Hercules vs Sun Wukong Death Battle Analysis

Last Updated: 10-04-2025

DEATH BATTLE! is a YouTube show that pits famous fictional and (now) mythological characters against one another to see who is the strongest. The outcome of each fight, usually ending in death, is supposedly based on research comparing the combatants’ respective canonical strengths and weaknesses. There are in total nine seasons with 161 episodes. The 162nd episode (episode 7 of season 9) will feature a battle between the hero Hercules from Greco-Roman myth and Sun Wukong from the Chinese Journey to the West (Xiyouji, 西遊記, 1592, JTTW hereafter) story cycle. I only learned about this upcoming fight a little over a week ago when I noticed via my website analytics that a DEATH BATTLE! staff member had linked to my research blog on their external site. Very little concrete information about the battle was released until a few days ago, so I’ve been scrambling to finish this article in preparation for the episode on June 20th, 2022. It can be watched here:

This may not seem very important to some of my followers and lurkers, but DEATH BATTLE! has 5.05 million subscribers, and their last video received 1.7 million views in just a week and the one before got 5 million in just 3 weeks! Therefore, the battle is likely to introduce many, many people to the Monkey King. For example, the primate hero’s fighter preview gained nearly 220,000 views in the first 24 hours, 260,000 as of June 18th, 2022. And as of the same date, Hercules’ fighter preview has 287,000 views.

Win or lose, the purpose of this article is to present accurate information about Sun Wukong. I will correct any mistakes that appear in the video. I will also present a list of surprising parallels shared between Hercules and Sun Wukong, suggesting that they might have been influenced by the same mythic tropes. See also my articles comparing Monkey with the Water Margin hero Wu Song and the historical Buddha.

Before continuing, I want to note that I know the original name is Heracles (or Herakles), but I will use Hercules throughout as this is the name chosen by the staff of DEATH BATTLE!

1. Analysis

1.1. The Death Battle

It’s official, Sun Wukong WON the fight. I will add my comments and corrections (in blue) to the official battle transcript:

An ancient scroll unfurls onscreen as a painted mountain manifests. An unseen narrator begins his story.

1. This was an interesting concept.

Muse: Our tale begins up top a great mountain, where the mighty Heracles sought a gift from the Gods.

As narrated, the legendary demigod finishes his trek up the mountain and calls out to the nearby Monkey King, Sun Wukong, who is sitting atop his Nimbus cloud and holding a divine fruit in his hand.

2. Just a tiny nitpick: The Nimbus cloud is not from JTTW but the Dragon Ball franchise. The novel refers to this skill as the Cloud-Somersault.

Hercules: Ho there! I’m in need of that apple. Relinquish it.

Wukong turns to face the hero and explains his own need for it.

Sun Wukong: Sorry, I’m supposed to find my master some vegetarian food.

3. I really like that the fight starts over fruit. As I note below (sec. 2, #12), both characters steal supernatural fruit (golden apples vs immortal peaches) from the gardens of queenly goddesses (Hera vs the Queen Mother of the West). So this was a nice nod to both myths.

But in hindsight, Monkey stealing the golden apples to feed his master doesn’t make much sense considering: 1) they are located in a land that’s much further west than the scripture monk’s final western destination, India; and 2) I don’t recall reading that the golden apples were anything other than treasures. To my knowledge, none of the associated myths treat them as foodstuff. Someone please correct me if I’m wrong.

However, the explanation is ignored. His short temper kicking in, Hercules draws his sword from its scabbard and threatens Wukong.

Hercules: You’ll find it… elsewhere.

With a shrug and groan of annoyance, Wukong passes the apple to Hercules, who catches it.

Muse: But Heracles was not so easily fooled.

4. Legitimate question: Is Hercules known for having supernatural perception? Are there examples of him seeing through illusions in his original mythos? If anyone knows, please leave a comment.

The hero’s satisfaction turns to indignation as he crushes the illusory fruit in his hand, revealing it to merely be strands of Wukong’s hair. With his scheme discovered, the trickster god pulls out a miniaturized Ruyi Jingu Bang from his ear and enlarges it to its standard size. Laughing with glee, he leaps from his cloud and clashes with Hercules’ sword,

5. Another tiny nitpick: The “standard size” in the animation was not large enough. The novel states that Monkey fights with the staff when it’s around 12 feet (3.65 m) long [1] and the width of a bowl (Wu & Yu, 2012, vol. 1, p. 135, for example). [2] This illustration (fig. 1) shows how big the staff should be in relation to Sun’s body size.

Fig. 1 – Monkey and his religious brothers on patrol (larger version). Artwork by @真·迪绝人 (see here and here). Image found here.

Muse: The Monkey King’s strike rang true, but he’d not so easily overwhelm the God of Strength.

Locked in a clash of weapons, Hercules slashes at Wukong, who dissipates into smoke. The monkey flies behind Hercules on his Nimbus and jabs the hero in the gut with his staff, sending him flying into a cliff below. The mighty demigod is hardly phased though and springs back with a powerful dropkick against the advancing Wukong, sending them down another level.

6. I personally thought Monkey relied far too much on turning into a puff of smoke. I think he instead would have preferred to meet Hercules head-on.

As they both land, Hercules attempts to slash him with his sword once again, but Sun Wukong disappears in a smoke cloud and strikes Hercules with his Ruyi Jingu Bang. As Hercules lies on the ground, the Monkey King extends the staff and brings it down on the hero, who raises his sword to block the strike, only for the blade to shatter. Quickly recovering, Hercules grabs the Ruyi Jingu Bang and pulls on it, bringing Sun Wukong down to him.

Hercules: I am Heracles!

With a single mighty punch to the jaw, Heracles sent the Monkey King soaring through the sky, hitting the edge of the scroll and forcing it to go higher up before landing on a nearby cloud. Before the Monkey King has time to even breathe, Hercules shoots an arrow at him, only narrowly missing.

Sun Wukong: Yikes!

As the hero continues his assault, Wukong begins to jump through the clouds in order to avoid all of his shots, and after beginning to fly with one of them, summons several clones with his hairs to try and reach Hercules. However, the God of Strength manages to shoot down almost all of the clones. One of them climbs onto the cloud Wukong is riding and grabs his tail. Wukong spins him around and launches himself and the clone at Hercules. The Wukongs turn into birds to reach Hercules faster, before turning into snakes to restrict his arms. Tired of the monkey’s shenanigans, Hercules breaks free and grabs his rattles.

7. Legitimate question: Does Hercules have unlimited arrows? Please let me know.

Regarding the transformations, this seemed so out of place during the battle as Monkey never uses animal forms offensively. He instead uses them for stealth or, most famously, to hide from from an opponent

Hercules: Die, demon!

The loud noise echoes through the skies, destroying every single Wukong clone. Reeling in pain from the noise, Wukong’s snake transformation comes undone as he tumbles down the mountain into the forest below.

Sun Wukong: Agony, agony!

8. Why would the rattles have any effect on Monkey? I don’t recall his ears being a weakness

Update: 06-24-22

A redditor explained the following: “It’s not so much that Wukong is weak to sound, more so that the krotalas [rattles] are so loud that the noise causes pain to whatever hears them…”

But the original sources don’t make this claim. For example, the Argonautica of Apollonius Rhodius reads: 

“For not even could Heracles, when he came to Arcadia, drive away with bow and arrow the birds that swam on the Stymphalian lake. I saw it myself. But he shook in his hand a rattle of bronze and made a loud clatter as he stood upon a lofty peak, and the birds fled far off, screeching in bewildered fear” (2.1052).

The Bibliotheca Historica of Diodorus reads:

“Heracles then received a Command to drive the birds out of the Stymphalian Lake, and he easily accomplished the Labour by means of a device of art and by ingenuity. The lake abounded, it would appear, with a multitude of birds without telling, which destroyed the fruits of the country round-about. Now it was not possible to master the animals by force because of the exceptional multitude of them, and so the deed called for ingenuity in cleverly discovering some device. Consequently he fashioned a bronze rattle whereby he made a terrible noise and frightened the animals away, and furthermore, by maintaining a continual din, he easily forced them to abandon their siege of the place and cleansed the lake of them” (4.13.2).

And Pausanias writes:

“There is a story current about the water of the Stymphalus, that at one time man-eating birds bred on it, which Heracles is said to have shot down. Peisander of Camira, however, says that Heracles did not kill the birds, but drove them away with the noise of rattles” (8.22.4).

As can be seen, no mention is made of the implements being painfully loud to anything other than the birds (please provide an example if you know otherwise). While uncertain of the true reason why the rattles appear in the story, Aston (2021) posits that they could reference cultic practices or even just the “noisy rattle[s] or clapper[s] … used by farmers to scare birds from their crops” (p. 102).

I can understand the rattles working if Monkey was still in bird form, but the clone attacking Hercules had already transformed into a snake at the point. And the rattle subsequently affects all of the clones. This doesn’t make any sense.

The scroll unfurls further, revealing the spot where the Monkey King landed, as he begins to laugh.

Muse: The Monkey King fell into a strange forest, in awe of such a wondrous fight. But should he mistake his fear, he might lose his head.

Hercules comes crashing down, instantly crushing Wukong’s head with his club. But to his shock, the beheaded body of the Great Sage gets right back up.

9. Crushing Monkey’s head would not be possible with the olive club, for it would break over his adamantine crown like when Hercules broke the weapon over the Nemean Lion‘s head (sec. 2, #3). Sun’s crown is one of the hardest parts of his body, easily taking direct blows from even sharp weapons wielded by demons with no issue (sec. 1.2, #3).

It think it would have made more sense for both heroes to have, at some point, exchanged blows with their respective blunt weapons (sec. 2, #4). But, again, the club wouldn’t have lasted long. This brings me back to my previous question about the number of Hercules’ arrows. If he ran out, then he would be weaponless after both his sword and club are destroyed.

So, I think at this point Sun would have placed his staff in his ear and offered to have a boxing match with the Greek hero. Something similar happens twice in JTTW. In chapter two, Monkey confronts a demon that had been terrorizing his children during his quest for immortality. But when the monster sees that the primate is not only small but also unarmed, he offers to fight him barehanded in order to avoid criticism from other demon kings. Sun ends up beating him so badly that the monster rushes to defend himself with his sword (Wu & Yu, 2012, vol. 1, p. 128). And in chapter 51, another demon uses a powerful treasure stolen from heaven to take away Monkey’s staff, leading the latter to challenge the monster to unarmed combat to show that he isn’t useless without his weapon. A poem describing the subsequent battle states that the combatants use real-world punching and kicking techniques, many of which are known and still practiced today. And while said poem claims that they are equally matched, all of the heavenly commanders agree that Monkey’s technique is faster and more polished (Wu & Yu, 2012, vol. 3, pp. 12-14)

Seeing Hercules and Sun duke it out, causing the earth to shake and mountains crumble, would be much more entertaining than the latter’s game of hopscotch among the clouds from the video.

Sun Wukong: I haven’t had such fun since I fought all of Heaven! Change!

Wukong transforms into a taller, three-headed and six-armed version of himself, with three separate Ruyi Jingu Bangs included.

Sun Wukong: Behold me, the Immortal Monkey King!

Hercules stares at his opponent’s transformation and laments his misfortune.

Hercules: Huh… Multiple heads. Of course.

10. A nice nod to the Lernean Hydra.

Both warriors begin to trade blows, Hercules managing to avoid a few of Wukong’s strikes before being disarmed of his club and becoming a victim of a staff combo before being kicked away. He shoots out three more arrows at the Monkey King, which seemingly manage to damage him, before his three-headed form dissipates into smoke, and the real Wukong jumps right back up to the clouds, before sending out his staff to hit Hercules once more. The hero merely watches before the staff suddenly grows into an enormous size mere inches away from his face.

11. Monkey does indeed use deceptive magic doubles in battle. One example happens in chapter 4 during his fight with Prince Nezha

“They clashed like raindrops and meteors in the air, but victory or defeat was not yet determined. Wukong, however, proved to be the one swifter of eye and hand. Right in the midst of the confusion, he plucked a piece of hair and shouted, ‘Change!’ It changed into a copy of him, also wielding a rod in its hands and deceiving [Nezha]. His real person leaped behind [Nezha] and struck his left shoulder with the rod. [Nezha] … heard the rod whizzing through the air and tried desperately to dodge it. Unable to move quickly enough, he took the blow and fled in pain” (Wu & Yu, 2012, vol. 1, p. 156).

Hercules: Huh?

He is suddenly crushed underneath the Ruyi Jingu Bang as Wukong sits on top of it and laughs. But the staff suddenly begins to shake, as Hercules begins to lift it from underneath.

Hercules: You’ve had your fun, beast, but I’ve had enough!

Hercules throws the staff away, forcing Wukong to get off it before changing its size once more, and preparing to strike a finishing blow. Hercules sees this and charges towards the Monkey King, clashing with the staff with only his fist. But as the blows make contact, two blue, divine versions of the two warriors can be seen holding the scroll, before preparing their weapons for a clash of their own. The club of Hercules’ celestial body leaves a trail of constellations, while the celestial Ruyi Jingu Bang leaves a trail of names of Four Symbols written in Chinese in its wake.

Muse: The gods watched their earthbound selves, and so joined in battle. The God of Strength mustered the heart of Olympus, while the Great Sage harnessed power equal to Heaven! Thus…

The two celestial bodies swing at each other, with the force of the blows turning the screen a blinding white. Slowly, the light fades away to reveal that Hercules’ celestial body has been impaled by the Ruyi Jingu Bang. The scroll floats back into view, covering the screen once more.

12. I think I understand what the Death Battle staff was going for when they portrayed each character in their celestial form. But this contradicts their promise to not use the heroes’ post-apotheosic versions. Therefore, this also seemed extremely out of place during the fight.

Muse: The Monkey King emerged victorious!

Returning back inside the scroll, Wukong’s attack manages to overpower Hercules, and its might destroys the God of Strength leaving nothing behind.

Sun Wukong: Wow, would you look at that! I struck him so hard he was reduced to nothingness!

13. I think this would have only killed Hercules’ mortal half, releasing the god within and prolonging the fight. While sources vary on what caused his apotheosis (virtus vs the 12 Labors vs Gigantomachy deeds), it’s clear that the son of Zeus become a god upon his fiery death (Romero-Gonzalez, 2021, p. 275).

Wukong laughs once more and grabs the apple, leaving the forest to rejoin his master.

Muse: With a formidable foe slain, stricken against the mountain’s breast, so ends our great tale of East and West.

14. I was honestly underwhelmed by the ending. It seemed like the staff ran out of time, money, or interest and decided to stop the episode prematurely. It should have gone on much longer since Hercules and Sun Wukong are the first two mythological characters to be featured. I also thought Hercules was splattered way too easily. I’m sure there could have been a different way to end the fight. It would have been more respectful to both pantheons if the heroes had simply come to a draw and, having developed a newfound respect for each other’s skills, parted as bond brothers.

But considering that the show is called “Death Battle!”, somebody needs to die (the fans would otherwise be upset). So, baring that in mind, I thought of an idea five days before the episode aired, but I must admit that it’s not very respectful to the Greek hero. In my scenario, Sun seemingly disappears, but he actually turns into an insect and flies into Hercules’ mouth and crawls into his stomach. There, Monkey beats him up from the inside using the iron staff or even his fists. Then he instantly takes on his 100,000 foot (30,480 m) tall cosmic form, causing Hercules’ mortal body to explode. This “attack from within” tactic appears in chapters 59, 75, and 82 of JTTW, [3] as well as chapter 11 of the late-13th-century version of the story cycle

Lasty, I didn’t think the sprite animation was appropriate for such a mythic showdown. I personally would have liked more dynamic, hand-drawn animation like that from the Omni-man vs Homelander episode.

Update: 06-24-22

The same redditor from above also explained that the show apparently has budgetary constraints on episode length and art style. This explains the seemingly abrupt ending and the sprite animation. Hand drawn animation is apparently only reserved for the very tip of the top-most requested matchups.

This still doesn’t change my opinion, though. This was their first battle between extremely famous mythological characters. The fight should have been more grand.

But this information still doesn’t change my opinion of the episode. Rooster Teeth should have allotted a larger budget and made the episode longer.

1.2. The Results

I will do the same for the official fight result transcript:

Boomstick: Talking about a herculean matchup.

Wiz: Heracles was among the greatest heroes in myth, but the Great Sage Equal to Heaven held many more advantages.

Boomstick: You’d think Sun might not measure up to the God of Strength… you know, strength, but he totally could. remember he carried Sumeru on his back, the mountain holding up the infinite celestial sky, like how Heracles held up the infinite celestial sphere.

1. The Death Battle researchers likely learned about this feat from my article. But nowhere do I write that the mountain upheld the sky. The Abhidharmakośa (Ch: Api damo jushe lun, 阿毗達磨俱舍論, 4th to 5th-century) contains an overview of the Hindo-Buddhist cosmos, and it states that the sun, moon, and stars orbit half way down the exposed portion of the mountain [4] in a whirlpool-like ring of wind (Vasubandhu, 2014, pp. 460; Sadakata, 1997, p. 38-40). But the source doesn’t associate this ring with any weight.

Conversely, native Chinese mythology views the sky as a solid object that must be propped up by mountains. And if one of these earthly pillars is damage, it will cause the sky to tilt and even tear, requiring divine repair. See, for example, the legend of Nuwa mending the sky (Birrell, 1999, pp. 69-72 and 96-97). But this has no baring on the discussion at hand as Journey to the West expressly describes the world according to Hindo-Buddhist cosmic geography.

Therefore, Sun’s feat should be scaled accordingly. But I’m not sure how this would be possible as the Buddhist and Greek concepts of the sky appear to be fundamentally different. I’ll have to read more on the latter concept to be sure.

Update: 06-25-22

I was contacted by a reader who said that the episode’s Sun Wukong researcher responded to me on the Death Battle discord, stating:

“To clarify, the basis for what Sumeru supports comes from the Buddhist cosmology lectures sourced in the character sheet. Though the article Jim wrote was what made me initially take note of the feat.

https://www.youtube.com/watch?v=6agAavZTEK0

https://www.youtube.com/watch?v=UMQeFiwacbQ” (per a screenshot emailed to me). 

But I’ve watched the videos and they don’t contradict what I wrote. The problem is that the researcher didn’t make a distinction between the “sky” (as stated in the Death Battle video) and “heaven.” I’ve already described the wind ring in which the celestial bodies orbit the midpoint of Mt. Sumeru. So, now I will give a brief and very simplified overview of the Buddhist cosmos to help readers form a better picture of what I’m arguing. As the axis mundi, Mt. Sumeru is located at the center of our earthly realm, with a ring of seven smaller mountains circling it. This landmass is surrounded by four island-like continents, one for each face of Sumeru, that float in a great sea resting on a disc of golden earth (kāñcanamaṇḍala). This is then supported by a disc of water (jalamaṇḍala) and finally a disc of wind (vāyumaṇḍala), each layer generally becoming larger as one descends. This grand creation is thought to float in “space” (ākāśa) (Sadakata, 1997, pp. 25-30), sometimes translated as “sky” (Buswell & Lopez, 2014, p. 26). There are indeed various layers of heavens on and above Mt. Sumeru, but they appear to be separate from this space/sky (fig. 2). The first two heavens, that of the Four Great Kings and the 33 Gods, are respectively located at the midpoint and summit of Mt. Sumeru. But the following four heavens float above it at varying heights (fig. 3) (Sadakata, 1997, pp. 56-62). Therefore, by running with Mt. Sumeru on one shoulder (and Mt. Emei on the other), Monkey would have supported both the landmass and the two earthly heavens, a monumental task to be sure. But he doesn’t support the four floating heavens above or, most importantly, the space/sky that they are located in. 

Having written the above, I want to note that I’m not claiming Hercules’ feat is stronger by default. I just want to present accurate information. I will at some point post an update with info about ancient Greek concepts of the sky.

Fig. 2 – A diagram of the Buddhist cosmos by MC Owens (larger version). Image from this talk. It’s the most simplistic, eye-catching version I’ve seen. The column of red, blue, and purple rings on the bottom represent the various layers of Hell. Fig. 3 – A diagram of the various heavens on and above Mt. Sumeru (larger version). From Sadakata, 1997, p. 60.

Wiz: As befitting heroes of myth they were on par in that they were both incomprehensibly strong, however, Wukong’s healing abilities meant he could bounce back from Heracles deadliest blows, whereas Heracles did not have a similar option.

Boomstick: But Heracles did have one way of putting the Monkey King down, his arrows dipped in hydra poison.

Wiz: The hydra poison threatened even the gods of Olympus, similar to the scorpion sting. Whether or not it would be fatal is questionable but it could have incapacitated Wukong, similar to how it affected Heracles himself.

2. The novel presents concepts with elemental states beyond heaven and earth. A prime example is Red Boy‘s Samādhi fire, which is considered more powerful than normal or even divine flames. [5] Likewise, the scorpion’s “horse-felling poison” (daoma du, 倒馬毒) likely falls into this separate category, for it was able to hurt even the Buddha! The bodhisattva Guanyin explains:

“Once upon a time she [the scorpion] happened to be listening to a lecture in the Thunderclap Monastery. When Tathagata saw her, he wanted to push her away with his hand, but she turned around and gave the left thumb of the Buddha a stab. Even Tathagata found the pain unbearable!” (Wu & Yu, 2012, vol. 3, p. 72).

The aforementioned monastery is located in the Western Paradise. This suggests that she might have been imbued with “dharma power” [6] over a certain period of time, making her a super powerful foe. Even the bodhisattva Guanyin fears her sting (Wu & Yu, 2012, vol. 3, p. 72). 

I suggest that the scorpion’s sting may be stronger than the hydra’s heavenly poison. [7] Therefore, I question if the latter would have the same effect on the Monkey King.

Boomstick: But that is one very specific win condition and we’re looking at this with every possible option in mind.

Wiz: With his variety of clones, transformations and numerous other spells, Wukong’s arsenal was far more versatile.

Boomstick: Like, there was nothing stopping him from making thousands of clones of himself and just sitting back, while they beat up Herc for him. Unsporting been like? Sure. In character? Absolutely.

Wiz: Even then, those arrows would have to actually strike Wukong, which would be extremely difficult. Yes, in some depictions Heracles could potentially shoot the sun of Helios, his arrows flying 90 times the speed of light. However, in his contest with the Buddha, Wukong leap to the edge of the universe in a single second. To do so he had to be moving over 1.4 quintillion times faster than light.

3. But even if the hydra venom was equally potent, there is no guarantee that Hercules’ arrows could pierce Sun’s adamantine hide. The novel is clear that Monkey’s frame is nearly indestructible. For instance, upon his capture, heaven fails to execute him:

“They then slashed him with a scimitar, hewed him with an ax, stabbed him with a spear, and hacked him with a sword, but they could not hurt his body in any way. Next, the Star Spirit of the South Pole ordered the various deities of the Fire Department to burn him with fire, but that, too, had little effect. The gods of the Thunder Department were then ordered to strike him with thunderbolts [lei xie ding, 雷屑釘, lit: “nails of thunder”], but not a single one of his hairs was destroyed.” (Wu & Yu, 2012, vol. 1, p. 188).

This invincibility follows him throughout the novel. For example, in chapter 75, Sun agrees to a demon lord’s offer to set the monk free if he can survive a blow to his head with a scimitar (fig. 4):

“‘When he heard this, Pilgrim smiled and said, ‘Fiend! If you have brush and paper in your cave, take them out and I’ll sign a contract with you. You can start delivering your blows from today until next year, and I won’t regard you seriously!’ Arousing his spirit, the old demon stood firmly with one foot placed in front of the other. He lifted up his scimitar with both hands and brought it down hard on the head of the Great Sage. Our Great Sage, however, jerked his head upward to meet the blow. All they heard was a loud crack, but the skin on the head did not even redden” (Wu & Yu, 2012, vol. 3, p. 373).

Fig. 4 – Page from a Journey to the West comic book showing Monkey’s hard head (larger version). Image found on Twitter.

Someone may argue that the scorpion’s sting pierced his face, but refer back to what I wrote about dharma power in comment #2, and see also note #6 below.

Also, the Death Battle crew lists astronomically large numbers without explaining how the figures were calculated (I make the same critic of the G1 Death Battle Fan Blog in my 06-19-22 update). These figures mean absolutely nothing without some sort of explanation.

But since the numbers are used in reference to Monkey’s feat of leaping out of the Buddha’s palm, I want to explain its significance for those who don’t understand (per this reddit post). Sadakata (1997) writes: “[Sun’s feat] reflects the world of the Flower Garland Sutra, where every phenomenon is located within the buddha-world” (p. 155). He goes on to discuss the Cosmic Buddha Vairochana, noting how Buddhist art from all over the world depicts the myriad Buddhas as his emanations. One Javanese example features images of the Five Dhyani Buddhas encircling a stupa dedicated to Vairochana, thereby “express[ing] the Mahayana idea that the buddhas emanate from Mahavairocana and penetrate the universe, that the ‘one’ is at the same time the ‘many'” (Sadakata, 1997, pp. 156-157). Therefore, in essence, the Buddha’s palm in the novel represents the universe.  

Update: 06-25-22

Another redditor wrote:

“[T]he Hydra venom doesn’t need to ‘pierce’ your body to make effect, it just needs to have skin contact, referring to the time Hercules died because he was tricked into using a robe with some hydra venom on it.”

I responded:

“I’m aware of how Hercules dies, but there’s still the question of whether or not the venom would be absorbed into Sun Wukong’s nearly indestructible skin. I don’t recall any similar episode where a substance is absorbed through his skin in JTTW. So assuming that it could is not the same as citing evidence that it would. I’m not trying to split hairs. I’m just a stickler for details.”

But I will concede that artistic license and the need to raise the stakes of the battle could warrant the venom effecting him even if the arrows can’t penetrate his skin. 

Boomstick: Making him way faster than Herc could ever hope to be.

Wiz: Heracles held might of mythic proportions, but barring a lucky shot. Sun Wukong’s versatile magic, similar strength and absolutely absurd speed overcame this foe fitting for heaven’s equal.

Boomstick: When fighting Sun Wukong, Heracles mythed his chance.

Wiz: The winner is the Monkey King, Sun Wukong.

2. List of Parallels

This has been split off into its own article to make the present post a more manageable length.

Parallels Between Sun Wukong and Hercules


Update: 06-19-22

I’ve been notified by several people that the G1 Death Battle Fan Blog has posted a prediction. This blog is independent from the actual content creators. In a 7 to 6 split, the blog predicts Hercules will win, explaining that he is stronger and faster. While seemingly thorough, portions of their analysis make no sense. For example, the section on speed reads:

As far as speed goes, the demigod also comes out on top. Taking into account Wukong growing his staff from Earth to the Underworld and the Heavens, then scaling that back to his speed, he could potentially move at 800 quadrillion times the speed of light. However, Heracles scaling to Zeus surpasses this by dozens of times, with him being able to send shockwaves across the entire firmament by simply nodding his head. Zeus nodding his head is an act that should have been done with extreme ease – at least more ease than Zeus actually wrestling Heracles – meaning that Heracles should reasonably scale. As the firmament and Olympus are on the outer sphere of the cosmos, which encircle each other, this would have had to cross the entire diameter, putting the feat at 29 quintillion times the speed of light, over 36 times faster than Wukong …

They scale Sun Wukong’s speed not by his Cloud-Somersault (a metaphor for instantaneous travel) or his ability to carry mountains with meteoric speed but by the magic growth of his staff into a pillar of heaven. Why? They also provide astronomically large numbers without explaining how the figures were calculated, a very common problem with such versus discussions.

In addition, they wrongly state that the 72 Transformations grant Monkey immortality. He actually first attains immortality via Daoist elixir arts. Furthermore, they claim that Sun’s immortality can be taken away from him, referencing his turn in Laozi’s Eight Trigrams furnace. While the extreme heat was meant to extract the elixir from his body, it doesn’t work as Monkey was able to hide in a cooler part of the furnace (Wu & Yu, 2012, vol. 1, p. 189). But we don’t know if this plan would have worked even if Sun had been stuck in direct heat. This is confusing an “intended result” with an “actual result.” But even if the heat could complete the job, how exactly is Hercules going to defeat Sun’s immortality. Does he also carry around a heavenly furnace? This is never explained in the analysis.

I don’t have time to analyze the entire article. I will reserve this space for the actual fight results.

Note: In light of new evidence, I’ve changed my opinion regarding the furnace. Please see the 06-28-22 update below.


Update: 06-23-22

I have finished adding my comments to the official fight and result transcripts of the battle (sec. 1.1 and 1.2). If any new evidence comes to light, I will make sure to further update the page.

I’m thrilled to announce that the episode has 1.1 million views after only two days! 925,000 plus of those were in the first 24 hours! I knew this fight would attract a lot of attention. I hope more and more people will finally read the novel and fall in love with Monkey’s adventures like I did oh so long ago.


Update: 06-26-22

When I originally watched the video, I skipped the character analysis straight to the fight. I only just now got around to reading the official transcript for the beginning, and I’m sorry to report that Monkey’s section is riddled with errors. Whomever wrote it has definitely never read the book. It would be like me writing a Death Battle transcript about Harry Potter based on a very lazy read of Wikipedia. I tried correcting the mistakes onsite, but my edits were reverted, and I was told that the transcript is off limits. Therefore, I’ve decided to add my corrections and comments here (in blue) like I did above.

But before continuing, I want to note that I’m upset because it appears that info from my research blog was likely used in the video and Death Battle wiki website without the specific articles being linked to. Sure, my general blog URL was added twice to an external site (here and here), but this is not the same as linking to the actual articles on the video/wiki so people can see where Death Battle got their information from. Make no mistake, this has little to do with publicity; my blog generates zero money for me. It’s just fair that my work be recognized if it’s being used, especially if it contributed to a video currently making money for its creators

3. Sun Wukong’s character analysis

Wiz: There once was a mighty monkey warrior, born of a mystic stone from the energy of the sun and moon. Upon birth, he graciously bowed to the cardinal directions and-

1. The stone was “nourished for a long period by the seeds of Heaven and Earth and by the essences of the sun and the moon” (Wu & Yu, 2012, vol. 1, p. 101). 

Boomstick: Shot lasers from his eyes! Strap in folks, this one’s a doozy.

2. This feat is likely based on the birth of the historical Buddha. See parallel #2 on this article.

Wiz: This monkey soon befriended a band of other primates and, rather narcissistically, named himself their handsome Monkey King.

3. Sun doesn’t just proclaim himself king, though the addition of “handsome” is pure ego on his part (he’s actually really ugly). He proves himself in a test of bravery by jumping through a waterfall to discover a long-forgotten immortal’s grotto-heaven (see the opening of this article).

Boomstick: But after a few centuries of monkeying about, he got a taste of the dreaded… midlife crisis!

Wiz: You see, the Monkey King was fierce and brave, yet he feared death, so he ventured to new lands in search of immortality.

4. Brave? Yes. Fierce? Not yet a warrior.

Boomstick: Turns out, he’d find a lot of it.

Wiz: Training under the Taoist master, Puti, he earned his first method of immortality and a new name. He would be the Monkey Awakened to the Void, spoken as: Sun Wukong.

5. Subodhi is a Buddho-Daoist sage with heavy Buddhist associations despite his normal portrayal as an immortal.

Boomstick: He also learned a bunch of magic. He can ride clouds, make thousands of clones, heal from fatal wounds like decapitation, and transform into basically anything: a bird, some vapor, a pitchfork, even an incredible fighting temple!

Popup: Though this technique is called “72 Earthly Transformations”, the scope of Sun Wukong’s shapeshifting is limited only by his imagination. The number actually references a collection of stars that the power is associated with.

6. Example #1 of info from my blog being used but not linked to. And the actual name for the technique is the “Multitude of the Terrestrial Killers” (Disha shu地煞數). [10]

Wiz: With his famous cloud somersault, he could traverse the world at incredibly high speed. At first, a single somersault could carry him 180,000 li [a typo for 108,000], li being a traditional Chinese unit equal to about 500 meters, making one somersault move 54,000 kilometers per second, fast enough to circle the entire Earth in one leap.

7. Example #2 of info from my blog being used but not linked to. I note this ability to encircle the earth in the opening paragraph here.

Boomstick: And he’d only get faster from there. Monkey would do whatever it took to prove he was the best of the best.

Wiz: When fighting the mighty deity Prince Nezha, his foe transformed into a more powerful visage with three heads and six arms.

8. This doesn’t happen until chapters later when Monkey first rebels. I’m not sure why they would introduce this fight so early.

Boomstick: But Sun was like, “Hey, I can do that too,” and then did just that.

Wiz: Sun Wukong eventually returned to his simian subjects and, with his newfound power, amassed a veritable army. However, he felt no weapon in their arsenal suited him.

Boomstick: So he barged into the Dragon King‘s palace and demanded he hand over a weapon worthy of a king who can match the power of Heaven. Yeah, Sun was pretty full of himself. But, he wound up taking a pillar, originally designed to measure the depths of the ocean.

Popup: Some translations claim this “golden-hooped rod” measured or held up the galaxy, but these are incorrect. It was originally used to gauge the depth of the Great Flood, a story regarding the rise of dynastic China.

9. Example #3 of info from my blog being used but not linked to. Here I discuss the error in translation that led to this common misconception.

Wiz: What seemed like a worthless rod to the Dragon King was actually the perfect weapon for Wukong. Weighing nearly eight tons, the Ruyi Jingu Bang can change size at his whim. It can shrink to the size of a needle or grow long enough to pierce the heavens.

10. The pillar was not “useless.” He considered it an item of great importance:

“‘That,’ said the Dragon King, ‘was the measure with which the Great Yu fixed the depths of rivers and oceans when he conquered the Flood. It’s a piece of magic iron, but of what use could it be to him [Monkey]?'” (Wu & Yu, 2012, p. 135).

And later, he even refers to it as a “divine treasure” (Wu & Yu, 2012, p. 142).

But the Dragon Queen suggests giving it to the rude and very powerful immortal anyway so that he will leave their kingdom (Wu & Yu, 2012, p. 135).

Also, the staff weighs nearly nine tons.

Boomstick: The same heavens that got pretty mad with Sun after he crossed his name out of the Ledger of Death, making himself double immortal! Wait, how does that work?

Wiz: And even more mad when he demanded to be formally acknowledged as “The Great Sage Equal to Heaven”.

11. This doesn’t happen until after serving as the Bimawen and subsequently rebelling. Again, they introduce something too early.

Boomstick: Okay, we got a headstrong goofball who quickly masters new powers and wants a fancy title. This is just Shonen anime!

Wiz: Now, the Monkey King may have lashed out, but it was because when he requested a place in Heaven, a place he truly believed he deserved, the Jade Emperor‘s court reduced him to a stable boy.

12. He didn’t request a place in heaven. The celestial bureaucracy just gave him a position to keep his unruly adventures in check (Wu & Yu, 2012, vol. 1, p. 143). Monkey only later “lashes out” upon learning of his low rank (Wu & Yu, 2012, vol. 1, p. 149).

Boomstick: Beneath all his antics, what Sun wanted most was to prove himself.

Wiz: Even with all the shenanigans, the Jade Emperor remained cautious and willing to placate Wukong.

Boomstick: By making him the watchdog of the Garden of Immortal Peaches. He totally ate that shit, didn’t he, Wiz?

13. It’s only at this point when Monkey battles Nezha, and when he proves too powerful, heaven placates him with the aforementioned sagely title and the above position (Wu & Yu, 2012, vol. 1, pp. 155-159).

Wiz: Oh yeah, Wukong got hammered, ate most of the peaches, ran around the Jade Palace in a fit, and found five gourds of immortality pills… which he promptly swallowed. All of them.

Boomstick: Ok, so that makes… how many layers of immortality now?

Wiz: I’d say a few… hundred? Thousand? If you count each individual peach and pill. When he sobered up, he knew he was in serious trouble, so naturally… he prepared for war.

14. This glosses over the reason for why Sun was drunk in the first place. He crashes the long-awaited immortal peach banquet and drinks all of the heavenly wine. Only then does he drunkenly stumble into Laozi’s laboratory and eat all of the alchemical pills (Wu & Yu, 2012, vol. 1, pp. 165-166).

Boomstick: Wow, that escalated quickly! What are they gonna do? Kill him? So, the Monkey King proved too strong for Heaven. He battled all their best fighters, and even matched Erlang Shen blow-for-blow in an epic battle of transformations! He’s that guy with the third eye.

Wiz: And Heaven’s greatest holy warrior. Yet, no matter Erlang’s form, Wukong always had a counter. Until Laozi threw in a convenient plot MacGuffin that captured the monkey. But even with Wukong in chains, Heaven had a problem.

15. Sun has no problem fighting Erlang, that is until his beloved monkey army is routed. He thereafter loses heart and flees, using a number of animal/structural transformations to escape (Wu & Yu, 2012, vol. 1, pp. 181-184). This is obviously different from the scenario described above. See this article by my friend Irwen Wong over at Journey to the West Library to learn how Erlang wins the majority of their encounters. 

Also, Laozi’s Diamond snare doesn’t capture Monkey. It simply hits Sun on the head, dazing him long enough for heaven to capture him (Wu & Yu, 2012, vol. 1, p. 186).

We cut to Boomstick.

Boomstick: He just wouldn’t die! Lightning, fire, even Laozi’s de-immortalizing furnace just made the monkey stronger!

16. The purpose of the Eight Trigrams furnace is not to remove one’s immortality but to produce the intense heat needed to manufacture alchemical elixirs (see section III of this article). This is an important distinction.

Laozi suggests that the reason why Monkey has a nearly indestructible body is because all of the immortal peaches and alchemical pills were likely refined in his lower elixir field. He then offers a possible solution:

“It would be better, therefore, if [he is placed] in the Brazier of Eight Trigrams, where he will be smelted by high and low heat. When he is finally separated from my elixir, his body will certainly be reduced to ashes” (Wu & Yu, 2012, vol. 1, pp. 188-189).

But as I note in my 06-19-22 critique of the G1 Death Battle Fan Blog,

“…it doesn’t work as Monkey was able to hide in a cooler part of the furnace. But we don’t know if this plan would have worked even if Sun had been stuck in direct heat. This is confusing an ‘intended result’ with an ‘actual result’.”

Note: In light of new evidence, I’ve changed my opinion regarding the furnace. Please see the 06-28-22 update below.

Wiz: Now, Wukong is not invincible. He has been hurt by the Scorpion Demoness’ poison, which could even harm the Buddha, an awaken divine being liberated from the cycle of life and death entirely.

17. Please see what I wrote about the scorpion above (sec. 1.2, #2)

[Random skit removed for brevity]

Boomstick: Ugh… But even after all that, Sun had one more challenger to contend with; the Buddha himself!

Wiz: Buddha approached Wukong with a contest: leap out of his hand, and he could have the Jade Emperor’s throne for himself.

Boomstick: Having no impulse control, the monkey agreed, and in an instant, somersaulted to the very edge of Heaven.

Wiz: But he had already lost. Because Buddha achieved Nirvana, he transcended the world, literally holding all of existence. So even at the edge of the universe, Wukong technically never left his hand.

18. This matches what I wrote above about the Buddha and the universe (sec. 1.2, #3).

Boomstick: For his rebellion, Sun was put in time out, sealed under a mountain for 500 years.

19. This is an understandable mistake as the phrase “500 years” is thrown around a lot in the novel. But as I explain here, chapter 14 states that the mountain trapped Monkey during the rein of a historical usurper (Wu & Yu, 2012, vol. 1, p. 306), revealing that his imprisonment actually lasts somewhere between 617 to 649 years.   

Wiz: But even Sun Wukong would find a chance at redemption. In his case, he was tasked with escorting and protecting a monk, Tang Sanzang, or Tripitaka, on a journey to the west.

Boomstick: With additional companions Pigsy and Sandy. The trip was a tough one, and Monkey abandoned it more than once. But through it all, he always returned to shine as the group’s powerhouse, saving Tripitaka’s life many, many times. Seriously, this guy could not stay out of trouble. It’s like Wiz on a blind date.

Wiz: Ahem. Wukong has cracked apart mountains, slayed hundreds of monsters, and survived the Yellow Wind Demon‘s storm that could destroy the universe. As in Heaven, Earth, the 18 layers of Hell, and more!

Popup: The storm is depicted differently across translations, but the original Chinese text uses “乾坤”, meaning “universe”, or more literally “every manifestation of nature”.

Boomstick: That’s cool and all, Wiz, but let’s answer the real question. Can he beat Goku?

Wiz: Um… maybe! During his journey, Wukong performed possibly his most legendary feat: holding up Mount Sumeru which, in traditional Mahayana Buddhism, is a mountain supporting the infinite cosmic sky.

Boomstick: And Sun just hauled it around on one shoulder. Just one! Because on his other shoulder… was a whole other mountain!

Popup: The other mountain was Mount Emei, one of the Sacred Mountain of China.

20. Example #4 of info from my blog being used but not linked to. This material of course comes from here.

Wiz: After 14 years of travel, the journey was complete, and Wukong had finally accomplished a truly great deed. For this, he was given his long-awaited place among the heavens.

Boomstick: As the Victorious Fighting Buddha! Now that’s got to be an anime.

Wiz: After so much time as a rebel, an outcast, and a truly unstoppable warrior, Sun Wukong had, at last, found his home.


Update: 06-28-22

I previously referenced Sun’s turn in Laozi’s Eight Trigrams furnace but stated that this should not be used as an anti-feat since the flames never actually hurt him (due to taking shelter in a cooler portion of the brazier) (06-19-22 update & sec. 4, #16). I also referenced Red Boy’s spiritually-cultivated Samādhi fire, noting that it is more powerful than earthly or even heavenly fire (sec. 1.2, #2). Regarding the latter, remember that Monkey easily survives an attempted execution by this celestial flame (sec. 1.2, #3). But it’s important to highlight that, in chapter 41, the combination of Samādhi fire and intense smoke is shown to override Monkey’s famous fire-protection spell:

His whole body covered by flame and smoke, the Great Sage found the intense heat unbearable and he dove straight into the mountain stream to try to put out the fire. Little did he anticipate that the shock of the cold water [11] was so great that the heat caused by the fire was forced inward into his body and he fainted immediately (Wu & Yu, vol. 2, p. 231).

And I was recently reminded of an additional episode where Sun has another brush with supernatural flames. In chapter 75, an ancient demon king places Monkey in a small, unassuming vase for execution, but the latter comments on the cool temperature inside. However, it turns out that this is an ultra powerful treasure “governed by the double primal forces of yin and yang” (Wu & Yu, 2012, vol. 3, p. 368), and the second that he speaks, the vessel assaults Sun first with fire, then biting snakes, and finally fire dragons. The first round of fire has no effect on him (nor do the snakes) but the fire dragons produce flames so hot that they also override the fire-protection spell:

He had hardly finished speaking when he felt some pain on his shanks. Rubbing them hurriedly with his hand, he found his shanks were turning flaccid because of the fire. More and more anxious, he thought to himself, “What’s to become of me? Even my shanks are weakened by the fire. I’ll be reduced to a cripple!” (Wu & Yu, 2012, vol. 3, p. 369)

What’s interesting is that the vase’s various torments are said to be “activated by the seven jewels, the eight trigrams, and the twenty-four solar terms” (Wu & Yu, 2012, vol. 3, p. 368) (emphasis mine). These are the same eight trigrams as Laozi’s furnace. So, this suggests that Sun’s time in the brazier would have actually hurt his body. While this might even destroy his form, the novel hints that, besides providing a surplus of extra heads, the 72 Transformations also grant Monkey extra lives just like a video game (see the 06-12-22 update here). But this “respawning” is never officially shown in the novel. So what would happen if Sun had been trapped inside the Eight Trigrams furnace in direct heat? Would he just keep regenerating over and over again until his extra lives were spent (or he escaped), or would the supernatural flames simply destroy his body once and for all? I’m not sure. Make of this what you will.

But my original point still stands: Hercules would not have been able to overcome Monkey’s immortality unless he was carrying around a heavenly furnace and managed to force and keep the primate hero inside for a given time.


Update: 07-01-22

I forgot to mention something regarding the various fire-related episodes in the last update: Sun Wukong’s abilities are presented inconsistently throughout the novel. This is best illustrated by two episodes. As mentioned above, in chapter 75, Monkey cries that he’ll be a cripple if the supernatural fire continues to burn his ankles. But he previously demonstrated the ability to heal using his immortal breath in Chapter 46:

With a swagger, Pilgrim walked down to the execution site. Leaning himself on a huge pillar, he untied his robe and revealed his stomach. The executioner used a rope and tied his neck to the pillar; down below, another rope strapped his two legs also to the pillar. Then he wielded a sharp dagger and ripped Pilgrim’s chest downward, all the way to his lower abdomen. Pilgrim used both his hands to push open his belly, and then he took out his intestines, which he examined one by one. After a long pause, he put them back inside, coil for coil exactly as before. Grasping the skins of his belly and bringing them together with his hands, he blew his magic breath on his abdomen, crying, “Grow!” At once his belly closed up completely (Wu & Yu, 2012, vol. 2, p. 309).

Prior to this, he quoted a fun poem about his abilities:

Cut off my head and I still can speak,
Sever my arms, I still can beat you up!
My legs amputated, I still can walk.
My belly, ripped open, will heal again,
Smooth and snug as a wonton people make:
A tiny pinch and it’s completely formed.
To bathe in boiling oil is easier still;
Like warm liquid cleanse me of dirt it will (Wu & Yu, 2012, vol. 2, p. 307).

This inconsistency is likely due to the standard 1592 edition of Journey to the West coalescing from independent oral stories developed and told over the centuries (see the late-13th-century version of the story, for example). Therefore, it’s important to remember that Monkey is only as fast, strong, or invulnerable as the story calls for him to be. This serves to heighten the drama, making the story more compelling.


Update: 05-20-23

Above, I mentioned that the DEATHBATTLE! video animated the characters as sprites. I didn’t like Monkey’s design at the time because he was so tiny that you couldn’t see any of the details. However, someone on twitter recently posted hi def and up-close images of him from the battle (fig. 8), and I have to say that he looks pretty good.

Fig. 8 – The three-headed, six-armed sprite Sun Wukong from the video (larger version). Image found on this tweet.


Update: 08-03-23

I want a Hercules-Sun Wukong (fig. 9 & 10) buddy cop movie:

One is a divine hero who is super strong, wears a big cat skin, and fights monsters with a blunt weapon. The other is a divine hero who is super strong, wears a big cat skin, and fights monsters with a blunt weapon. Both are extremely pissed and ready to clean up the streets.

Fig. 9 – Hercules kicking some hydra ass (larger version). Image found here. Fig. 10 – Monkey about to kick somebody’s ass (larger version). Image found here.


Update: 12-01-24

I have split the parallels off into their own article.

Parallels Between Sun Wukong and Hercules


Update: 10-04-25

I have split off material from this page to create a new article discussing a more natural reason for Hercules and Sun Wukong to fight each other.

Story Idea: Sun Wukong vs Heracles

Notes:

1) JTTW uses two measurement units when referring to the staff, the chi (尺, i.e. “Chinese foot”; 12.52 in / 31.8 cm) and the zhang (丈; 1 = 10 chi) (Jiang, 2005, p. xxxi). Monkey is said to fight with the staff at two lengths, “two zhang” (erzhang, 二丈, i.e. 20 chi) in chapter three and “12 or 13 chi” (丈二三) in chapter 88 (Wu & Yu, 2012, vol. 1, p. 135; vol. 4, p. 196). But twenty is likely a typo for 12 (zhanger, 丈二, 3.82 m / 12.53 ft.) since the pillar was already close to the former size when Sun first saw it in the dragon treasury. Therefore, this correction agrees with the latter measurement.

2) Translation slightly altered. Yu (Wu & Yu, 2012) writes that it’s the size of a “rice bowl” (vol. 1, p. 135), but this doesn’t appear in the original Chinese.

3) In chatper 59, for example, he invades the stomach of his former bond brother‘s wife in an attempt to procure a magic weapon needed to clear his master’s path to the west:

“I’m now having a little fun in my esteemed Sister-in-law’s stomach! I am, as the saying goes, seeing right through you! I know how thirsty you must be, so let me send you a ‘sitting bowl’ to relieve your thirst” Suddenly he shoved his foot down hard and unbearable pain shot through Rākṣasī’s lower abdomen, sending her tumbling to the floor and moaning. “Please don’t refuse me, Sister-in-law,” said Pilgrim, “I’m presenting you with an added snack for your hunger.” He jerked his head upward, and unbearable pain coursed through Rākṣasī’s heart. She began to roll all over the ground, the pain turning her face yellow and her lips white. All she could do was to cry out, “Brother-in-law Sun, please spare my life!” (Wu & Yu, 2012, vol. 3, p. 129).

4) Mt. Sumeru is said to be 160,000 yojanas (1 yojana = roughly 8 miles/12.87 km) tall, with 80,000 below a great ocean and 80,000 exposed above (Vasubandhu, 2014, pp. 454).

5) Three lines from a poem in chapter 41 read: “It’s not fire from Heaven, / Nor is it a wildfire. / It’s the realized samādhi fire born of the demon’s self-cultivation” (Wu & Yu, 2012, vol. 2, p. 225).

6) “Dharma power” (fali, 法力) is the strongest form of magic in Journey to the West. See this paper for an explanation of the novel’s Buddho-Daoist cosmic hierarchy, which places Buddhist deities at the top.

7) The hydra is the nigh-immortal offspring of the Titanic monsters Typhon and Echidna (Hesiod & Powell, 2017, p. 52).

8) Yu (Wu & Yu, 2012) uses “pounds” instead of the original jin (斤, a.k.a. catty) (vol. 1, p. 135). During the Ming dynasty when the novel was compiled, one jin equaled approximately 590 grams (Jiang, 2005, p. xxxi). I will therefore alter Yu’s translation to reflect more accurate measures.

9) Yes, this information comes from Wikipedia, but I’m the one who originally added it under the screenname “Ghostexorcist.” See this edit history, for example.

10) I follow the translation used in Meulenbeld (2019). Yu (Wu & Yu, 2012) simply translates this as the “Art of the Earthly Multitude” (vol. 1, p. 122).

11) This sounds like a case of thermal shock.

Sources:

Aston, E. (2021). Labor VI: The Stymphalian Birds. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 95-106). United Kingdom: Oxford University Press.

Birrell, A. (1999). Chinese Mythology: An Introduction. Baltimore: The Johns Hopkins University Press.

Deacy, S. (2021). Heracles between Hera and Athena. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 387-394). United Kingdom: Oxford University Press.

Hanesworth, P. (2021). Labor XII: Cerberus. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 165-180). United Kingdom: Oxford University Press.

Hesiod, & Powell, B. B. (2017). The Poems of Hesiod: Theogony, Works and Days, and The Shield of Herakles. United States: University of California Press.

Hinsch, B. (2011). Women in Early Imperial China. Lanham, Md: Rowman & Littlefield Publishers.

Hsing, I.T., & Crowell, W. G. (2005). Heracles in the East: The Diffusion and Transformation of His Image in the Arts of Central Asia, India, and Medieval China. Asia Major, 18(2), 103–154. http://www.jstor.org/stable/41649907

Hsu, K. L. (2021). The Madness and the Labors. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 13-25). United Kingdom: Oxford University Press.

Huntington, J. C., Bangdel, D. (2003). The Circle of Bliss: Buddhist Meditational Art. United Kingdom: Serindia Publications.

Jiang, Y. (2005). The Great Ming Code: Da Ming Lü. United States: University of Washington Press.

March, J. (2021). Labor I: The Nemean Lion. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 29-44). United Kingdom: Oxford University Press.

Mayor, A. (2021). The Girdle of the Amazon Hippolyte. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 124-134). United Kingdom: Oxford University Press.

Meulenbeld. (2019). Vernacular “Fiction” and Celestial Script: A Daoist Manual for the Use of Water Margin. Religions10(9), 518. MDPI AG. Retrieved from http://dx.doi.org/10.3390/rel10090518

Ogden, D. (2021a). Introduction. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. xxi-xxxi). United Kingdom: Oxford University Press.

Ogden, D. (2021b). Labor VIII: The Mares of Diomede (and Alcestis). In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 113-123). United Kingdom: Oxford University Press.

Pache, C. (2021). Birth and Childhood. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 3-12). United Kingdom: Oxford University Press.

Romero-Gonzalez, D. (2021). Deianeira, Death, and Apotheosis. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 266-280). United Kingdom: Oxford University Press.

Sadakata, A. (1997). Buddhist Cosmology: Philosophy and Origins. Japan: Kosei Publishing Company.

Salowey, C. (2021). The Gigantomachy. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 235-250). United Kingdom: Oxford University Press.

Salapata, G. (2021). Labor XI: The Apples of Hesperides. In D. Ogden (Ed.), The Oxford Handbook of Heracles (pp. 149-164). United Kingdom: Oxford University Press.

Shahar, M. (2008). The Shaolin Monastery: History, Religion, and the Chinese Martial Arts. Honolulu: University of Hawai’i Press.

Theocritus, & Gow A. S. F. (1952). Theocritus (Vol. 1-2). Kiribati: Cambridge University Press.

Vasubandhu (2014). Abhidharmakosabhasyam of Vasubandhu (Vol. 2) (L. de La Vallee Poussin & L. M. Pruden, Trans.). United States: Jain Publishing Company.

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 (Vols. 1-4) (Rev. ed.). Chicago, Illinois: University of Chicago Press.

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

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

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

Book description:

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

Archive link:

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

Disclaimer:

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

Citation:

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

The Tightening Spell of Sun Wukong’s Golden Headband

Last updated: 04-09-2024

Sun Wukong‘s golden headband (jingu, 金箍; a.k.a. jingu, 緊箍, lit: “tight fillet”) (fig. 1) is an instantly recognizable part of his popular iconography. Anyone who’s read Journey to the West (Xiyouji西遊記, 1592 CE) 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).

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. I’ll try to catch up with him [Monkey] and persuade him to come back and follow you. When he returns, give him the shirt and 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).

我那裡還有一篇咒兒,喚做『定心真言』,又名做『緊箍兒咒』。你可暗暗的念熟,牢記心頭,再莫洩漏一人知道。我去趕上他,叫他還來跟你,你卻將此衣帽與他穿戴。他若不服你使喚,你就默念此咒,他再不敢行兇,也再不敢去了。」

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.

Fig. 1 – Monkey’s golden headband (larger version). Image found here.

Table of Contents

1. Religious Background

As I note in this article, the golden fillet is likely 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). [1] 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.

Fig. 3 – A modern painting of Manjusri by Ben Christian (larger version). The jewel above his forehead is a purple/blue color. Image found here

2. The Mantra

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: O 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).

Fig. 4 – The Siddham and Uchen script versions of the short mantra (larger version). Based on information found here. Fig. 5 – A version of the longer chant with Uchen script, as well as English and Chinese transliterations (larger version). Based on an image found here.

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. [2]

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!”

Video 1 – A chant of the long mantra.


3. Updates

Update: 01-24-22

The DC Comics’ story “The Monkey Prince Hates Superheroes” presents the spell as the Nianfo (fig. 6).

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.


3.1. Additional Religious Background

Update: 01-25-22

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.


4. Updates (continued)

Update: 01-27-22

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]. [3] 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).

叫做緊箍兒咒,又叫做緊箍兒經。他『舊話兒經』,即此是也。但若念動,我就頭疼,故有這個法兒難我。


Update: 07-25-22

I’ve written an article that explains the origins of the “crescent-style” headband.

The Monkey King’s Crescent-Style Headband


Update: 04-09-24

Another name for the spell is hua’er zhou (話兒咒), which Yu (Wu & Yu, 2012) translates as the “little something spell” (vol. 2, p. 16, for example).

Notes:

1) Akshobhya’s iconography is as follows:

[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).

Sources:

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 (Vols. 1-4) (Rev. ed.). Chicago, Illinois: University of Chicago Press.

Yang, G. L. (2021). The Monkey Prince Hates Superheroes. In Jessica Chen (Ed.). DC Festival of Heroes: The Asian Superhero Celebration (pp. 70-82) [Google Play]. New York, NY: DC Comics. Retrieved from https://play.google.com/store/books/details/Minh_Le_DC_Festival_of_Heroes_The_Asian_Superhero?id=qXUrEAAAQBAJ

The Later Journey to the West: Part 2 – The Journey to India Begins

Note: An AI translation of this novel is now available. Click the linked Chinese characters below that read “後西遊記.”

The main body of Later Journey to the West (Hou Xiyouji, 後西遊記, 17th century) follows a similar trajectory as the parent novel, Journey to the West (Xiyouji西遊記, 1592). The historical monk Dadian (大顛, 732–824) (fig. 1) is tasked with traveling from China to India to retrieve spiritual knowledge from the Buddha, and just like Tripitaka, he is protected by three demonic disciples, namely Sun Luzhen (孫履真), the descendant of Sun Wukong, Zhu Yijie (豬一戒), the son of Zhu Bajie, and Sha Zhihe (沙致和), the disciple of Sha Wujing. Along the way the group travels through many lands, battles numerous evils, and they eventually become enlightened Buddhas like their predecessors two hundred years prior. As noted in part one, Later Journey to the West may appear like a carbon copy of the original, but the similarities are only skin deep since the novel is comprised of extremely dense layers of allegorical meaning.

Below, I present the second of a three-part summary of the novel (part 1 and part 3), which focuses on the journey proper. I rely very heavily on Xiaolian Liu (1994) as the novel has yet to be published in English.

Notes have been added to the sections below to explain the allegorical meaning of various story elements.

Table of Contents

1. The Interpretation Pilgrim is Chosen

After quelling his descendant’s rebellion, Buddha Sun Wukong travels eastward by cloud with Buddha Tripitaka to see how China has benefited from the scriptures delivered by them some two centuries in the past. However, they find that the monks of the Famen temple (Famen si, 法門寺) are not only falsely claiming to have holy relics from Tripitaka’s deceased human body, [1] but also that their leader is his sixth generation disciple and a master of the sutras. This influences Tang Emperor Xianzong (唐憲宗, r. 806-820) to donate heavily to the temple because he believes that the dynasty will prosper once the pagoda containing the supposed relics is opened. The two Buddhas return to the Western Paradise and report their findings to Tathagata, who tells them that the Chinese will continue to misunderstand and misuse the teachings until they receive the “true interpretation” (zhenjie, 真解). The Enlightened One then charges Tripitaka with locating a pilgrim who will make the journey to India to retrieve this interpretation. [2]

In the meantime, the scholar-official Han Yu (韓愈, 768–824) openly criticizes the emperor for his worship of the relics and his spendthrift support of the temple. For this he is exiled from Shaanxi province in the north to Guangdong province in the south, where he meets the Chan Buddhist Master Dadian. [3] Upon hearing of the decadent, misguided state of Buddhism near the capital, Dadian goes north and memorializes the emperor to give up his extravagant patronage of the religion. This show of integrity cements Tripitaka’s decision to choose the monk as his pilgrim. The Buddha then magically seals away the scriptures, forcing the Emperor to send Dadian to India to retrieve the true interpretation.

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Fig. 1 – A woodblock print of the monk Dadian.

2. The Journey to India Begins

The novel has a total of 40 chapters. Liu (1994) only covers certain chapters from this point on since they contain the most allegorical meaning.

Dadian acquires his demonic disciples during the early stage of his journey. First, he recites a magic spell taught to him by Tripitaka which calls Sun Luzhen to his side. Second, he recruits Zhu Yijie on the road after the pig is subdued by Monkey and made to follow the priest west. Third, Dadian accepts Sha Shihe as his last disciple after the water spirit saves him from a monster that had dragged him to the bottom of the Flowing Sands River.

Prior to Sha Shihe joining the group, Monkey, Dadian, and Yijie travel through the sister villages of Ge (葛, “Creepers”) and Teng (籐, “Clinging Vines”), which are both plagued by bottomless pits that appear and swallow untold numbers of people. [A] The elders of these respective villages tell the pilgrims that the source of this calamity is a demon known as King Defect (Quexian wang, 缺陷王), who lives on the Mountain of Imperfection (Buman, 不滿, lit: “Not full”). The monster feeds on the negativity of people whom he curses with poverty, divorce, disease, etc., and those who don’t worship him are swallowed by the ground to be imprisoned forever. Luzhen retrieves a magic golden treasure from heaven that stops the demon from burrowing underground; however, when he flees into a cave, the pilgrims’ path is blocked by seemingly indestructible vines that regrow as soon as they are cut. But Monkey discovers the vines fail to grow if he cuts them while not talking. [B] The group follows suit and they are able to capture and kill the demon, who is revealed to be a badger spirit.

A) These names refer to Geteng (葛籐, Creepers and Clinging Vines), a term used in Buddhist literature to refer to the net of desire that ensnares humans. Liu (1994) notes the Avadanas Scripture (Chuyao jing, 出曜經, late-5th to early-6th cent.) contains two mentions of the term, one of which reads: “Entrapped in the net of desires, common people are bound to undermine the right (orthodoxy) way … like the creepers and vines which twine round a tree and eventually cause its death” (p. 70).

B) The aforementioned creepers and clinging vines also refer to Geteng Chan (葛籐禪, Wordy Chan/Zen), a term often applied “to people who resort to long-winded words or writings, rather than to their intuitive perceptions to grasp the essence of Buddhist principles” (Liu, 1994, p. 71). This love for speaking/writing is believed to hinder the path to enlightenment. This explains why the vines stop growing when Monkey stops talking. The group, in essence, frees themselves from Wordy Chan and relies more on intuition. This puts them one step closer to enlightenment.

After passing the Flowing Sands River and bringing Sha Shihe into their fold, the group travels to the Mountain of Deliverance lorded over by King Deliverance (Jietuo dawang, 解脫大王). He and his demon generals maintain 72 chasms where humans fall prey to their desires (sex, money, alcohol, anger, etc.) and 36 pits where sinners are tortured. [C] During a battle with the demon army, Zhu Yijie resists promises of sex, food, and treasures offered by the generals, but lets his guard down due to flattery and is captured. [D] Dadian is captured by seven demons displaying a range of emotions from joy to hatred. [E] The monk clears his mind and falls into a deep meditative state undisturbed by the outside world. It is only when Monkey comes to his rescue that Tripitaka regains consciousness. [F] In the end, Luzhen manages to kill King Deliverance by crushing him under the weight of a huge boulder that he had transformed into an exact likeness of himself. This causes all of the generals and the chasms and pits to disappear. The author provides an explanatory couplet.

When the heart (mind) is active,
All kinds of demons come into existence;
When the heart (mind) is extinguished,
All kinds of demons disappear (Liu, 1994, p. 77).

心生種種魔生,心滅種種魔滅。

C) The demon king and generals are physical embodiments of desires that keep people from attaining enlightenment.

D) This represents the consequence of temptation, no matter how small.

E) These demons represent the seven emotions of joy, anger, sorrow, fear, love, hate, and desire.

F) Dadian’s capture represents those who erroneously think meditation is simply sitting quietly instead of inner reflection and the examination of truths. His inability to focus his mind is the real reason for his capture. Monkey represents the mind, so his arrival allows the monk to regain consciousness. Therefore, this episode teaches one to focus the mind and thereby not fall prey to desires. This is yet another step closer to enlightenment.

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Fig. 2 – The immortal Zhenyuanzi as depicted in the famous 1986 television series.

The pilgrims travel to the Temple of Five Villages (Wuzhuang guan, 五莊觀) in the Mountain of Longevity (Wanshou shan, 萬壽山), where they are met by the supreme immortal Zhenyuanzi (鎮元子) (fig. 2), the patriarch of all earthly immortals and a temporary adversary in chapters 24 to 26 of the original. Sensing that Monkey relies too heavily on his physical strength and not his spiritual strength, the immortal only allows Dadian to enter, leaving the others to sit outside for hours. To add further insult to injury, a young immortal page tells Luzhen that his master has decided to forsake the journey in order to study Daoism. This so enrages him that he bursts inside to confront Zhenyuanzi and is challenged to retrieve Dadian from the Mansion of Fiery Clouds (Huoyun lou, 火雲樓) in which the monk is drinking tea. But Monkey’s way is suddenly blocked by a supernatural flame, known as the “fire of the mind” (Xinhuo, 心火), which can’t even be extinguished by Dragon King rain. [G] He finally manages to douse the fire with the sweet dew from Guanyin‘s holy willow sprig and retrieve his master. [H]

G) This fire represents Sun Luzhen and Zhenyuanzi’s anger, which ignites when both enter into an argument. Anger is one of the emotions thought to inhibit enlightenment.

H) This liquid is referred to in Buddhist literature as being able to extinguish everything from desires to negative emotions. For example, Liu (1994) comments: “In a parable in Za baozang jing 雜寶藏經 (Sutra of Miscellaneous Treasures [5th cent.]), the Buddha was said to use the Water of Wisdom to extinguish the Three Fires of Desire, Anger and Delusion” (Liu, 1994, p. 81). Therefore, the dew/water represents wisdom, or the ability to use reason and not become angry. The use of the dew causes Monkey to switch from knee jerk reaction to reason, as exemplified by this statement:

It was my mistake in the first place. I should not have quarreled with him to stir up his fire. Once his fire is stirred up, my fire is stirred up too. I don’t know how long the fire will burn. This surely would cause delay in our master’s proper business (Liu, 1994, p. 80).

初時,原是我差了,不該與他角口,惹他動起火來。他既動了火,我又動起火來,不知燒到幾時?豈不誤了師父正事!

The group comes to an endless, ocean-like river and question how they will ever reach the “other side” (bi’an, 彼岸). [I] They eventually take a derelict boat, but infighting between Dadian and the disciples coincides with a monstrous black storm that erupts overhead, producing powerful winds that blow them thousands of miles off course to the Rakshasa Kingdom (Luocha guo, 羅剎國). This land of monsters is ruled over by the Bull Demon King and Lady Iron Fan (fig. 3), adversaries from chapters 59 to 61 of the original. After learning of the pilgrims’ arrival, Lady Iron Fan sends an army of demon soldiers to capture them so she can exact revenge for perceived misdeeds by their predecessors. [4] Dadian once again enters meditation to avoid evil influences and is quickly rescued by Monkey. Luzhen attempts to save Yijie, who once again falls prey to temptation and is captured, but is stopped by a black whirlwind created by Black Boy (Heihai’er, 黑孩兒), the second son of the demonic couple. [J] Monkey is forced to retrieve a sutra from the Bodhisattva Ksitigarbha in the underworld. Upon reading the sutra, a magic red cloud appears and shines light on the kingdom, destroying all of the demons and leading the monks to freedom. [K]

I) This ocean/river is a common metaphor in Buddhist literature referring to desire, and the “other side” refers to a life free from desire (Paramita), or achieving enlightenment. For example, Huineng (惠能, 638–713), the sixth Chan patriarch, says: “The perverted mind is the great sea and the passions are the waves … if the perverted mind is cast aside the ocean will dry up, and when the passions are gone the waves will subside” (Liu, 1994, p. 81).

J) The black whirlwind represents ignorance, or the Buddhist concept of Wuming (無明, darkness without illumination), and the demon kingdom represents the unenlightened mind that falls prey to its own demons (desire, ignorance, anger, etc.). The metaphors of the black whirlwind and demon kingdom are mentioned in the Collected Essentials of the Five Lamplight Histories (Wudeng huiyuan, 五燈會元, c. 1252), one of several accepted histories of Chan Buddhist orthodoxy in China (Liu, 1994, pp. 84-85).

K) The illuminated red cloud represents sudden enlightenment that sweeps away all ignorance and desire.

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Fig. 3 – An artist’s depiction of Lady Iron Fan and the Bull Demon King.

Notes:

1) This is false within the novel’s fictional universe because Tripitaka attained living Buddhahood in chapter 100 of the original.

2) Tripitaka serves as Guanyin’s successor in this respect, for it was the Bodhisattva who recruited the “scripture pilgrim” in chapter 12.

3) Liu (1994) notes that this is based on actual history. Han Yu, who was a Confucian scholar and the Vice Minister of the Justice Department, “presented a memorial to the throne, denouncing Buddhism as an alien doctrine and criticizing the emperor for receiving and showing reverence for the ‘decayed and rotten bone’ of the Buddha” (pp. 63-64). So in this case it was a relic belonging to the Buddha and not Tripitaka. Han was actually sentenced to death, but this was later commuted to exile thanks to parties arguing on his behalf.

4) She wishes to exact her revenge because their predecessors, Tripitaka, Sun Wukong, Zhu Bajie, and Sha Wujing, were instrumental in the subjugation and reformation of her first son Red Boy by Guanyin.

Source:

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

The Origin of Sun Wukong’s Golden Headband

Last updated: 12-24-2023

The golden headband or fillet (jingu, 金箍; a.k.a. jingu, 緊箍, lit: “tight fillet”) 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 (Xiyouji西遊記, 1592 CE; “JTTW” hereafter). 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 murdering humans. 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” (xinyuan, 心猿), or the disquieted mind that bars humanity from enlightenment, the fillet serves as a not-so-subtle reminder of Buddhist restraint. Few scholars writing in English 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 CE India. I also show how such fillets became the emblem of some Chinese protector deities, as well as military monks in Chinese opera.

Table of Contents

1. 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 scripture pilgrim:

“These treasures are called the tightening fillets, and though they are all alike, their uses are not the same. I have a separate spell for each of them: the Golden, the Constrictive, and the Prohibitive Spell. If you encounter on the way any monster who possesses great magic powers, you must persuade him to learn to be good and to follow the scripture pilgrim as his disciple. If he 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).

此寶喚做緊箍兒,雖是一樣三個,但只是用各不同。我有金緊禁的咒語三篇。假若路上撞見神通廣大的妖魔,你須是勸他學好,跟那取經人做個徒弟。他若不伏使喚,可將此箍兒與他戴在頭上,自然見肉生根。各依所用的咒語念一念,眼脹頭痛,腦門皆裂,管教他入我門來。

Guanyin later explains in JTTW chapter 42 which demons get which fillet (Wu & Yu, 2012, vol. 2, p. 251).

Sun Wukong earns the “Constrictive” (jin, 緊) band in JTTW chapter 14 after brutally murdering six thieves who accost his master Tripitaka, the chosen scripture pilgrim, 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” (喚做『定心真言』,又名做『緊箍兒咒』) (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. [1]

The remaining two fillets are used by Guanyin to conquer monsters in later episodes. She throws the “Prohibitive” (jin, 禁) band onto the head of the Black Bear Demon (Hei xiong jing, 黑熊精) in JTTW chapter 17, 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” (jin, 金) band is split into five rings—one each for the head, wrists, and ankles—and used to subdue Red Boy (Hong hai’er, 紅孩兒), the fire-spewing son of the Bull Demon King and Princess Iron Fan, at the end of JTTW chapter 42 and the beginning of 43 (Wu & Yu, 2012, vol. 2, pp. 251-252). The child demon becomes her disciple and eventually takes the religious name “Sudhana.” [2]

Monkey is forced to wear the fillet until he attains Buddhahood in JTTW chapter 100, 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 (Hou Xiyouji, 後西游記, 17th century CE), an unofficial 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) The “Type One” headband. From the comedy A Chinese Odyssey Part Two: Cinderella (1995). (Center) The “Type Two” headband. From the famous 1986 TV show. (Right) The “Type Three” headband. From the 2011 TV show (larger version).

2. Past Research into the Origins of the Headband

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 (nian, 廿). 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 centuries, meaning it wasn’t the sole invention of the JTTW author-compiler.

Before I continue, I would like to point out that the 13th century CE precursor of the novel, The Story of How 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 CE version.) Monkey is simply portrayed as a concerned celestial 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 punishment via the ringlet. [3] But at least two pictorial representations of Monkey coinciding with the Song Dynasty (960–1279 CE) depict him 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 CE 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 robe, a Buddhist rosary, and, most importantly, a type one fillet on the forehead (Fig. 4). [4] Walker quotes Victor Mair, who believes that 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 CE appears to be the furthest that the motif has been reliably traced.

Fig. 4 – The 13th century CE stone relief of Sun Wukong from the Kaiyuan Temple in Quanzhou, Fujian province, China (larger version).

3. My Findings

While Mair suggests a Southeast Asian Hindo-Buddhist influence, I know of at least one example from northeastern China that suggests an Indo-Tibetan Buddhist influence. The Eastern Thousand Buddha Cave no. 2 (Dong qianfo dong di 2 ku, 東千佛洞第2窟) in the Hexi Corridor of Gansu Province contains a late-Xixia dynasty (late-12th to early-13th century CE) mural 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. 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 CE) from the 10th to the 12th century CE. 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 or Tibetan Buddhist monk, or at the very least a fellow Tangut or Chinese practitioner living in the area. This suggests that 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 (Dabei kongzhi jingang dajiao wang yigui jing, 大悲空智金剛大教王儀軌經, 8th century CE) 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 (emphasis added); 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).

彼修觀者當如是行:謂頂想寶輪、耳帶、寶鐶,手串寶釧,腰垂寶帶,足繫寶鐸及妙臂釧,頸嚴寶鬘衣、虎皮衣 …

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 (emphasis added), 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 [i.e. Heruka]. Song symbolizes mantra, dance symbolizes meditation, and so singing and dancing the yogin always acts (Linrothe, 1999, p. 251).

「輪者,表阿閦如來;鐶者,無量壽如來;頸上鬘者,寶生如來;手寶釧者,大毘盧遮那如來;腰寶帶者,不空成就如來。於是色相而生念住:金剛渴椿誐杖者,表勝慧相;奎樓鼓者,即善方便故;瑜伽行者,瞋業清淨;住金剛歌詠者,真言清淨。

「又復,不應為求利養作是金剛歌舞事業。是故,瑜伽者當如是行…

As can be seen, the circlet represents Aksobhya (Sk: “Immovable”; Ch: Achu, 阿閦; Budong, 不動). 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, 2014, 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 text in which the circlet appears, was first translated into Tibetan by Drogmi (993–1074 CE) and adopted during the 11th century CE 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 CE. These include Sakya Pandita and his nephew Chogyal Phagpa, who tutored Genghis Khan‘s grandson Prince Goden in 1244 and Kublai Khan in 1253, respectively. The meeting between Kublai and Chogyal resulted in Vajrayana Buddhism becoming the state religion of Mongolia. The Hevajra Tantra was translated into Chinese by the Indian monk Dharmapala (963–1058 CE) in 1055 during the Northern Song Dynasty (960–1127 CE). The text, however, did not become popular within the Chinese Buddhist community like it would with the Mongols in the 13th century CE (Bangdel & Huntington, 2003, p. 455). But this evidence shows how the concept of the 8th century CE ritual circlet could have traveled from India to East Asia to influence depictions of Sun Wukong in the 12th/13th century CE. And the relatively unknown status of the text in China might ultimately explain why there are so few ancient depictions of Chinese deities wearing the fillet, or why it does not appear in the 13th century CE version of JTTW.

While the late-Xixia mural (fig. 5) lacks many of the ritual adornments (apart from the fillet) mentioned in the Hevajra Tantra, the Quanzhou stone relief (refer back to 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 CE 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” (p. 112). His supporters were no doubt yogin practitioners in the same vein as those who worshipped Heraku and other such wrathful protector deities.

Fig. 5 – A portion of the late-Xixia (late-12th to early-13th century CE mural) in the Eastern Thousand Buddha Cave number two (larger version). Fig. 6 – The 12th century CE Japanese painting “Aka-Fudo” (赤不動) (larger version).

3.1. 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 CE) to wear a golden fillet. Another example is Li Tieguai (李鐵拐), or “Iron Crutch Li,” the oldest of the Eight Immortals. [5] 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 JTTW. The most striking example is Huang Ji’s Sharpening a Sword (early-15th century CE) (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. [6] 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 that 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 (Wuseng, 武僧) 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. [7] I would like to suggest that 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. (See the 07-25-22 update below for the foreign origins of this motif.) 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). [8]

Fig. 7 (Left) – Huang Ji’s “Sharpening a Sword” (early-15th century CE) (larger version). Fig. 8 (Center) – An image of the military monk Wu Song wearing a jiegu (戒箍) fillet from a 2011 Water Margin TV show (larger version). Fig. 9 (Right) – A late-Ming woodblock of the warrior monk Lu Zhishen with a crescent staff (larger version). From Shahar (2008).

4. Conclusion

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 CE 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. A late-12th to early-13th century CE mural 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 CE 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 CE, showing a clear path for such imagery to appear in East Asia. A 12th century CE Japanese Buddhist painting of the guardian deity Fudo Myoo with a fillet suggests that 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 CE 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 that the band became a symbol of Chinese 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.


5. Updates

Update: 12-23-17

I’ve been wondering what the 8th century CE 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 CE 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)

Fig. 10 – The Buddhist Deity Hevajra, late-11th to early-12th century CE, copper alloy (larger version). Courtesy of the Los Angeles County Museum of Art. Fig. 11 – Detail of the circlet (larger version).

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 CE. 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 CE stone statues from India. [9]

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 no. two painting (fig. 2).


Update: 08-16-20

I have written an article suggesting an origin for the type one headband, or as I now call it, the “curlicue headband.”

Sun Wukong’s Curlicue-Style Headband


Update: 12-12-21

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. 


Update: 01-23-22

I’ve written an article suggesting a mantra for the secret spell that causes the golden fillet to tighten.

The Tightening Spell of Sun Wukong’s Golden Headband


Update: 07-25-22

I’ve written an article that explains the origins of the “crescent-style” headband.

The Monkey King’s Crescent-Style Headband


Update: 06-26-23

Above, I mentioned that the novel contains three kinds of headbands:

  1. Sun Wukong/Six Ears – “Constrictive” (jin, 緊) – ch. 14
  2. Black Bear Demon – “Prohibitive” (jin, 禁) – ch. 17
  3. Red Boy – “Golden” (jin, 金) – ch. 42

It’s interesting that all of them are pronounced “jin” (with varying tones).

Now imagine that there is a secret fourth headband not intended to punish but to empower. Called the “Strength” (jin, 勁) headband, it would only be used in the most extreme emergencies.

It would be neat to see someone work this into their fanfiction.


Update: 12-24-23

A character is briefly punished to wear a golden headband in the famed Ming-era novel Investiture of the Gods (Fengshen yanyi封神演義, c. 1620; summary). Chapter 82 reads: 

Ma Sui [馬遂] attacked him with his sword, and after only one round, threw a gold hoop [jingu, 金箍] around the immortal’s head. The Yellow Dragon Immortal [Huanglong zhenren, 黃龍真人] writher in pain but was quickly rescued and brought back to the pavilion.

The Yellow Immortal Dragon Immortal tried to take the hoop off his head but found it was impossible. It was so tight the true samadhi fire went out of his eyes.

The Immortal of the South Pole [Nanji xianweng, 南極仙翁] came in to announce Heavenly Primogenitor’s [Yuanshi tianzun, 元始天尊] arrival. The religious leader entered the pavilion and said, “The Yellow Dragon Immortal was destined to be caught in this gold hoop. Come here and let me help you.”

He pointed at the gold hoop, and it dropped to the ground (Gu, 2000, pp. 1713-1715).

只一合,馬遂祭起金箍,把黃龍真人的頭箍住了。真人頭疼不可忍,眾仙急救真人,大家回蘆篷上來。真人急忙除金箍,除又除不掉,只箍得三昧真火從眼中冒出;大家鬧在一處。不表。且說元始天尊來會萬仙陣,先著南極仙翁持玉符先行。南極仙翁跨鶴而來,雲光縹緲。馬遂抬頭,見是南極仙翁,急駕雲光至半空中來,阻住去路。仙翁笑曰:「馬遂,你休要猖獗,掌教師尊來了。」馬遂正欲爭持,只見後面仙樂一派,遍地異香,馬遂知不可爭持,按落雲頭,回歸本陣。南極仙翁先至蘆篷,率眾仙迎鑾接駕,上篷坐下。眾門人拜畢,侍立兩傍。元始曰:「黃龍真人有金箍之厄。」忙叫:「過來。」黃龍真人走至面前;元始用手一指,金箍隨脫。

(Gu (2000) skips over some elements in the original Chinese.)

I’ve known about this episode for a while but forget to post about it.

Notes

1) For the entire episode, see Wu & Yu, 2012, vol. 1, pp. 314-320.

2) The child first speaks his new name in chapter 49 (Wu & Yu, 2012, vol. 2, p. 354). The original Sudhana originates from the Avatamsaka Sutra (Wu & Yu, 2012, vol. 2, pp. 386-387 n. 3).

3) For a complete English translation, see Wivell (1994).

4) 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).

5) The Eight Immortals are Daoist saints who came to be worshipped as a group starting sometime in the Jin Dynasty (1115–1234 CE) (Little, 2000, p. 319).

6) 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, p. 333).

7) Shahar (2008) discusses the historical differences between religious and military monks in ancient China.

8) Liu Xiao Ling Tong (六小龄童; born Zhang Jinlai, 章金萊, 1959), the actor who played Monkey in the 1986 TV show, comes from a family who has specialized in playing Sun Wukong in Chinese opera for generations (Ye, 2016).

9) See the Heruka chapter in Linrothe (1999). He includes our statue in his study, but other sources describe it as Tibetan instead of Indian (Bangdel & Huntington, 2003, p. 458).

Bibliography

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Bonds, A. B. (2008). Beijing Opera costumes: The Visual Communication of Character and Culture. Honolulu: University of Hawai’i Press.

Buswell, R. E., & Lopez, D. S. (2014). The Princeton Dictionary of Buddhism. Princeton, NJ: Princeton University Press.

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>Farrow, G. W., & Menon, I. (2001). The Concealed Essence of the Hevajra Tantra: With the Commentary Yogaratnamālā. Delhi: Motilal Banarsidass Publ.

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