the coming storm of heavenly forces. Tired of the demon’s antics, the August Jade Emperor calls up seventy-two heavenly generals, comprising the most powerful Buddhist and Daoist gods, and 100,000 celestial soldiers. In response, Monkey mobilizes his own army comprising the demon kings of the seventy-two caves and all manner of animal spirits, including his own monkey soldiers. But soon after the battle commences, the demon kings fall to the heavenly forces, forcing Sun to take on three heads and six arms and multiply his iron cudgel to meet the onslaught. Once again, the heavenly army is no match for him. However, he soon loses his nerve when his monkey children are captured in great heavenly nets. He flees with Lord Erlang (Erlang shen, 二郎神), a master of magic and the nephew of the August Jade Emperor, taking chase. The two battle through countless animal transformations, each trying to one-up the other. Monkey is finally captured when Laozi drops a magical steel bracelet on his head, incapacitating him long enough for Erlang’s celestial hound to bite hold of his leg.
Sun is taken to heaven to be executed for his crimes, but fire, lightning, and edged weapons have no effect on his invincible body. Laozi then suggests that they put him inside of the deity’s mystical eight trigrams furnace to reduce the demon into ashes. They check the furnace forty-nine days later expecting to see his rendered remains; however, Monkey jumps out unscathed, having found protection in the wind element (xun, 巽). But intense smoke inside the furnace had greatly irritated his eyes, refining his pupils the color of gold and giving them the power to see for hundreds of miles, as well as to recognize the dark auras of demons in disguise. He overturns the furnace and begins to cause havoc in heaven with his iron cudgel. The monkey’s anger cannot be contained, and so the August Jade Emperor beseeches the Buddha (Rulai, 如来) in the Western Paradise to intervene. The “Enlightened One” appears and makes Sun a wager that, if he can jump out of his hand, the macaque will become the new ruler of heaven. Monkey agrees to the wager and jumps into his palm. With one tremendous leap, Sun speeds towards the reaches of heaven, clouds whizzing by him in a blur of colors as he travels across the sky. He lands before five great pillars, thinking them to be the edge of the cosmos. He tags one of the pillars with his name and urinates at the base of another in order to prove that he had been there. Upon returning, Sun demands that the Buddha live up to his end of the bargain, yet the Enlightened One explains that the baneful spirit had never left his palm. But before Monkey can do anything, the Buddha overturns his hand, pushing it out the gates of heaven, and slamming it onto earth, transforming it into the Five Elements Mountain (Wuxing shan, 五行山). There, Sun is imprisoned for his crimes against heaven.
Fig. 2 – (Left) Tsukioka Yoshitoshi, “Jade Rabbit – Sun Wukong”, October 10, 1889 (larger version). Fig 3. – (Right) Son Goku (孫悟空) from the Dragonball Franchise (larger version).
Chapters thirteen to one hundred tell how six hundred years later Sun is released during the Tang Dynasty (618-907) to help escort the Buddhist monk Tripitaka (Sanzang, 三藏) (whose early story is told in chapters eight to twelve), a disciple of the Buddha in a previous life, on a quest to retrieve salvation-bestowing scriptures from India. The Bodhisattva Guanyin (觀音) gives the monk a golden headband (jingu quan, 金箍圈) as a means to reign in Monkey’s unruly nature. It tightens around Sun’s head whenever a magic formula is recited, causing him great pain. In addition, Guanyin gives Monkey three magic hairs on the back of his neck that can transform into anything he desires to aid in his protection of the monk. Along the way, the two meet other monsters-turned-disciples—Zhu Bajie (猪八戒), the lecherous pig demon, Sha Wujing (沙悟净), the complacent water demon, and the White Dragon Horse (Bailongma, 白龍馬), a royal serpent transformed into an equine—who agree to aid in the monk’s defense. Monkey battles all sorts of ghosts, monsters, demons, and gods along the way. In the end, he is granted Buddhahood and given the title of the “Victorious Fighting Buddha” (Dou zhanzheng fo, 鬥戰勝佛) for protecting Tripitaka over the long journey.
A continuation of the novel called A Supplement to the Journey to the West (Xiyoubu, 西游补, 1640) takes place between chapters 61 and 62 of the original. In the story, the Monkey King wanders from one adventure to the next, using a magic tower of mirrors and a Jade doorway to travel to different points in time. In the Qin Dynasty (221–206 BCE), he disguises himself as Consort Yu in order to locate a magic weapon needed for his quest to India. During the Song Dynasty (960–1279), he serves in place of King Yama as the judge of Hell. After returning to the Tang Dynasty, he finds that his master Tripitaka has taken a wife and become a general charged with wiping out the physical manifestation of desire (desire being a major theme running through the novelette). Monkey goes on to take part in a great war between all the kingdoms of the world, during which time he faces one of his own sons in battle. In the end, he discovers an unforeseen danger that threatens Tripitaka’s life.
Stories about Sun Wukong have enthralled people the world over for centuries. His adventures first became popular via oral folktale performances during the Song Dynasty. These eventually coalesced into the earliest known version of the novel, The Story of How Tripitaka of the Great Tang Procures the Scriptures (Da Tang Sanzang qujing shihua, 大唐三藏取經詩話), published during the 13th-century. Since the anonymous publishing of the complete novel in the 16th-century, Monkey has appeared in numerous paintings, poems, books, operatic stage plays, and films (both live action and animated). He was sometimes “channeled”, along with other martial spirits, by citizen soldiers of the anti-foreign Boxer Rebellion (1899-1901). There is also a monkey-based martial art named in his honor. It is interesting to note that there are some people in southern China, Taiwan, Malaysia, and Singapore who worship him as a patron deity. Thus, Sun became so popular that he jumped from the pages of fiction to take his place on the family altar.
Copies of The Story were discovered in Japan among a 17th-century catalog of books in the Kozanji Temple (高山寺, Ch: Gaoshan si). No copies are known to exist in China, which suggests this version came to the island many centuries ago. The complete Ming edition of the novel came to Japan in the late 18th-century, where it was translated in bits and pieces over the course of some seventy years. However, Monkey did not become immensely popular until the first complete translation of the novel was published in four parts between 1806 and 1839. The last part was illustrated with woodblocks by Taito II (fl. 1810-1853), a noted student of famous artist Hokusai (1760-1849). Other Japanese artists, such as Kubo Shunman (1757-1820) and Yoshitoshi (1839–1892) (fig. 2), produced beautiful full color woodblock prints of Sun.
Like in China, Monkey has been adapted in all kinds of Japanese media. By far, his most famous adaptation is the manga and anime character Son Goku (孫悟空) (fig. 3) from the Dragon Ball(Jp:ドラゴンボール; Ch: Qi longzhu, 七龍珠) franchise (1984-present). Like Sun, Goku has a monkey tail, knows martial arts, fights with a magic staff, and rides on a cloud. His early adventures in Dragon Ball (manga: 1984-1995; anime: 1986-1989) see him traveling the world in search of seven wish-granting “dragon balls”, while also perfecting his fighting abilities and participating in a world martial arts tournament. Several of the supporting characters, such as Oolong (ウーロン), a lecherous anthropomorphic pig who can change his shape, a nod to Zhu Bajie, were directly influenced by the novel. Dragon Ball Z (manga: 1988-1995; anime: 1989-1996), a continuation of the comic book and animated TV show, follows Goku as an adult and reveals that he is actually a humanoid alien sent as a child to destroy Earth. He arrived in a spherical spaceship that recalls the stone egg from which Sun Wukong was formed. But instead of destroying the planet, he becomes its stalwart protector and faces extraterrestrial menaces from beyond the stars. Goku’s adventures have continued in the sequels Dragon Ball GT (1996-1997), Dragon Ball Super (2015-2018), and Super Dragon Ball Heroes (2018-present).