The Journey to the West Research blog is proud to host an entry by our friend Monkey Ruler (Twitter and Tumblr). They have graciously written an essay on the global nature of Journey to the West adaptations, as well as provided a link to their ongoing project recording JTTW media (fig. 1). As of the publishing of this article, it includes a long list of almost 570 movies, 90 TV shows, and 160 video games! – Jim
Fig. 1 – Depictions of Sun Wukong from adaptations produced over 50 years apart: (left) Havoc in Heaven (Danao tiangong, 大鬧天宮, 1961) and (right) Monkey King: Hero is Back (Xiyouji zhi Dasheng guilai, 西遊記之大聖歸來, lit: “Journey to the West: Return of the Great Sage,” 2015) (larger version). Courtesy of Monkey Ruler.
I. Media adaptations
This started out as a collection of Xiyouji (西遊記; lit: “Journey to the West,” 1592) movies and TV shows for the sake of a Master’s class project; it was simple enough to look for Xiyouji media and start adding them to a collection datasheet. But even when the project was over, I kept finding more and more adaptations, even stumbling across others trying to show the magnitude of how much this novel has encompassed popular culture throughout the centuries. It has been told and re-told again and again in oral and published literature, plays, art, songs, poems, etc., and now on the big and small screens. Audiences are re-introduced to the image of Sun Wukong and his fellow pilgrims with every new media addition.
What really inspired me was the book Transforming Monkey: Adaptations and Representation of a Chinese Epic(2018) by Hongmei Sun, where she explained in depth the cultural impact that Sun Wukong (fig. 2) and Xiyouji has had on Chinese media, as well as how this loose set of franchises have come to represent Chinese culture as these shows and movies have become more globally accessible. Xiyouji is such an iconic cultural universe that it can be both heavily entertaining while still being so personal to audiences of any generation depending on how the artist/writer portrays their interpretation of these characters and their stories.
There hasn’t been a lot written about how these interpretations influence modern Xiyouji adaptations despite how the story has greatly influenced popular culture.
Fig. 2 – The front cover of Transforming Monkey (2018) (larger version).
Xiyouji is such an influential story, one that will continue to grow more and more globally known throughout time because it is such an all-encompassing piece that can cover politics, identities, and allegories, while still being a very personal and interpersonal work that artists or writers can relate to.
However, even with these layers of meaning and symbolism to be found, the story never loses the charming and entertaining aspects that can and have captured audiences. Despite being published over 430 years ago (with a history stretching back even further), Xiyouji is still able to relate to modern audiences through its allegories of oppression, rebellion, and self-identity. It has the capability to resonate with any generation depending on what artists or writers at the time wish to highlight or personally connect with themselves or their current world around them, using Xiyouji as a medium for their own struggles.
As Xiyouji starts to become more and more globally known, it is important to understand and resonate that this is still a Chinese story and how to address further adaptations with cross-nation gaps in both translation and cultural differences. There are media forms that are far more exploitative of the mythical journey, creating impractical scenarios of the narrative and thus changing the message of the story and characters completely. However, there needs to be an acknowledgment of what doesn’t work as Xiyouji adaptations due to the ever-changing zeitgeist in not only its home of origin but introducing it to a global sphere as it adds influence.
In order to see what works for adaptations, there needs to be an acknowledgment of what is the core of the story and just why it remains popular, story-beat or character-wise. For example, Sun Wukong can be used as a great model for positive ambivalence in media, moving away from set limits of a single stereotype and rather being a constant motion of new ideas and new identities. Monkey has been changed from a mischievous monkey to a revolutionary hero to a post-modern rebel against authority throughout the years. But even throughout the constant changes and interpretations, people never lose sight of what the nature of Sun Wukong is: rebelliousness, variability, optimism, and persistence.
Monkey is a transcending character as he is able to mediate contradictions within his own design, one being his gold-banded staff, a symbol of breaking barriers, and his golden filet (fig. 3), a symbol of limits. These two simple but prominent pieces of iconography immediately tell audiences who the character is supposed to be and what they are about.
Fig. 3 – A modern replica of Monkey’s golden filet or headband (larger version).
While it is entertaining and able to be enjoyed by younger audiences, Xiyouji still has a deeper meaning that can be interpreted and recognized into adulthood. This is one of the few stories that I imagine can be adapted again and again without the issue of overlap as there are so many ways people can personally connect with these characters.
Having that any generation, anyone really can find enjoyment in this media, and perhaps even be inspired to read the novel itself.
II. Archive link
Please consult the tabs at the bottom of the spreadsheet linked below. They are listed as “Movie Information,” “Movie Links,” “Honorary Shows,” “Game Information,” “Game Pictures,” “Honorary Games,” and “Sources.” – Jim
I recently posted a list of facts about Sun Wukong (孫悟空) to reddit. I am presenting an elongated version of it here, which serves as a summation of everything that I’ve learned over the years. It is by no means comprehensive. I’ll add more facts in the future as I learn of them. Enjoy.
In my opinion, however, the greatest influence on his 1592 persona is a white ape antagonist from a Tang-era story. Similarities include: 1) both are supernatural primates possessed of human speech; 2) one thousand-year-old practitioners of longevity arts; 3) masters of Daoist magic with the ability to fly and change their appearance; 4) warriors capable of single-handedly defeating an army; 5) have a fondness for armed martial arts; 6) have an iron-hard, nigh-invulnerable body immune to most efforts to harm them; 7) have eyes that flash like lightning; 8) live in verdant mountain paradises (like Flower Fruit Mountain); and 9) reside in caves with stone furniture (like the Water Curtain Cave).
The oldest depictions of this character (late-11th to late-13th-century) appear in Buddhist cave art along the Silk Road in Northern China. He is almost always portrayed in a scene worshiping the Bodhisattva Guanyin.
A 13th-century version of JTTW describes the Monkey Pilgrim as a white-clad scholar who is an ancient immortal from the very beginning of the tale. He was beaten with an iron rod as a young immortal after he stole magic peaches and was subsequently banished to the Mountain of Flowers and Fruit. He actively searches out the monk to protect him as the cleric’s two previous incarnations were eaten by a monster (Sha Wujing’s antecedent) in the past.
This immortal fights with two staves (at different times), a golden-ringed monk’s staff and an iron staff (both borrowed from heaven). The monk’s staff can create destructive blasts of light, as well as transform into titanic creatures, including a club-wielding yaksha and an iron dragon. The iron staff isn’t shown to have any special powers. These weapons were later combined by storytellers, the rings from the former being added to the ends of the latter.
The earliest mention of the name “Sun Wukong” that I’m aware of appears in an early-15th-century zaju play. It depicts the character as a sex-crazed maniac who kidnaps a princess to be his wife, tries to seduce Princess Iron Fan, and later gets erectile disfunction when his golden headband tightens while trying to have sex with a young maiden in the Kingdom of Women.
The dharma name “Wukong” (悟空) was likely influenced by a historical monk of that name who traveled to India during the 8th-century. The name means “Awakened to Emptiness”, thus referencing Buddhist enlightenment. I think the corresponding Sanskrit name would be something like “Bodhiśūnyatā” (but don’t quote me on this).
The 1592 edition of the novel associates the components of Sun (孫 = zi, 子 & xi, 系) (ch. 1 – see section 4.2 here) with the formation of a “holy embryo” (shengtai, 聖胎), an immortal spirit that lives on after the adherent dies.
So taking all of the Buddhist and Daoist references into account, another translation for Sun Wukong would be “Immortal Awakened to Enlightenment”. This is a reference to the Buddho-Daoist philosophy of Zhang Boduan (張伯端, mid- to late-980s-1082), who believed that in order to become a true transcendent (xian, 仙), one had to achieve both the Daoist elixir of immortality and Buddha-nature (i.e. Buddhahood).
The aforementioned zaju play calls him the “Great Sage Reaching Heaven” (Tongtian dasheng, 通天大聖).
Said play also states that he has two sisters and two brothers. The sisters are respectively named the “Venerable Mother of Mount Li” (Lishan laomu, 驪山老母) and “Holy Mother Wuzhiqi” (Wuzhiqi shengmu, 巫支祇聖母). His older brother is called “Great Sage Equaling Heaven” (Qitian dasheng, 齊天大聖) and the younger the “Third Son Shuashua” (Shuashua sanlang, 耍耍三郎).
His home, the Mountain of Flowers and Fruit (Huaguo shan, 花果山), is located near the easternmost continent, while China is associated with the southernmost continent. This means that Monkey, within the novel, is not Chinese!
Despite the association above, Monkey shows no interest in sex throughout the entire novel. This may be a response to the highly sexualized Sun Wukong from the zaju play.
The novel also gives him the alchemical title “Squire of Metal/Gold” (Jingong, 金公), a possible “anagrammatic reading of the Chinese graph for lead or qian 鉛, which may be broken up into the two graphs of jin and gong” (Wu & Yu, 2012, vol. 1, p. 532 n. 3). Lead is an ingredient in external alchemy (see the material after figure two here). The title might also be referring to the earthly branchshen (申), which is associated with both metal and monkeys (Wu & Yu, 2012, vol. 1, p. 532 n. 3).
The overall arc of his birth and early life were likely based on that of the historical Buddha to make his tale more familiar to readers. Similarities include: A) supernatural births that split open their respective mothers (Queen Maya vs stone egg); B) producing a radiant splendor in all directions upon their birth; C) being talented students that quickly master concepts taught to them; D) early lives as royals (Indian prince vs king of monkeys); E) shock at the impermanence of life; F) questing for a spiritual solution to said impermanence; and G) finding said solution via spiritual practices (Indic meditation vs Daoist elixir arts).
His “Water Curtain Cave” (Shuilian dong, 水簾洞), the grotto-heaven where he and his people live in the Mountain of Flowers and Fruit, is associated with a different immortal in older religious literature. For instance, the Song-era text Master Ghost Valley’sNuminous Writ of the Essence of Heaven (Guigu zi tiansui lingwen, 鬼谷子天隨靈文) calls the titular character the “Master of the Waterfall Cave” (Shuilian dong zhu, 水濂洞主). In this case, the source uses a different lian (濂) in place of the lian (簾) associated with Monkey’s cave. But they both mean the same thing: a waterfall hiding a cave mouth (see the 12-11-21 update here). One 17th-century novel influenced by JTTW states that Master Ghost Valley lives in the Water Curtain Cave (Shuilian dong, 水簾洞; i.e. the same as Monkey’s home) with his student, the Warring States strategist Sun Bin (孫臏, d. 316 BCE). This means that two characters surnamed Sun (孫) live there in Chinese literature (see section II here).
While commonly portrayed as a Daoist immortal, his first master, the Patriarch Subodhi (Xuputi zushi, 須菩提祖師) (ch. 1 & 2), is shown to live in India and have a strong connection to Buddhism, possibly even being a Bodhisattva.
The actual name for his famous 72 Transformations is “Multitude of Terrestrial Killers” (Disha shu, 地煞數), which is based on a popular set of malevolent stellar gods.
This skill not only allows Monkey to transform into whatever he wants but also gives him a store of extra heads and possibly even extra lives like a video game (see section 4.4 # 3 here).
He specifically learns the 72 Transformations (ch. 3) in order to hide from a trio of elemental calamities sent by heaven to punish cultivators for defying their fate and achieving immortality. This is the origin of the “Heavenly Tribulation” (tianjie, 天劫; zhongjie, 重劫) trope from modern Xianxia literature.
But, surprisingly, he is not a true immortal, just long-lived and really hard to kill. The novel refers to him as a “bogus immortal” (yaoxian, 妖仙). This references Zhang Boduan’s aforementioned philosophy where one must obtain both the Daoist elixir (which Monkey did) and Buddha-Nature (which he hadn’t yet achieved) in order to be a true transcendent.
While training under Subodhi (ch. 3), he expressly passes on learning the bureaucratic-style magic rites normally used by earthly priests to request something from heaven because the skills involved won’t result in eternal life. Instead, after achieving immortality, Monkey just commands the gods to do his bidding (see section II here).
He can grow 100,000 feet (30,480 m) tall (ch. 1, 6, 61, and 97). This skill is called the “Method of Modeling Heaven on Earth” (Fatian xiangdi, 法天像地), and it is related to ancient Pre-Qin and Han concepts of astral-geography later used in the construction of imperial Chinese cities.
His magic “immortal breath” (xianqi, 仙氣) can transform his hairs, his staff, and objects not in direct contact with his body into anything he desires. It can also change disembodied souls into “ether” for ease of transport, and evidence suggests that it can even grant some form of immortality.
Monkey has 84,000 hairs on his body, and he can transform them into hundreds of thousands, millions, and even billions of hair clones (see the 03-19-22 update here).
The bureaucratic mix-up that resulted in his soul being dragged to hell (ch. 3) is based on “mistaken summons” to the underworld and “return-from-death” narratives present in early Chinese “miraculous tales” (Zhiguai xiaoshuo, 志怪小説) (Campany, 1990).
When he looks at his entry in the ledgers of hell, he learns that: 1) his soul number is “1,350”; 2) his real name is “Heaven-Born Stone Monkey” (Tianchan shihou, 天產石猴); and 3) he was fated to have a “good end” at the ripe old age of 342. This refers to a person’s pre-allotted lifespan (ming, 命) (Campany, 2005; Campany & Ge, 2002, pp. 47-52).
The distance that his cloud-somersault can travel, 108,000 li (33,554 mi / 54,000 km), is based on a metaphor for instantaneous enlightenment. It comes from the Platform Sutra of the Sixth Chan Patriarch Huineng (惠能). The Chan Master explains that the common trope of the Buddha’s paradise being separated from the world of man by 108,000 li is based on a combination of the “Ten Evils” (Shi’e, 十惡) and “Eight Wrongs” (Baxie, 八邪) of Buddhism. Those who rid themselves of these spiritual flaws will achieve enlightenment and thus arrive instantly at the Buddha’s paradise.
The initial depiction of his magic staff as a great iron pillar kept in the dragon kingdom treasury (ch. 3) is based on a metal column that the immortal Xu Xun (許遜) chained a demonic dragon to and then imprisoned in the aquatic realm in Chinese mythology.
It’s a common misconception that his staff weighed down the Milky Way galaxy. This is based on a mistranslation. The W. J. F. Jenner edition claims that the weapon anchored said star cluster. However, the original Chinese states that it was used as a means to measure and set the depths of the Heavenly River (Tianhe, 天河; a.k.a. Milky Way).
The weight of his staff is likely an embellishment on the weight of a heavy stone block lifted by the bandit-hero Wu Song (武松) in the Water Margin (Shuihu zhuan, 水滸傳, c. 1400). This episode and the JTTW episode where Monkey acquires his staff both involve a hero (Wu Song vs Sun Wukong) asking someone (a friend vs the Dragon King) to take them to a seemingly immovable object (stone block vs iron pillar). They then adjust their clothing before lifting the object with ease. Most importantly, the Chinese characters for the respective weights are visually similar. Sun’s staff is 13,500 catties (yiwan sanqian wubai jin, 一萬三千五百斤; 17,5560 lbs. / 7965.08 kg), while the stone block is 300 to 500 catties (sanwubai jin, 三五百斤; 390-650 lbs. / 177-295 kg). The characters in bold indicate the similarities between the two weights, where as those in red indicate the embellishments: 一萬三千五百斤.
He singlehandedly defeats the “Nine Planets” (Sk: Navagraha; Ch: Jiuyao, 九曜, “Nine Luminaries”), personifications of the sun and planets from Hindu astrology (Gansten, 2009), during his rebellion (ch. 4) (Wu & Yu, 2012, vol. 1, pp. 170-172).
His time as the Bimawen (弼馬溫, “To assist horse temperament”), a minor post overseeing the heavenly horse stables (ch. 4), is based on an ancient Chinese practice of placing monkeys in horse stables to ward off equine sicknesses. The belief was that the menstrual blood of female monkeys mixed with horse food somehow guarded against diseases. This is hilarious as the position links Sun Wukong to menstruation!
His title “Great Sage Equaling Heaven” (Qitian dasheng, 齊天大聖) (ch. 4) was actually borrowed from the “Eastern Marchmount” (Dongyue, 東嶽; a.k.a. “Eastern Peak”), the god of Mt. Tai. This suggests that the older brother from the aforementioned zaju play is really the Eastern Marchmount.
His time as the Guardian of the Immortal Peach Groves (ch. 5) is likely based on a Song-era Daoist scripture in which the aforementioned Sun Bin is tasked by his teacher, Master Ghost Valley, with protecting a tree laden with special fruit. He later captures a magic white ape stealing said produce (see section III here). The simian thief saves his life by offering Sun a set of secret religious texts. Both stories include: 1) a character surnamed Sun (孫) protecting special fruit (Sun Bin vs Sun Wukong); and 2) supernatural primates that steal and eat the fruit. Therefore, Monkey’s 1592 persona serves as both the guard and the thief!
The elixir pills that he drunkenly eats in Laozi’s laboratory (ch. 5) likely influenced the senzu beans from the world famous Dragon Ball (Jp: Doragon Bōru,ドラゴンボール; Ch: Qilongzhu, 七龍珠) franchise.
His time in Laozi‘s furnace (ch. 7) is based on an episode from the aforementioned 13th-century version of JTTW. It may also be connected to a story of Laozi magically surviving a foreign king’s attempt to boil him in a cauldron.
Smoke from the furnace irritates his eyes, giving him his famous “Fiery Eyes and Golden Pupils” (Huoyan jinjing, 火眼金睛). The former is likely based on the “actual red-rimmed eyes of [the Rhesus macaque]” (Burton, 2005, p. 148). The latter is likely based on the golden pupils of macaques (see section 2.1 here).
A religious precious scroll predating the 1592 edition states that Erlang instead traps Monkey beneath Mount Tai, and the aforementioned 15th-century zaju play states it was Guanyin and the Mountain of Flowers and Fruit.
This punishment links him to a broader list of mythic baddies imprisoned in earth, including Lucifer, Loki, and the Titans of Tartarus. I plan to write a later article about “earth prisons” in world myth.
One scholar suggests that being trapped under Five Elements Mountain is a symbolic death (remember that Monkey claims to be free of the Five Elements after attaining immortality), meaning that the hellish diet is his karmic punishment in the afterlife, and his later release is a symbolic reincarnation.
Along with the headband, his tiger skin kilt (ch. 13) can be traced to a list of ritual items prescribed for worshiping wrathful protector deities in Esoteric Indian Buddhism. These same ritual items came to be worn by the very protector deities that the yogins revered. This explains why some deities in Chinese folk religion (including Sun Wukong) are portrayed with the golden headband and tiger skin.
Modern artists sometimes depict him with two long feathers protruding from the front of his golden headband, giving him the appearance of an insect. But the feathers (lingzi, 翎子) are actually associated with a different headdress called the “Purple Gold Cap” (zijin guan, 紫金冠), which is worn on top of the head. It was a military headdress later associated with heroes in Chinese opera (see section 2.2 here).
Monkey is also shown to be weaker in water. For instance, he enlists Zhu Bajie to combat the water demon who turns out to be Sha Wujing (ch. 22) (Wu & Yu, 2012, vol. 1, p. pp. 422-423).
As an enlightened Buddha, Monkey is eligible for his own “Buddha-Field” (Sk: Buddhakṣetra; Ch: Focha, 佛刹), essentially his own universe in which he will lead the inhabitants to enlightenment (Buswell & Lopez, 2014, p. 153).
Modern ritual specialists known as “spirit-mediums” (Hokkien: Tangki, 童乩; Ch: Jitong, 乩童; lit: “Divining Child”) also channel the Great Sage, allowing his worshipers to have direct access to the divine. While they may use a staff to enhance the theater of their performance, the weapon surprisingly doesn’t serve a ritual function. They instead use a set of bladed or spiked weapons to draw blood intended to create evil-warding paper talismans (see the material below figure six here).
Monkey’s faith started in Fujian province, China and spread via boat to other countries within the Chinese diaspora. When he first started being worshiped is unknown. The first concrete references to his worship come from the 17th-century (see section III here). But the aforementioned 13th-century stone carving depicts him as a wrathful guardian, alongside other protector deities, Bodhisattvas, patriarchs, and eminent monks. This suggests that he might have been revered at an earlier time.
There is a style of Chinese boxing named after him, “Great Sage Boxing” (Cantonese: Taishingkyun; Mandarin: Dasheng quan, 大聖拳). Another closely associated style is “Great Sage Axe Boxing” (Can: Taishing pek kwarkyun; Man: Dasheng pigua quan, 劈掛拳). These arts also have staff styles associated with the Monkey King.
His time in Laozi’s furnace and ability to grow 100,000 feet tall influenced a Shaolin Monastery myth related to the founding of their famous staff fighting method. The story describes how a lowly kitchen worker jumped into an oven and remerged as a staff-wielding titan to battle mountain brigands attacking the monastery (see section 3 here).
He shares several connections with Yu the Great (here and here). These include: A) both have stone births; B) Monkey’s staff was originally used by Yu as a drill and as a ruler to set the depths of the fabled world flood; C) Sun’s demonic sister Wuzhiqi was conquered by Yu in some stories; and D) both are legendary hero-kings.
He shares a number of similarities with Wu Song. These include: A) both are reformed supernatural spirits originally trapped under the pressing weight of a mountain; B) slayers of tigers; C) Buddhist monks nicknamed “Pilgrim” (xingzhe, 行者), a title noting junior and traveling monks, as well as untrained riffraff that became clerics to avoid trouble with the law or taxes and military service (Wu Song is the latter and Monkey the former); D) martial arts monks who fight with staves; E) have moralistic golden headbands; and F) weapons made from bin steel (bin tie, 鑌鐵) (Wu Song’s Buddhist sabers vs Monkey’s magic staff).
He shares a surprising number of similarities with the Greek hero Heracles (a.k.a. Hercules). These include: A) supernatural births via masculine heavenly forces (son of Zeus vs the stone seeded by heaven); B) quick to anger; C) big cat skins (Nemean lion vs mountain tiger); D) fight with blunt weapons (olive wood club vs magic iron staff); E) great strength; F) knocked out by a god during a fit of rage (Athena with a rock vs Laozi and his Diamond-Cutter bracelet); G) given punishment to atone for past transgressions (12 labors for killing family vs protecting the monk for rebelling against heaven); H) constantly helped by goddesses (Athena vs Guanyin); I) similar enemies (there’s a long list); tamer of supernatural horses (Mares of Diomedes vs Heavenly Horses); J) travel to lands peopled by women (Amazons vs Kingdom of Women); K) theft of fruit from the gardens of queenly goddesses (Hera’s golden apples of the Hesperides vs the Queen Mother’s immortal peaches); L) travel to the underworld; M) take part in a heavenly war (Gigantomachy vs rebellion in heaven); N) become gods at the end of their stories (god of heroes and strength vs Victorious Fighting Buddha); and O) worshiped in the real world (Greece and Rome vs East and Southeast Asia).
He has a total of eight children between two 17th-century novels. He has five sons in A Supplement to the Journey to the West (Xiyoubu, 西遊補, 1640), but only one of them is mentioned by name. “King Pāramitā” (Boluomi wang, 波羅蜜王) is portrayed as a sword-wielding general capable of fighting Sun for several rounds. His name is based on a set of virtues learned by Bodhisattvas on their path to Buddhahood. In Journey to the South (Nanyouji, 南遊記) he has two sons named “Jidu” (奇都) and “Luohou” (羅猴), who respectively represent the lunar eclipse demons Ketu and Rahu from Indian astrology. He also has a giant, monstrous daughter, “Yuebei Xing” (月孛星, “Moon Comet Star”), who is named after a shadowy planet representing the lunar apogee (or the furthest spot in the moon’s orbit) in East Asian astrology. Only the daughter plays a part in the story. She uses a magic skull, which can kill immortals three days after their name is called.
Burton, F. D. (2005). Monkey King in China: Basis for a Conservation Policy? In A. Fuentes & L. D. Wolfe (Eds.), Primates Face to Face: Conservation Implications of Human-Nonhuman Primate Interconnections (pp. 137-162). Cambridge: Cambridge University Press.
Buswell, R. E., & Lopez, D. S. (2014). The Princeton Dictionary of Buddhism. N: Princeton University Press.
Campany, R. F. (1990). Return-from-Death Narratives in Early Medieval China. Journal of Chinese Religions, 18, pp. 91-125.
Campany, R. F., & Ge, H. (2002). To Live as Long as Heaven and Earth: A Translation and Study of Ge Hong’s Traditions of Divine Transcendents. Berkeley: University of California Press.
Campany, R. F. (2005). Living off the Books: Fifty Ways to Dodge Ming in Early Medieval China. In C. Lupke (Ed.), The Magnitude of Ming: Command, Allotment, and Fate in Chinese Culture (pp. 129-150), University of Hawaii Press.
Gansten, M. (2009). Navagrahas. In K. A. Jacobsen (Ed.), Brill’s Encyclopedia of Hinduism (Vol. 1) (pp. 647-653). Leiden: Brill.
Wu, C., & Yu, A. C. (2012). The Journey to the West (Vols. 1-4). Chicago, Illinois: University of Chicago Press.
I consider one of my greatest accomplishments on this blog to be discovering the origin of Sun Wukong’s golden headband. This would not have been possible without reading about the Hevajra Tantra (8th-century) in Robert Nelson Linrothe’s (1999) Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. This amazing study analyzes Esoteric Buddhist statues and texts to trace the evolution of these guardians from mere dwarf attendants to mighty warrior gods endowed with the power of the Five Wisdom Buddhas. This is a great resource for anyone researching religious art involving wrathful guardians in Buddhism, Daoism, and of course Chinese folk religion, for the iconography of these divine warriors spread far and wide.
I am sharing a PDF of the book found on libgen for the benefit of other scholars. The black and white portions of the book appear to be based on a xeroxed copy. However, there are full color plates in the back.
Buddhists believe that the wrathful spirits represent inherent qualities of our own, and that meditating on them can transmute the otherwise malevolent sides of our own natures into positive qualities and actions. The wrathful deities also provide precious clues as to the early development of esoteric Buddhism in India, about which few early texts survive. Through careful examination of a large body of images as well as Sanskrit, Tibetan, and Indic texts, this lavishly illustrated volume traces the evolution of the forms and the unfolding significance of the wrathful deity in esoteric Buddhist sculpture.
Sun Wukong‘s golden headband (jingguquan, 金箍圈) (fig. 1) is an instantly recognizable part of his popular iconography. Anyone who’s read Journey to the West (Xiyouji, 西遊記, 1592) will know that it painfully tightens around our hero’s skull to correct any unsavory behavior. “What kind of behavior?” someone might ask. Well, mass murder, of course! In chapter 56, for example, Monkey’s Buddhist master Tripitaka recites the spell to punish him for beating a group of bandits to death with his magic staff and beheading one of them with a blade (Wu & Yu, 2012, vol. 3, p. 89).
Fig. 1 – A modern replica of Monkey’s golden headband (larger version).
This spell is first revealed to the monk by Guanyin in chapter 14:
I have a spell which is called the True Words for Controlling the Mind [dingxin zhenyan, 定心真言], or the Tight-Fillet Spell [jingu er zhou, 緊箍兒咒]. You must memorize it secretly; commit it firmly to your memory, and don’t let anyone learn of it […] When [Sun Wukong] returns, give him…the cap [containing the headband] to wear; and if he again refuses to obey you, recite the spell silently. He will not dare do violence or leave you again” (Wu & Yu, 2012, p. 317).
You can see the exact words are never revealed. This is not surprising, though, as the spell is one of the few things in the entire Buddho-Daoist cosmos that can control Sun Wukong. Tripitaka’s life would be in danger and the journey would be doomed if any villains got ahold of this secret. But … what if … we could guess the spell, just for fun? I’d like to suggest a mantra based on historical religious beliefs and iconography. This thought experiment was written for the benefit of artists and fanfiction writers looking to create more accurate portrayals of the novel and its characters.
I. The Band’s Religious Background
As I note in this article, the golden fillet is based on a ritual headband worn by Buddhist ascetics in ancient India. The Hevajra Tantra (Dabei kongzhi jingang dajiao wang yigui jing, 大悲空智金剛大教王儀軌經, 8th-c.) states yogins must wear the band and a list of other prescribed ritual items in their worship of the wrathful protector deity Heruka (Linrothe, 1999, p. 250). Most importantly, the tantra states the band symbolizes the Buddha Akshobhya (Ch: Achu, 阿閦; Budong, 不動; lit: “Immovable”) (fig. 2), who gained enlightenment through moralistic practices of right speech and action (Linrothe, 1999, p. 251; Buswell & Lopez, 2013, p. 27).
Fig. 2 – A depiction of Akshobhya (larger version).  Artist unknown.
Akshobhya and the other esoteric Wisdom Buddhas are sometimes depicted as small figures or colored jewels in the headdress of the Manjusri Bodhisattva (and other Buddhist personages) (Getty, 1914/1988, p. 37; Vessantara, 1993, p. 155). Akshobhya is symbolized by the color blue (Getty, 1914/1988, p. 36). A cursory Google image search shows the blue jewel is often set in the top most position over Manjusri’s forehead (fig. 3).
This might suggest a more religiously accurate version of Sun Wukong’s golden headband would include a figure or jewel representing Akshobhya.
Given the above information, I’d like to suggest the tightening spell for Monkey’s headband—within the context of our thought experiment—is the Akshobhya Mantra! There are two kinds. I’ll leave it up to you which one you like best. The first is a short recitation of the buddha’s name: Oṃ a kṣo bhya hūṃ (fig. 4). This can be very roughly translated as “Praise to the Immovable One!”. Om and Hum are both holy syllables invoking spiritual power and enlightenment, respectively. They also appear in the more well-known Oṃ maṇi padme hūṃ (Ch: An mo ni ba mi hong, 唵嘛呢叭咪吽). One Chinese version of the name mantra appears to be “An a bie zha zhi ga hong hong” (唵 阿別炸枝嘎 吽吽).
The second is a longer chant, again called the “Mantra of Akshobhya” (Achu fo xinzhou, 阿閦佛心咒) (fig. 5 and video 1). It’s interesting to note that the historical Xuanzang (on whom Tripitaka is based) is known to have translated a version of this mantra. 
Reciting this to rein in Sun Wukong not only references the band’s historical and religious connection to Akshobhya but also serves as a physical reminder of right speech and action (how the deity gained buddhahood). It’s Tripitaka’s way of screaming, “Stop murdering everyone within arm’s reach!”
Fig. 6 – Shifu Pigsy (a.k.a. Zhu Bajie) reciting “Amituofo” to activate the golden headband on the Monkey Prince, son of the original Monkey King (larger version). From Yang, 2021, p. 80. Copyright DC Comics.
The case for Akshobhya’s mantra being the tight-fillet spell is strengthened—again, within the context of our thought experiment—by the fact that he has power over strong negative emotions. According to Bangdel and Huntington (2003): “The transcendental insight represented by Akshobhya is mirrorlike wisdom (adarsha jnana), which…is the antidote to the poison of anger, or hatred” (p. 91). The monk Tripitaka assuages these emotions by activating the golden headband, once again reminding Wukong of right speech and action.
In addition, Akshobhya and Gautama have matching iconography: both are shown seated with the left hand palm up on the lap and the right reaching down to touch the earth. Hinayana Buddhists of Sri Lanka and Southeast Asia worship Gautama in this form, but Mahayana worships Akshobhya as such (see note #1). This is important as Gautama gives the three golden headbands to Guanyin in order to pacify any demons that she might encounter during her search for the scripture pilgrim (Wu & Yu, 2012, vol. 1, pp. 206-207). This shows there is a connection between the two Buddhas, and it also explains why Gautama would gift a headband associated with Akshobhya.
Various online sources and adaptations sometimes refer to the spell as the “Headache Sutra” (for example). But to my knowledge it’s never explicitly called this in the novel. The pain associated with the spell is generally used as a threat. For example, in chapter 16, Tripitaka exclaims: “Monkey! Aren’t you afraid of your headache [ni toutong, 你頭痛]? Do you still want to behave badly? (Wu & Yu, 2012, vol. 1, p. 347) (emphasis mine).
Chapter 25 provides two more names for the spell:
There is, moreover, the Tight-Fillet Spell or the Tight-Fillet Sutra [jingu er jing, 緊箍兒經]. It’s also [Tripitaka’s] “Old Saying Sutra” [jiuhua er jing, 舊話兒經].  The moment he recites that, I’ll have a terrible headache, for it’s the magic trick designed to give me a hard time (Wu & Yu, 2012, vol. 1, p. 468).
I’ve written an article that explains the origins of the “crescent-style” headband.
[He] is represented seated, like all the Dhyani-Buddhas, with the legs locked and both feet apparent. There are often wheels marked on the soles of his feet, or a protuberance like a button, resembling the urna on the forehead. His left hand lies on his lap in ‘meditation’ mudra. His right touches the earth with the tips of the outstretched fingers, the palm turned inward. This is called the bhumisparsa or ‘witness’ mudra.
The Hinayana Buddhists in Ceylon, Java, Burma, and Siam worship Gautama Buddha under this form, while those of the Mahayana school look upon it as Akshobhya; for, with but rare exceptions, the historic Buddha is only appealed to by the Northern Buddhists in his ethereal form of Amitabha.
Akshobhya may also take in Tibet another form of Gautama Buddha called ‘Vajrasana’ (diamond throne). The attitude is the same as the above, but before him on the lotus throne lies a vajra, or it may be balanced in the palm of the left hand lying in ‘meditation’ mudra on his lap (Getty, 1914/1988, p. 36).
2) The Chinese source refers to Akshobhya as the “Immovable Buddha” (Budong rulai, 不動如來).
3) I’ve added an extra sentence from the Chinese original glossed over in the translation. Yu (Wu & Yu, 2012) translates the spell as the “Old-Time Sutra” in a previous sentence (vol. 1, p. 468).
Bangdel, D., & Huntington, J. C. (2003). The Circle of Bliss: Buddhist Meditational Art. United Kingdom: Serindia Publications.
Buswell, R. E., & Lopez, D. S. (2013). The Princeton Dictionary of Buddhism. Princeton, NJ: Princeton University Press.
Getty, A. (1988). The Gods of Northern Buddhism: Their History, Iconography and Progressive Evolution through the Northern Buddhist Countries. New York: Dover Publications, Inc. (Original work published 1914)
Linrothe, R. N. (1999). Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. Boston, Mass: Shambhala.
Vessantara. (1993). Meeting the Buddhas: A Guide to Buddhas, Bodhisattvas, and Tantric Deities. United Kingdom: Windhorse Publications.
Wu, C., & Yu, A. C. (2012). The Journey to the West (Vol. 1-4). Chicago, Illinois: University of Chicago Press.
The golden headband or fillet (金箍圈, jingu quan) is one of the Monkey King’s most recognizable iconographic elements appearing in visual media based on the great Chinese classic Journey to the West (1592). It is generally portrayed as a ringlet of gold with blunt ends that meet in the middle of the forehead and curl upwards like scowling eyebrows (type one) (fig. 1). A different version is a single band adorned with an upturned crescent shape in the center (type two) (fig. 2). Another still is a simple band devoid of decoration (type three) (fig. 3). Sun first earns the headband as punishment for killing six thieves shortly after being released from his five hundred-year-long imprisonment. The circlet is a heaven-sent magic treasure designed to reign in the immortal’s unruly, rebellious nature. Since Sun Wukong is a personification of the Buddhist concept of the “Monkey of the Mind” (心猿, xinyuan,), or the disquieted mind that bars humanity from enlightenment, the fillet serves as a not so subtle reminder of Buddhist restraint. Few scholars have attempted to analyze the treasure’s history. In this paper I present textual and visual evidence from India, China, and Japan that suggests it is ultimately based on a ritual headband worn by Esoteric Buddhist Yogin ascetics in 8th-century India. I also show how such fillets became the emblem of some weapon-bearing protector deities in China, as well as military monks in Chinese opera.
1. The Headband’s Literary Origin and Purpose
The headband is first mentioned in chapter eight when three such “tightening fillets” are given to the Bodhisattva Guanyin by the Buddha in order to conquer any demons that she may come across while searching for a monk who will bring sutras back to China from India. The “Enlightened One” explains their purpose: “If [the monster] is disobedient, this fillet may be put on his head, and it will strike root the moment it comes into contact with the flesh. Recite the particular spell which belongs to the fillet and it will cause the head to swell and ache so painfully that he will think his brains are bursting. That will persuade him to come within our fold” (Wu & Yu, 2012 (Vol. 1), pp. 206-207). He notes that there are different spells for each piece, including “the Golden, the Constrictive, and the Prohibitive Spell” (Wu & Yu, 2012 (Vol. 1), p. 206).
Sun Wukong earns the “Constrictive” band in chapter fourteen after brutally murdering six thieves who accost his master Tripitaka, the chosen scripture seeker, on the road to the west.  The killings cause the two to part ways, and it is during Monkey’s absence when Guanyin gives the monk a brocade hat containing the fillet and teaches him the “True Words for Controlling the Mind, or the Tight-Fillet Spell” (Wu & Yu, 2012 (Vol. 1), p. 317). Sun is eventually persuaded to return and tricked into wearing the hat under the guise of gaining the ability to recite scripture without rote memorization. It soon takes root, and the powerful immortal is brought under control through the application of pain. He then promises to behave and to protect Tripitaka during their long journey to the Western Paradise. 
The remaining two fillets are used by Guanyin to conquer other monsters in later chapters. She throws the “Prohibitive” band onto the head of a black bear demon in chapter seventeen and, after reciting the spell, he agrees to become the rear entrance guard of her Potalaka island paradise (Wu & Yu, 2012 (Vol. 1), p. 365). The “Golden” band is split into five rings—one each for the head, wrists, and ankles—and used to subdue Red Boy (紅孩兒, Hong hai’er), the fire-spewing son of the Bull Demon King and Princess Iron Fan, at the end of chapter forty-two and the beginning of forty-three (Wu & Yu, 2012 (Vol. 2), pp. 251-252). The child demon becomes her disciple and eventually takes the religious name Sudhana. 
Monkey is forced to wear the fillet until he attains Buddhahood in chapter one hundred, causing it to vanish (Wu & Yu, 2012 (Vol. 4), p. 383). The band’s disappearance at the end of the novel denotes Sun’s internalization of self-control. But the treasure doesn’t disappear forever. It appears once more in the Later Journey to the West (後西游記, Hou Xiyouji, 17th-cent.), a sequel set 200 years after the original. The story follows a similar trajectory with Monkey’s descendant Sun Luzhen (孫履真, “Monkey who Walks Reality”) attaining immortality and causing havoc in heaven. But this time the macaque Buddha is called in to quell the demon. Monkey quickly disarms the “Small Sage Equaling Heaven” of his iron staff and pacifies him not with trickery but with an enlightening Buddhist koan. He then places the band on Luzhen’s head to teach him restraint (see Liu, 1994).
Fig. 1 – (Left) A type one fillet from the comedy A Chinese Odyssey 2 (1995). Fig. 2 – (Center) A type two fillet from the 1986 TV show. Fig. 3 – (Right) A type three fillet from an 11th-century painting in Eastern Thousand Buddha Cave number two in Gansu Province, China.
2. Past Research
It appears very few scholars writing in English have attempted to trace the origins of the golden fillet. Wang Tuancheng theorizes that the idea for the headband came from two sources. First, the historical journal of Xuanzang (602-664 CE), the Tang Dynasty monk on whom Tripitaka is loosely based, details how he was challenged to a religious debate by a man in a foreign kingdom who offered his own head as the price of defeat. Xuanzang won, but instead of collecting his prize, the monk took the man as his servant. Second, Wang notes that slaves during the Han Dynasty (206 BCE-220 CE) wore a metal collar around their neck shaped like the Chinese character for twenty (廿, nian). He goes on to explain: “…the author transformed the metal hoop that the non-Buddhist might have worn to Sun Wukong’s headband” (Wang, 2006, p. 67). I’m not particularly persuaded by this argument since Wang doesn’t offer any evidence as to why a Han-era slave implement would still be in use during the Tang (618-907 CE) four to five hundred years later; nor does he suggest a reason for why such a collar would be moved from the neck to the head. Besides, there exists religious art featuring the fillet (see below) that predates the novel by some three centuries, meaning it wasn’t the sole invention of the author/compiler of the novel.
Before I continue, I would like to point out that the 13th-century precursor of the novel, The Story of Tripitaka of the Great Tang Procures the Scriptures, does not mention the fillet at all (this is just one of many differences between it and the final 16th-century version). Monkey is simply portrayed as a concerned individual who purposely seeks out Tripitaka to ensure his safety, as the monk’s two previous incarnations have perished on the journey to India. In other words, he comes as a willing participant, which negates the need for positive punishment via the ringlet.  But at least two works coinciding with the Song Dynasty (960-1279) depict Monkey wearing a band, which, again, excludes the treasure being a later invention.
In her excellent paper on the origins of Sun Wukong, Hera S. Walker (1998) discusses a 13th-century stone relief from the western pagoda of the Kaiyuan Temple (開元寺) in Quanzhou, Fujian province, China that portrays a sword-wielding, monkey-headed warrior (pp. 69-70). Considered by many to be an early depiction of Monkey, the figure wears a tunic, a Buddhist rosary, and, most importantly, a type one fillet on the forehead (Fig. 4). Walker quotes Victor Mair, who believes the fillet “recalls the band around the head of representations of Andira, the simian guardian of Avalokitesvara” (the Indian counterpart to Guanyin) (Walker, 1998, p. 70). He goes on to list similarities between the stone relief and depictions of Andira, while also suggesting said depictions are based on south and southeast Asian representations of the Hindu monkey god Hanuman:
Identical earrings (these are key iconographic features of H[anuman] in many Southeast Asian R[ama saga]s), comparable tilt of the head… which seems to indicate enforced submission, long locks of hair… flaring out behind the head, elongated monkey’s mouth, similar decorations on the forearm and upper arm, etc. It is crucial to note that all these features can be found in South Asian and Southeast Asian representations of H[anuman]. (Walker, 1998, p. 70).
So as it stands, the 13th-century appears to be the furthest that the motif has been reliably traced.
Fig. 4 (Left) – The 13th-century stone relief of Sun Wukong from the Kaiyuan Temple in Quanzhou, Fujian province, China (larger version). Fig. 5 – (Center) A portion of the 11th-century painting in the Eastern Thousand Buddha Cave number two (larger version). Fig. 6 – (Right) The 12th-century Japanese painting “Aka-Fudo” (赤不動) (larger version).
3. My Findings
While Mair suggests a Southeast Asian Hindo-Buddhist influence, I know of at least one 11th-century example from northeastern China that suggests an Indo-Tibetan Buddhist influence. The Eastern Thousand Buddha Cave (東千佛洞, Dong qianfo dong) in the Hexi Corridor of Gansu Province contains a Xixia dynasty (1038-1227) wall painting of Xuanzang worshiping Guanyin from a riverbank. Monkey stands behind him tending to a brown horse. He is portrayed with a type three circlet on his head, waist length hair, and light blue-green robes with brown pants (fig. 3 and 5). This painting was completed during a time when China was seeing an influx of monks fleeing the inevitable fall of India’s Buddhist-led Pala Dynasty (750-1174) from the 10th to the 12th-century. They brought with them the highly influential Pala Buddhist art style and Vajrayana Buddhism, a form of esoteric Buddhism. The MET (2010) writes:
A mixture of Chinese-style and Vajrayana traditions and imagery was employed in the Tangut Xixia Kingdom … which was based in Ningxia, Gansu, and parts of Shanxi … It is difficult to imagine that this “new” type of Buddhism, which not only was flourishing in Tibet in the late tenth century but was also found in the neighboring Xixia Kingdom and may have been practiced by Tibetans based in the Hexi Corridor region of Gansu Province, was completely unknown in central China until the advent of the Mongols (p. 19).
The painting of Monkey and Tripitaka was surely created by an Indian/Tibetan Buddhist monk (or at the very least a fellow Tangut/Chinese practitioner) living in the area. This suggests the imagery within the painting, such as the fillet, could have an esoteric Buddhist pedigree, and textual evidence shows such headbands were indeed worn in some esoteric rituals. For example, the Indian Buddhist Hevajra Tantra (Ch: 大悲空智金剛大教王儀軌經, Dabei kongzhi jingang dajiao wang yigui jing, 8th-cent.) instructs adherents on how to adorn and dress themselves for worshipping Heruka, a Wrathful Destroyer of Obstacles:
The yogin must wear the sacred ear-rings, and the circlet on his head; on his wrists the bracelets, and the girdle round his waist, rings around his ankles, bangles round his arms; he wears the bone-necklace and for his dress a tiger-skin… (Linrothe, 1999, p. 250) (the emphasis is mine).
Furthermore, it describes how each of the ritual adornments and implements used in the ceremony represents each of the five esoteric Buddhas, as well as other religio-philosophical elements:
Aksobhya is symbolized by the circlet, Amitabha by the ear-rings, Ratnesa by the necklace, and Vairocana (by the rings) upon the wrists. Amogha is symbolized by the girdle. Wisdom by the khatvanga [staff] and Means by the drum, while the yogin represents the Wrathful One himself [Heruka]. Song symbolizes mantra, dance symbolizes meditation, and so singing and dancing the yogin always acts (Linrothe, 1999, p. 251) (the emphasis is mine).
As can be seen, the circlet represents Aksobhya (Sk: “Immovable”; Ch: 阿閦如来, Achurulai). This deity is known for his adamantine vow to attain buddhahood through the practice of Sila, or “morality”, the aim of which “is to restrain nonvirtuous deeds of body and speech, often in conjunction with the keeping of precepts” (Buswell & Lopez, 2013, pp. 27 and 821). So the ritual band most likely served as a physical reminder of right speech and action, making it the best candidate for the origin of Monkey’s fillet. Sun is after all the representation of the “Monkey of the Mind” (as noted in the introduction), so his inclusion in the Eastern Thousand Buddha Cave painting was probably meant to convey the taming of this Buddhist concept via the circlet (apart from referencing the popular tale itself).
The Hevajra Tantra, the textin which the circlet appears, was first translated into Tibetan by Drogmi (993-1074) and adopted during the 11th-century as a central text by the respective founders of the Kagyu and Sakya sects, two of the six major schools of Tibetan Buddhism. Various members of the Sakya sect were invited by Mongol royalty to initiate them into the text’s esoteric teachings during the 13th-century. These include Sakya Pandita and his nephew Chogyal Phagpa, who respectively tutored Genghis Khan’s grandson Prince Goden in 1244 and Kublai Khan in 1253. The meeting between Kublai and Chogyal resulted in Vajrayana Buddhism becoming the state religion of Mongolia. The Hevajra Tantrawas translated into Chinese by the Indian monk Dharmapala (963-1058 CE) in 1055 during the Northern Song Dynasty (960-1127). The text, however, did not become popular within the Chinese Buddhist community like it would with the Mongols in the 13th-century (Bangdel & Huntington, 2003, p. 455). But this evidence shows how the concept of the 8th-century ritual circlet could have traveled from India to East Asia to influence depictions of Sun Wukong in the 11th-century. And the relatively unknown status of the text in China might ultimately explain why there are so very few depictions of Chinese deities wearing the fillet, or why it does not appear in the 13th-century version of Journey to the West.
While the Xixia painting (fig. 5) lacks many of the ritual adornments (apart from the fillet) mentioned in the Hevajra Tantra, the Quanzhou stone relief (fig. 3) includes the band, earrings, necklace, bangles, and possibly even a tiger skin apron, suggesting it too has an esoteric origin (most likely based on Chinese source material).  The band’s connection to esoteric Buddhism is further strengthened by a 12th-century painting from Japan. Titled Aka-Fudo (赤不動), or “Red Fudo [Myoo]”, it depicts the wrathful esoteric god seated in a kingly fashion, holding a fiery, serpent-wrapped Vajra sword in one hand and a lasso in the other (fig. 6). He wears a golden, three-linked headband (similar to the curls of type one), which stands out against his deep red body and flaming aureola. Biswas (2010) notes: “…the headband on his forehead … indicate[s], according to some, a relation to the habit of groups of ascetics who were among the strong supporters of Acalanatha” (112). His supporters were no doubt yogin practitioners in the same vein as those who worshipped Heraku and other such wrathful protector deities.
Fig. 7 – (Left) Huang Ji’s “Sharpening a Sword” (early 15th-century) (larger version). Fig. 8 – (Center) An image of the hero Wu Song wearing a jiegu (戒箍) fillet from a Water Margin TV show. Fig. 9 – (Right) A late Ming woodblock of the warrior monk Lu Zhishen with a crescent staff (larger version).
3.1. The Fillet as a Symbol of Martial Deities and Warrior Monks
It’s important to note that Monkey was not the only cultural hero of the Ming Dynasty (1368-1644) to wear a golden fillet. Another example is Li Tieguai (李鐵拐), or “Iron Crutch Li”, the oldest of the Eight Immortals. Li is generally portrayed as a crippled beggar leaning on a cane. Legend has it that his original body was cremated prematurely by a disciple while the immortal traveled in spirit to answer a summons from Lord Laozi, the high god of Daoism. Li’s spirit returned a day later to find only ashes, thus forcing him to inhabit the body of a recently deceased cripple. According to Allen and Philips (2012), “Laozi gave him in recompense a golden headband and the crutch that was to become his symbol” (p. 108). Some depictions of Li wearing the fillet predate Journey to the West. The most striking example is Huang Ji’s Sharpening a Sword (early 15th-century) (Fig. 7), which portrays the immortal wearing a type three band and sharpening a double-edged blade on a stone while staring menacingly at the viewer.  One theory suggests Li’s martial visage identifies him as a “spirit-guardian of the [Ming] state” (Little, 2000, p. 333). Both Monkey and Li are therefore portrayed as brutish, weapon-bearing, golden headband-wearing immortals who serve as protectors. This shows the fillet was associated with certain warrior deities during the Ming.
The fillet’s connection to religion and martial attributes culminated in the Jiegu (戒箍, “ring to forget desires”), a type two band worn by Military Monks (武僧, Wuseng) in Chinese opera to show that they have taken a vow of abstinence (fig. 8). Such monks are depicted as wearing a Jiegu over long hair (Bonds, 2008, pp. 177-178 and 328), which contrasts with the bald heads of religious monks. I would like to suggest the band’s half-moon shape may have some connection to a Ming-era woodblock print motif in which martial monks are shown wielding staves tipped with a crescent (fig. 9). The exact reason for the shape is still unknown (Shahar, 2008, pp. 97-98), but the association between the crescent and martial monks seems obvious. The use of the fillet in Chinese opera led to it being worn by Sun Wukong in the highly popular 1986 live-action tv show adaptation of the novel (fig. 2).
Examples of past research into the origins of the golden fillet respectively point to a slave collar from the Han dynasty (206 BCE-220 CE) and circa 13th-century South and Southeast asian depictions of the Buddhist guardian Andira and the Hindu monkey god Hanuman as possible precursors. However, the first isn’t credible, and the second, while on the right track, doesn’t go back far enough. An 11th-century painting in the Eastern Thousand Buddha Cave complex depicts Sun Wukong wearing a type three fillet with possible ties to a ritual circlet worn by Esoteric Buddhist Yogin ascetics in 8th-century India. The Hevajra Tantra, the esoteric text that mentions the band, associates it with the Aksobhya Buddha and thereby his moralistic, self-restraining practices. The text was transmitted from india to Tibet, China, and Mongolia from the 11th to the 13th-centuries, showing a clear path for such imagery to appear in East Asia. A 12th-century Japanese Buddhist painting of the guardian deity Fudo Myoo with a fillet suggests the practice of wearing circlets in esoteric rituals continued for centuries. Other non-Buddhist deities became associated with the fillet during the Ming Dynasty. A 15th-century painting of the immortal Li Tieguai, for example, depicts him as a type one circlet-wearing, sword-wielding guardian of the Ming dynasty. All of this suggests the band became a symbol of weapon-bearing protector deities. The association between the fillet and religion and martial attributes led to its use as the symbol of military monks in Chinese opera.
I’ve been wondering what the 8th-century version of the circlet (along with the other ritual implements) mentioned in the Hevajra Tantra might have looked like. While I have yet to find a contemporary sculpture or painting, I have found an 11th to 12th-century interpretation from Tibet. Titled The Buddhist Deity Hevajra (fig. 10), this copper alloy statue somewhat follows the prescribed iconography of the god as laid out in the aforementioned text:
Dark blue and like the sun in colour with reddened and extended eyes, his yellow hair twisted upwards, and adorned with the five symbolic adornments,/ the circlet, the ear-rings and necklace, the bracelets and belt. These five symbols are well known for the purificatory power of the Five Buddhas./ He has the form of a sixteen-year-old youth and is clad in a tiger-skin. His gaze is wrathful. In his left hand he holds a vajra-skull, and a khatvahga [staff] likewise in his left, while in his right is a vajra of [a] dark hue…(Linrothe, 1999, p. 256)
The circlet here is depicted as a fitted band with crescent trim and a teardrop-shaped adornment (a conch?) (fig. 11). The statue’s iconography more closely follows that from the Sadhanamala (“Garland of Methods”), a compilation of esoteric texts from the 5th to 11th-centuries. The following information probably derives from the later part of this period:
He wields the vajra in the right hand and from his left shoulder hangs the Khatvanga [staff] with a flowing banner, like a sacred thread. He carries in his left hand the kapala [skull cap] full of blood. His necklace is beautified by a chain of half-a-hundred severed heads. His face is slightly distorted with bare fangs and blood-shot eyes. His brown hair rises upwards and forms into a crown which bears the effigy of Aksobhya. He wears a kundala [ear decoration] and is decked in ornaments of bones. His head is beautified by five skulls (Donaldson, 2001, p. 221).
Our statue has many of these features but lacks the image of the Buddha in his hair. This suggests the knob visible in the coif (fig. 10) once carried such a figure. So once again we see the importance of the Aksobhya Buddha. The statue is similar to 10th and 11th-century stone statues from India.
While this doesn’t get us any closer to what the original circlet looked like, this statue adds to the mutability of the fillet imagery. The Hevajra Tantra is vague in its description, and so it is no surprise that so many variations have appeared over the centuries. The original sanskrit text uses the word cakri (circle) to refer to the band (Farrow & Menon, 2001, pp. 61-62). This might explain the simple type three fillet worn by Monkey in the Eastern Thousand Buddha Cave two painting (fig. 2).
I have written an article suggesting an origin for the type one headband, or as I now call it, the “curlicue headband”.
One thing I figured out a while ago but never explained here was the reason why the Japanese Buddhist protector deity Aka-Fudo (赤不動) (fig. 6) is depicted with a headband. I believe this is a visual representation of the fillet’s association with the Aksobhya Buddha. This is because the fudo (Ch: budong, 不動) of Aka-Fudo and the Sanskrit meaning of Aksobhya respectively mean “immovable”. So the image of Aka-Fudo is encapsulating both his position as a protector deity and the Buddha represented by the headband.
I’ve written an article suggesting a mantra for the secret spell that causes the golden fillet to tighten.
1) The type of band that is given to particular characters is explained in Wu & Yu, 2012 (Vol. 2), p. 251. 2) For the entire episode, see Wu & Yu, 2012 (Vol. 1), pp. 314-320. 3) The child first speaks his new name in Wu & Yu, 2012 (Vol. 2), p. 354. The name Sudhana originates from the Avatamsaka Sutra (Wu & Yu, 2012 (Vol. 2), pp. 386-387 n. 3). 4) For a complete English translation, see Wivell (1994). 5) This is just one of many relief carvings that grace the pagoda. It includes other guardian-type figures with esoteric elements but rendered in the Chinese style. See Ecke and Demiéville (1935). 6) The Eight Immortals are Daoist saints who came to be worshipped as a group starting sometime in the Jin Dynasty (1115-1234) (Little 2000: 319). 7) The sword is usually a symbol of the immortal Lu Dongbin, but, as noted above, it is used to identify Li Tieguai as a Ming guardian (Little 2000: 333). 8) Shahar (2008) discusses the historical differences between religious and military monks in ancient China. 9) The actor who played Monkey, Liu Xiao Ling Tong (Born Zhang Jinlai 章金萊, 1959), comes from a family who has specialized in playing Sun Wukong in Chinese opera for generations (Ye, 2016). 10) See the Heruka chapter in Linrothe (1999). He includes our statue in his study, but other sources describe it as Tibetan instead of India (Bangdel & Huntington, 2003, p. 458).
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