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Zhu Bajie’s Earliest Known Depictions and the Gyeongcheonsa Pagoda

Jim R. McClanahan Leave a comment

Last updated: 10-26-19

I suggested in a previous article that Zhu Bajie was first added to the Journey to the West story cycle during the 14th-century. This is because the character does not appear in the 13th-century version of the story, but he does appear in a stage play from the 15th-century. Thanks to the writing of Prof. Ben Brose, I learned of Pigsy’s three earliest known depictions from this time period. The first is a Yuan Dynasty Cizhou ware ceramic pillow showing all of the characters (fig. 1). The second is a fragmented Yuan-era blue and white incense burner (fig. 2). Older still are Zhu’s depictions appearing on the 14th-century Gyeongcheonsa pagoda (Kyŏngch’ŏnsa sipch’ŭng sŏkt’ap, 경천사십층석탑) from Korea (fig. 3). You read that right, Korea!

cizhou ware pillow and korean pagoda

Fig. 1 – The Cizhou ware pillow featuring Pigsy and the other pilgrims (larger version); Fig. 2 – A fragment of the blue and white incense burner showing Pigsy leading the White Dragon Horse (larger version). Fragments with the other characters can be found here; Fig. 3 – The Gyeongcheonsa pagoda is now housed inside of the National Museum of Korea (larger version). 

I. Why Korea?

The Pak t’ongsa ŏnhae (Ch: 朴通事諺解, Pu tongshi yanjie), a 17th-century Korean primer on colloquial Chinese comprised mostly of material traceable to the mid-15th-century, presents the Journey to the West story cycle as a highly popular tale among Koreans. This fact is revealed during a conversation between two Buddhist monks, one of which states: “The Xiyouji is lively. It is good reading when you are feeling gloomy” (Dudbridge, 1970, p. 180). The same monk then recounts an episode where Monkey competes with three animal spirits-cum-Daoist priests in a test of magic skill. This episode comprises chapters 44 to 46 in the final Ming version of the novel. [1] The popularity of the Chinese story cycle in Korea then explains why scenes from it appear on the pagoda.

II. Pagoda Background

The National Museum of Korea explains the 13.5 meter (44.3 ft) tower has a long and tumultuous history:

Made of marble, this ten-story stone pagoda was erected at Gyeongcheonsa Temple in Gaeseong in 1348, the fourth year of the reign of Goryeo’s King Chungmok. The first tier of the pagoda bears an inscription that records various details about the pagoda’s production, including the production date and the patrons. According to the inscription, the pagoda was sponsored by Goryeo people who were associated with China’s Yuan Dynasty. Notably, this stone pagoda was closely modeled after wooden architecture, and each story is expertly carved with Buddhist images. The platform is sculpted with scenes of Xiyouji (Journey to the West), as well as lions, dragons, and lotus flowers. The lower four stories are sculpted with scenes of Buddha’s Assembly, while the upper six stories are sculpted with images of Buddha with both hands clasped. The four sides of the platform and those of the lower three tiers are protruding, recalling the shape of Tibetan-Mongolian pagodas that were prevalent in the Yuan period. However, the upper seven tiers have a more standard rectangular shape that corresponds with the conventional form of stone pagodas. Notably, about 120 years after this pagoda was built, the Joseon royal court erected a stone pagoda with a similar material and shape at Wongaksa Temple in Gwangju. In 1907, this pagoda was illegally dismantled and smuggled to Japan by Tanaka Mitsuyaki, the Japanese Minister of the Imperial Household. However, thanks in part to the efforts of a British journalist named Ernest Thomas Bethel and an American journalist named Homer Hulbert, it was returned to Korea in 1918. The pagoda was partially restored in 1960, while it was being kept at Gyeongbokgung Palace, but after having been kept outside for so long, suffering the effects of weather and acid rain, it could not be properly preserved. Thus, in 1995, it was dismantled for a more extensive restoration project. Ten years later, it was reassembled inside the new building of the National Museum of Korea in Yongsan, being unveiled as part of the museum’s grand opening in 2005 (“Ten-story Stone Pagoda”, n.d.).

The pagoda’s political and architectural connections to Yuan China further explain why scenes from the story cycle grace the platform.

III. The Images

(Note: I have recently learned that the line drawings from Yegŭrin Kŏnchʻuksa Samuso (1993) are all but useless. See the 10-26-19 update below for more info.)

Twenty Journey to the West-related scenes appear on the second level of the pagoda’s multifaceted three-tiered base. The following line drawings, which are based on ink rubbings of the original carvings, come from an in-depth field report by the Yegŭrin Architectural Firm (Yegŭrin Kŏnchʻuksa Samuso, 1993). The images are presented below starting from the southernmost face (the six o’clock position) of the pagoda’s diamond-shaped cross section, proceeding in a clockwise fashion. Each is accompanied with commentary from the original report.[2] You will notice the report is generally vague as the exact meaning of the scenes are often unclear. I will therefore present my own commentary or questions below in the hopes of furthering the discussion.

Number One: A royal send off

image 1 (small)

Fig. 5 – (larger version)

On the left, a figure of a Buddhist monk stands at the front, and behind him a horse and figures in the shape of a pig’s head, a monkey, and more are depicted. The figure of the Buddhist monk appears to be Monk Xuanzang, the figure of the monkey, Sun Wukong, the figure with the pig’s head, Zhu Bajie, and the last figure appears to be Sha Wujing. In other words, it is Monk Xuanzang’s travel companions. On the right, pictured symmetrically with Xuanzang’s travel party is the figure of a nobleman wearing a crown, and behind him stands a figure of a young boy holding an umbrella over his head and the figures of three noblemen.

And to the right of this a building structure is depicted. The nobleman who is at the very front wearing a crown seems to be a king and the building structure appears to represent a palace. Therefore, the content of the carving above seems to be the scene of a king sending off Monk Xuanzang’s travel party [fig. 5] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p.123).

Could this scene be a telescopic version of the narrative, one in which the already assembled group is being sent off by Tang Taizong? After all, the authors suggest in panel number ten that the first ten images likely show the journey to India, while the latter half shows the return (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 124). Hierarchy in scale is employed to portray the king as the largest and therefore the most important, with Tripitaka being the second tallest/important, and the three disciples even shorter. Pigsy’s porcine head really stands out as Sandy is depicted as a human monk.

Number Two: On the Road

image 2 (small)

Fig. 6 – (larger version)

As above, the horse and the travel party of Monk Xuanzang, Monkey, Zhu Bajie and Sha Wujing have been portrayed. Here Sha Wujing is carrying a knapsack. On the left a road populated with animals and birds are depicted. Therefore, here it appears to show that Monk Xuanzang and his companions are traveling on a mountain road [fig. 6] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p.123).

Take note of Pigsy’s upraised hands and wide stride. This motif appears several more times on other panels (fig. 12, 13, 17, and 24). The posture is quite similar to that from the aforementioned ceramic pillow and incense burner, which depict Pigsy carrying his rake and leading the horse. He lacks his signature weapon in these scenes, however (fig. 7). This might explain the strange posture of his right hand.

Korean Pagoda paper - Pigsy iconography comparison

Fig. 7 – Similar Pigsy iconography from the Cizhou ware pillow (left), the incense burner (center), and panel two (right), all corresponding with the Yuan Dynasty (larger version). See also figure 24 for a better match. 

Number Three: A prisoner?

image 3 (small)

Fig. 8 – (larger version)

On the left, the figure of a nobleman wearing a crown is kneeling. Behind him, a figure of a person holding a club appears to threaten the nobleman in front. Behind them something like an altar is depicted. Symmetrical with the figure of the kneeling nobleman, a figure looking like a government official from a prison in a provincial district stands holding a tool of torture.

Even if we don’t know what this is, it seems to show the oppression by those of other religions during the years of Xuanzang’s journey [fig. 8] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 123).

My view on the scene differs from the authors. The “government official” appears to be a deity (noted by the flowing ribbons around the shoulders), possibly Guanyin since the upheld item reminds me of her holy vase. The figure to the right could be her disciple Moksha. Would this make the club-wielding figure Monkey and his prisoner a captured demon?

Number Four: A confrontation

image 4 (small)

Fig. 9 – (larger version)

On the left, a figure holding a club and Monk Xuanzang are depicted. On the right, Monkey, Zhu Bajie and Sha Wujing are portrayed. Here Monkey is posed as if he is defeating something with the stick, and behind the horse Sha Wujing is carrying the knapsack. Monk Xuanzang is shown lifting his left hand as if he is arguing something. This appears to show the scene of Xuanzang’s companions defeating some hindrance [fig. 9] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 123).

I believe Tripitaka is begging Monkey not to slay or beat the person, as the monk steps in many times throughout the narrative to do this. Could this be the White Bone Demon under one of its many disguises from chapter 27?

Number 5: A king or deity

image 5 (small)

Fig. 10 – (larger version)

On the right side, a figure riding a lion is depicted. On the left side, three figures that seem like they are servants are depicted, and in the back a building structure is carved. It seems to depict some group of royals or noblemen on Xuanzang’s way to India [fig. 10] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 123).

The group of servants appear to me to be our pilgrims, the long-faced figure possibly being Pigsy. The figure riding the lion could be Manjusri and his feline mount. Could this be a reference to him subduing the beast in chapter 77? The figure’s hands appear to be producing bolts of lightning. I’m not sure of the significance, if any.

Number Six: A foreign court

image 6 (small)

Fig. 11 – (larger version)

On the right, there is a figure of a Buddhist monk holding a monk’s staff who seems to be Monk Xuanzang, and a figure to his left seems to be a disguised Monkey. On the left, figures of noblemen from a palace are portrayed. This appears to depict a scene where Monk Xuanzang’s travel party is welcomed in some palace along the road [fig. 11] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 124).

The strange figure in the middle is a complete mystery to me. While the figure is identified as Monkey, it’s impossible to tell for sure.

Number Seven: Fire Mountain

image 7 (small)

Fig. 12 – (larger version)

On the left side, a pattern of fire sparks is carved. And in front of that is Monkey, holding a fan trying to put out the fire. Behind him Monk Xuanzang is carrying out some action with lifted hands, and behind him Zhu Bajie is holding the horse reins while Sha Wujing as always is carrying the knapsack. This depicts the scene of Xuanzang’s travel party meeting and trying to eliminate difficulties along the road [fig. 12] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 124).

This is the least ambiguous of the twenty scenes and my personal favorite. It depicts Monkey using the magic palm leaf fan to conquer the flames of Fire Mountain.

Pigsy’s upraised hand-wide stride motif appears once more.

Number Eight: Offerings

image 8 (small)

Fig. 13 – (larger version)

A table is placed in the middle, and on top of it lays objects that seem to be offerings. On the right Xuanzang’s travel party and on the left figures of noblemen or royals are depicted. Two of the figures from Xuanzang’s travel party are covering their heads with something, but this seems to be to conceal the sight of Monkey and Zhu Bajie’s animal heads. This appears to be the scene of Xuanzang’s travel party receiving offerings from a royal or gentry family along the way [fig. 13] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 124).

The bearded figure between Tripitaka and the supposedly veiled figure is no doubt Pigsy, based on his upraised hands and wide stride. The elongated snout has been confused for a beard.

Also, could the veil actually be supplies on the horse’s back? Maybe the original rubbing is degraded in this area, making the head look as if it is under (instead of in front of) the object.

Number Nine: Another confrontation

image 9 (small)

Fig. 14 – (larger version)

On the left, a figure of a nobleman who is kneeling or bending his head is depicted. On the right, the figure of Zhu Bajie, who is trying to attack the nobleman, and the figure of Monk Xuanzang, who is trying to prevent this, are shown. It appears to be depicting some sort of misunderstanding that happened between the nobleman and Xuanzang’s attendant [fig. 14] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 124).

Pigsy has not been portrayed with a weapon up to this point. It would make more sense if Monkey was wielding the staff. After all, figure 17 depicts Sun standing in a similar posture while wielding a club/staff. Perhaps the elongated face on this panel is just an artifact from the original rubbing?

Number Ten: A temple

image 10 (small)

Fig. 15 – (larger version)

On the left side, Xuanzang bears a monk’s staff and his attendants are depicted together with the horse. And on the right side, symmetrical to this, are the figures of a Buddhist monk (holding a monk’s staff) and his attendant, who are about to receive Xuanzang’s travel party. This appears to depict the scene of Xuanzang’s travel party being welcomed by the monks of some temple along the way. Here Monkey and Zhu Bajie seem to have transformed into monks and are posing as Buddhist monks.

The above ten sides, beginning at due south and reaching due north, appear to be depicting the process of Xuanzang’s travel party going to India, while the ten sides starting at due north appears to depict their return journey [fig. 15] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 124).

The scene shows the small monk on the right passing something to Tripitaka. Based on iconography from the following images (see, for example, fig. 18), this could be portraying the monks receiving the scriptures in India.

Number Eleven: Returning home

image 11 (small)

Fig. 16 – (larger version)

On the left side, two horses carrying something on their backs and Xuanzang’s travel party are shown. On the left are two figures of kings with umbrellas held over their heads by attendants. And to the left of them, a figure of an official who seems to be guarding the palace is visible. This appears to be depicting the scene where the kings are sending off Xuanzang’s travel party, who are setting off on their journey home after obtaining the scriptures [fig. 16] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 124).

The “something” on the horses’ backs could be the scriptures.

Number Twelve: Saving their Master

image 12 (small)

Fig. 17 – (larger version)

On the left, the figure of a monk is caught by the figures of noblemen wearing crowns. On the left Monkey, Zhu Bajie, Sha Wujing and the horse are depicted. But Monkey and Zhu Bajie are assuming postures threatening to save the captured Monk Xuanzang. This seems to show the image of Monkey and company as guards, trying to save Xuanzang when he was being captured on their way back [fig. 17] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 125).

Here the figure wielding the staff is designated Monkey, with Pigsy standing behind him. Again, this makes more sense than Zhu Bajie attacking (as portrayed in figure 14).

Number Thirteen: Passing on the dharma

image 13 (small)

Fig. 18 – (larger version)

On the right side, Xuanzang’s travel party and the horse carrying the scriptures are depicted. Here Xuanzang is shown handing over some of the Buddhist scriptures to the figure of a monk on the left. This appears to show Xuanzang’s travel party passing on Buddhism along the way on their return journey [fig. 18] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 125).

Compare the shape of the Buddhist scriptures held by the monks with that in figure 15.

The panel draws on preexisting iconography regarding the sutras. The collection of holy writings are sometimes portrayed as a bundle of scrolls emitting an aura of holy light. See, for example, the 12th-century mural from Yulin Cave (Yulin ku, 榆林窟) number three in Gansu province, China (fig. 19).

Yulin Cave and Korean pagoda examples of sutras - small

 Fig. 19 – Detail of sutras from a 12th-century Yunlin cave mural (left) and the sutras from panel thirteen (right) (larger version). Both are shown stacked atop a horse. 

Number Fourteen: The emperor waits

image 14 (small)

Fig. 20 – (larger version)

In the middle of the right side, the figure of a king seated on a throne is depicted. On both sides of him figures of scholar-officials attend to him or sit. On the left, figures of officials are shown attending to duties or sitting. It seems this is depicting the scene of China’s emperor waiting for Xuanzang’s travel party [fig. 20] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 125).

Could the figures at the table actually be our heroes, with Xuanzang kneeling before a foreign king?

Number Fifteen: An ascetic or Monkey

image 15 (small)

Fig. 21 – (larger version)

On the left side, a figure of an ascetic is depicted sitting under a tree (Bodhi tree) meditating, and Xuanzang’s travel party and the horse are depicted. Here Xuanzang is assuming a posture, holding the monk’s staff and lifting his right hand trying to assert something. This seems to show the scene of Xuanzang’s travel party meeting an ascetic and passing on Buddhism on their journey home [fig. 21] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 125).

Look closely and you will notice that Sun Wukong does not appear in the scene. Could the “ascetic” be Monkey kneeling before Xuanzang. If so, could this be a reference to the immortal and his master mending their relationship in chapter 58 after the trickery of the Six-Eared Macaque forced them apart?

Number Sixteen: Imperial court

image 1 (small)

Fig. 22 – (larger version)

On the right, a building is depicted and inside it a figure of a king sitting on a throne, and in front of him, a figure of a kneeling monk (Xuanzang) are portrayed. Outside the building, the figure of a young monk that seems to be Xuanzang’s attendant is depicted. Behind him, figures that seem to be civil and military officials are depicted. This seems to show the scene of Xuanzang meeting some king along his way [fig. 22](Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 125).

Could the “attendant” be Monkey?

Number Seventeen: Attacking a pagoda

image 2 (small)

Fig. 23 – (larger version)

On the left, a pagoda is depicted and in front of it, Zhu Bajie is carrying a club, assuming a posture trying to bring the pagoda down. Behind him Monk Xuanzang is lifting his right hand and insisting something, as if trying to stop him. This seems to show the soothing of Zhu Bajie’s aggressive, insulting actions towards Buddhism [fig. 23] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 125).

Like figure 14, it would make more sense if Monkey is the one wielding the staff. Could this be a reference to chapter 62 when Sun captures two fish spirits found on a pagoda’s topmost floor?

Number Eighteen: Nearing home

image 3 (small)

Fig. 24 – (larger version)

In the upper left part, the sun symbolizing light is depicted. Headed in that direction Monk Xuanzang is taking the lead and behind him Monkey, Zhu Bajie and Sha Wujing are shown hurrying their steps while leading the horse. Here Monk Xuanzang seems to be urging Monkey, Zhu Bajie and Sha Wujing, rushing their journey home [fig. 24] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 125).

This includes Pigsy’s aforementioned motif. It is a better match for the ceramic pillow and incense burner examples from figure 19.

Number Nineteen: A deity appears

image 4 (small)

Fig. 25 – (larger version)

On the right, a figure of a celestial being is depicted and Xuanzang’s travel party is facing it symmetrically. This seems to show the fact that Xuanzang’s travel party received the blessing of celestial guardian deities [fig. 25] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 126).

I’m confused as to why the two characters on the far right are stacked one on the other. Per the original ink rubbing, could “they” actually be a singular figure, possibly someone of great importance given their size? Could the “deity” actually be Xuanzang being elevated in spiritual rank like in chapter 100?

Number Twenty: Teaching the dharma

image 5 (small)

Fig. 26 – (larger version)

On the left, something that seems to be a Buddhist altar is depicted. In front of it, Xuanzang is placed in the middle shown holding the monk’s staff, and Monkey, Zhu Bajie and Sha Wujing are each shown performing different actions. Xuanzang is lifting his right hand, posed arguing something and you could say he is trying to educate his attendants, Monkey etc., in Buddhism [fig. 26] (Yegŭrin Kŏnchʻuksa Samuso, 1993, p. 126).

While the line drawing looks more like a figure at a desk, it very well could be an altar with a Buddha statue. Could this depict the lives of our heroes after entering paradise?

IV. Other Pagodas

This is not the first time characters from the story cycle have appeared on a pagoda. Even older examples appear on the 13th-century tower of the Kaiyuan Temple from Quanzhou, Fujian province, China. In this previous article I described how the pagoda is covered with eighty life-sized carvings of Buddhas, bodhisattvas, guardian deities, Buddhist saints, and eminent monks. Of note is a muscular, sword-wielding, monkey-headed warrior that many consider to be an early example of Sun Wukong. Another is an armored, spear-wielding warrior believed to be the dragon prince who becomes the white dragon horse. Both occupy the same face of the eight-sided structure (Dudbridge, 1970, pp. 47-48 and 49-51).

V. Conclusion

Zhu Bajie’s oldest known depictions come from a time coinciding with the late Yuan Dynasty, examples including a ceramic pillow and a fragmented incense burner from China and carvings on a pagoda from Korea. Built in 1348 by Goryeo representatives with ties to the Yuan court, the ten-story Gyeongcheonsa pagoda includes twenty Journey to the West-related scenes around the second level of the structure’s multifaceted three-tiered base. Many of the scenes are vague or focus more on kings and nobles in place of Tripitaka’s tribulations or instances of supernatural battles. One has to consider the story cycle was still solidifying at this point, so it’s possible some of the scenes depict episodes that did not make it into the final Ming version of the novel. But given the amount of royalty, is it possible the donors/planners were trying to ingratiate themselves with people of higher social rank? Or were they just trying to illustrate the great many countries visited by the pilgrims (each one ruled by a king) within the limited space provided?

The panels involving Pigsy for the most part use a consistent iconography borrowed from China. The aforementioned Yuan examples portray Pigsy leading the horse with one hand and with the other holding his signature rake, which rests on his shoulder, all while taking a large step forward. The pagoda panels, however, do not portray the rake, leaving our portly hero with his arm strangely floating in the air. Instead of a rake, some panels appear to show him wielding a staff. But the figure might actually be Sun Wukong, the elongated face just being an artifact from the original ink rubbings.

The fact that characters from the Journey to the West story cycle appear on Chinese and Korean pagodas alongside Buddhist deities proves just how intertwined the story is with the religion. The tale essentially symbolizes the quest for enlightenment, the ultimate goal of Buddhism. Therefore, such pictorial representations, especially the narrative-type scenes from Gyeongcheonsa, were probably meant to both entertain and spread the faith.

Update: 10-26-19

I have recently learned that the line drawings from Yegŭrin Kŏnchʻuksa Samuso (1993) are all but useless. A prime example is number nineteen. As a reminder, here is the drawing:

Korean Pagoda scene with Red Boy - Line drawing

(larger version)

I originally suggested that the being on the cloud was Xuanzang being elevated in spiritual rank. I didn’t comment on the strange, flower-like cloud to the right of that figure because of its abstract shape.

Now here is a photo of the actual carving. It has been enhanced slightly for clarity.

Korean Pagoda scene with Red Boy - small

(larger version)

You’ll noticed that the cloud really is a flower with a defined bulb, stem, and leaves. There also appears to be a figure sitting on the flower, one who is surrounded by what looks to be spikes or swords. Here’s a closer look with a crude line drawing by the author.

Korean Pagoda scene with Red Boy - Close up of flower with new line drawing - small

(larger version)

Wall (2019) notes the figure on the flower is Red Boy and the figure on the cloud is Guanyin (pp. 2129-2130), making this a depiction of the former’s defeat at the end of what would be chapter 42 of the Ming Journey to the West:

After she received [treasure swords borrowed from heaven], the Bodhisattva [Guanyin] threw them into the air as she recited a spell: the swords were transformed into a thousand-leaf lotus platform. Leaping up, the Bodhisattva sat solemnly in the middle.

[…]

[Sun Wukong feigns defeat and tricks Red Boy into chasing him to Guayin’s domain] When the monster spirit suddenly discovered that Pilgrim was gone, he walked up to the Bodhisattva with bulging eyes and said to her, “Are you the reinforcement Pilgrim Sun brought here?” The Bodhisattva did not reply. Rolling the lance in his hands, the monster king bellowed, “Hey! Are you the reinforcement Pilgrim Sun brought here?” Still the Bodhisattva did not reply. The monster-spirit lifted his lance and jabbed at the heart of the Bodhisattva, who at once changed herself into a beam of golden light and rose into the air. Pilgrim followed her on her way up and said to her, “Bodhisattva, you are trying to take advantage of me! The monster-spirit asked you several times. How could you pretend to be deaf and dumb and not make any noise at all? One blow of his lance, in fact, chased you away, and you have even left behind your lotus platform.”

“Don’t talk,” said the Bodhisattva, “let’s see what he will do.” At this time, Pilgrim and Mokṣa both stood in the air shoulder to shoulder and stared down; they found the monster-spirit laughing scornfully and saying to himself, “Brazen ape, you’re mistaken about me! What sort of person do you think that I, Holy Child, happen to be? For several times you could not prevail against me, and then you had to go and fetch some namby-pamby Bodhisattva. One blow of my lance now has made her vanish completely. Moreover, she has even left the treasure lotus platform behind. Well, let me get up there and take a seat.” Dear monster-spirit. He imitated the Bodhisattva by sitting in the middle of the platform with hands and legs folded. When he saw this, Pilgrim said, “Fine! Fine! Fine! This lotus platform has been given to someone else!”

“Wukong,” said the Bodhisattva, “what are you mumbling again?”

“Mumbling what? Mumbling what?” replied Pilgrim. “I’m saying that the lotus platform has been given to someone else. Look! It’s underneath his thighs. You think he’s going to return it to you?”

“I wanted him to sit there,” said the Bodhisattva.

“Well, he’s smaller than you,” said Pilgrim, “and it seems that the seat fits him even better than it fits you.”

“Stop talking,” said the Bodhisattva, “and watch the dharma power.”

She pointed the willow twig downward and cried, “Withdraw!” All at once, flowers and leaves vanished from the lotus platform and the auspicious luminosity dispersed entirely. The monster king, you see, was sitting actually on the points of those swords. The Bodhisattva then gave this command to Mokṣa:

“Use your demon-routing cudgel and strike back and forth at the sword handles.”

Dropping from the clouds, Mokṣa wielded his cudgel as if he were demolishing a wall: he struck at the handles hundreds of times. As for that monster-spirit,

Both his legs were pierced till the points stuck out;
Blood spouted in pools as flesh and skin were torn.

Marvelous monster! Look at him! Gritting his teeth to bear the pain, he abandoned the lance so that he could use both hands to try to pull the swords out from his body (Wu & Yu, 2012, vol. 2, pp. 246 and 249-250).

Could the figures, one on top of the other’s shoulders, be an inventive way of showing Monkey and Guanyin’s disciple Moksha working together to subdue Red Boy?

This carving shows the Red Boy episode was known in Korea during the 14th-century, demonstrating that it predates the final Ming novel by centuries. The tale obviously would have taken time to form, become established in the accepted story cycle, and travel north, suggesting it may date to the early part of the corresponding Yuan-period when the Pagoda was raised in Korea, or possibly even before.

I hope to locate pictures of the other carvings to make this article more accurate.

Notes:

1) See Dudbridge, 1970, pp. 60-74 for more information. The tale itself is translated in appendix B of the same work. See pages 179-188.

2) I am indebted to Sini Henningsen, BA (sinihenningsen@gmail.com) for translating the cited Korean material.

Sources:

Brose, B. (2018). The pig and the prostitute: The cult of Zhu Bajie in modern Taiwan. Journal of Chinese Religions, 46 (2), pp. 167-196, DOI:
10.1080/0737769X.2018.1507091

Dudbridge, G. (1970). The Hsi-yu chi: A study of antecedents to the sixteenth-century Chinese novel. Cambridge: Cambridge Univ. Press.

Ten-story Stone Pagoda from Gyeongcheonsa Temple. (n.d.). Retrieved January 23, 2019, from https://www.museum.go.kr/site/eng/relic/masterpiece/view?relicMpId=11

Wall, B. (2019). Dynamic texts as hotbeds for transmedia storytelling: A case study of the story universe of the Journey to the West. International Journal of Communication 13, 2116-2142. Retrieved from https://ijoc.org/index.php/ijoc/article/view/10006/2648

Yegŭrin Kŏnchʻuksa Samuso 예그린 건축사사무소. (1993). Wŏn′gaksaji sipch′ŭng sŏkt′ap: silch′ŭk chosa pogosŏ 圓覺寺址十層石塔: 實測調查報告書. Seoul: Munhwajae Kwalliguk.

Story Idea: The Origin of Sun Wukong

Jim R. McClanahan Leave a comment

Last updated: 02-22-2025

The following story sketch was originally posted on my external Historum blog on 01-20-2014. The site recently switched to a new server, but the blogs have yet to be migrated. I’m posting it here for posterity. Regular articles will resume after this entry.

This article describes three story ideas for the origins of Sun Wukong (孫悟空) from Journey to the West (Xiyou ji, 西遊記, 1592 CE, “JTTW” hereafter) that I’ve come up with over the years. Number one was the original focus of this piece, but I’ve since then come up with two other origins. Readers are free to choose which one they like most. Please let me know if you are interested in fleshing these out.

Table of Contents

Story Idea #1: Spiritual Son of Primordial Primates

I have included notes to explain why certain narrative choices were made, as well as to highlight what religious texts I drew ideas from.

As a lover of JTTW and a former primatology major, I’ve always wanted to create my own primate-based character similar to Sun Wukong. I originally wanted him to be the son of Monkey or the son of one of his advisers or allies during his days as a demon. Either way, I thought that he could train under Sun and gain similar powers. But then I decided that I wanted him to be a more civilized, yet more powerful version of the character; someone who is held in high regard by all beings of the six realms (demons, hungry ghosts, animals, humans, asuras, and devas) of Buddhist cosmology, as well as the Buddha himself. After reading about the ancient Chinese view of the gibbon, [A] a small, long-armed, arboreal ape native to Asia (fig. 1), I thought that the character could be an ape immortal. It was only recently that I decided to pair him with a female since gibbons generally mate for life.

A) The Chinese viewed the gibbon (Yuan, 猿) as symbolic of Confucian gentlemen and Daoist immortals. Their long arms were thought to be evidence of their expertise in soaking up qi. This resulted in long lives and occult powers (Geissmann, 2008).

Fig. 1 – A gibbon soaring through the treetops. Photo by Sachin Rai. A larger version can be found here.

Plot

The Daodejing (道德經) reads:

The Dao (道, the way) gives birth to the One (yiqi, 一氣, the first breath);
The One gives birth to the Two (yin and yang, 陰陽);
The Two gives birth to the Three (San qing, 三清, the Three Pure Ones);
The Three gives birth to the Ten Thousand Things.
The Ten Thousand Things carry the Yin and enfold the Yang;
Kneading gently, they create harmony. [B]

B) This is based on chapter 42 of the Daodejing (道德經), the premiere holy text of Daoism. The original passage has been interpreted differently by different scholars. I’m using the interpretation presented in Laozi and Wilson, 2012, p. 197. The cited text, however, makes no mention of the Three Pure Ones. This is based on later Daoist texts and folk views on the supreme immortals. See Stevens, 1997, pp. 68-70.

In the beginning of the universe, the Three Pure Ones, the manifestations of the Dao, use the vital energies of the cosmos to create heaven, earth, and all living things. Among the first to be created are two gibbons, a male and a female (fig. 2). They become the progenitors of all apes and monkeys, just like the phoenix and his mate, the next to be created, are the progenitors of all birds. Being embodiments of yin and yang sexual forces, the pair propagates quickly. They frolic with their children and the following generations through the mountain tops soaking up qi (氣), prolonging their lives for thousands upon thousands of years. And Like modern apes, the pair shows a propensity for observation, watching the cyclical movement of the stars and planets and becoming aware of the ebb and flow of qi, studying the energy and cultivating its mysteries over endless eons.

Fig. 2 – A pair of mated gibbons. A larger version can be found here.

Once their family grows to titanic proportions, the gibbons wield their arcane knowledge to create an island home, raising up Flower-Fruit Mountain (Huaguo shan, 花果山) from the ocean floor. There, they construct the Water Curtain Cave (Shuilian dong, 水簾洞) from which they continue to plumb the depths of the Dao. [C] Their exploration takes them to the heights of the mountain where heaven meets earth, using the corresponding yin (earth/female) and yang (heaven/male) energy to fuel their reenactment of the creation of the cosmos through sexual union. By chance, these powerful, creative sexual energies are absorbed by a boulder atop the mountain. [D]

C) JTTW never explains where the magical cave came from. This is my attempt to give it an origin story.

D) JTTW states the following about the boulder: “Since the creation of the world, it had been nourished for a long period by the seeds of Heaven and Earth and by the essences of the sun and moon, until, quickened by divine inspiration it became pregnant with a divine embryo” (Wu & Yu, 2012, p. 101). I’ve never been satisfied with the explanation for Monkey’s birth. Why would the rock produce a simian character? This is why I wrote that the Ape Immortals make love atop of the mountain, thereby impregnating the boulder with powerful, creative energies. In Daoist sexual practices, earth and heaven are often euphemisms for the feminine and masculine sexual energies of yin and yang (Wile, 1992, pp. 11-12 and 28-29). Therefore, what I have proposed is simply a difference in semantics.

As mated gibbons often do, the pair sings the most beautiful duets that echo throughout time and space. [E] The power of their song continues to increase as their immortal lives extend through the ages. It becomes so powerful that the duet is capable of crumbling mountains, churning the oceans, and shaking the very firmament of heaven. In fact, their song inadvertently topples one of the mountain pillars supporting the sky, and so the devi Nuwa (女媧) is forced to mend the heavens with five magic stones. [F] The primordial devas and spirits fear what might happen if the couple continues, so they plead with the gibbons to separate in order to avoid destroying the cosmos. They promise to allow the pair to see one another at some fixed period of time in the distant future.

E) Gibbon duets have an ethereal quality. Those wishing to listen to some can do so here and here (make sure your volume is not too high). It’s interesting to note that gibbons can naturally perform what takes professional opera singers years of dedicated practice to achieve (Lougheed, 2014).

F) The original mythology has the pillar being fallen by a water demon. I guess an explanation could be included somewhere that the original reason for the disaster, the gibbon song, was forgotten to time and confused with a different incident.

The immortal lovers reluctantly agree and isolate themselves to two separate holy mountains; [G] the male becomes known as the “Eastern Ape Immortal” (東猿仙) and the “Ape Patriarch” (Yuan jiazhang, 猿家長), while the female becomes known as the “Western Ape Immortal” (Xi yuan xian, 西猿仙) and the “Ape Matriarch” (Yuan nu jiazhang, 猿女家長). The two are much sought after by animal, human, devil, and deva to teach them the essence of the Dao. Both become the religious teachers of countless beings, from the lowliest creature to the purest deva in the highest heaven. Former students include the Tathagata Buddha and the immortal Subodhi. [H]

G) I wanted there to be a parallel between Monkey’s imprisonment and the pair’s exile, both of which are connected to mountains.

H) The Buddha’s tutelage under the gibbons happens in the distant past when he is still a Bodhisattva in the Tushita heaven. I listed Subodhi because I wanted there to be a further link between Monkey and the Ape Immortals. Therefore, the skills of Sun Wukong’s spiritual parents are transmitted to him by their former student.

The primordial devas are eventually superseded by deified humans after a great battle between the Shang and Zhou Dynasties. [I] The August Jade Emperor (Yuhuang dadi, 玉皇大帝) and the rest of the heavenly retinue go about setting the cosmos into order. The promise made by the primordial devas is lost to time.

I) This is based on the events in the Chinese classic Fengshen yanyi (封神演義, c. 1620), or Investiture of the Gods. In the story, chaos in heaven causes many gods to be reborn on earth as various heroes of the competing Shang and Zhou Dynasties. The King of Zhou wins the conflict and his strategist, an apprentice of the supreme immortal Yuanshi tianzun (元始天尊), one of the Three Pure Ones, uses a magic list to deify the souls of those who died in battle. Thus, heaven is repopulated once more (Stevens, 1997, p. 60).

It is during the interim when the previously mentioned boulder, having been nourished by the light of the sun and moon for centuries, births a stone embryo that is eroded by the elements into a stone monkey. He becomes the king of the monkeys on Flower-Fruit Mountain by rediscovering the Water Curtain Cave that the previous generations of his kin had forgotten long after the Ape Immortals went into exile. The monkey eventually trains under Subodhi, receiving the religious name Sun Wukong (孫悟空, Monkey Awakened to Vacuity) (fig. 3), and achieving great magical powers with which he later uses to rebel against heaven for not recognizing him as a full-fledged god. After being imprisoned by the Buddha for 600 years, Sun redeems himself by escorting the monk Tripitaka (Sanzang, 三藏) to India, and for this he is rewarded with Buddhahood, becoming the “Victorious Fighting Buddha” (Dou zhansheng fo, 鬥戰勝佛).

Fig. 3 – A modern depiction of Sun Wukong (larger version). A photomanipulation by the author.

After the fixed period of time has elapsed, the primordial gibbons request to leave their individual exile. The Jade Emperor, however, refuses due to the potential for danger. Angered because heaven went back on its word, the immortal lovers leave their exile anyway, and so all of the devas, spirits, and devils struggle to keep them apart. This is an impossible task given that the two are among the highest immortals. A great battle ensues in which the pair uses their knowledge of the Dao to put the celestial army into disarray. For instance, the Ape Patriarch is a master of transformations; he grows to titanic proportions, multiplies his long arms, and captures the most powerful Daoist and Buddhist deities in his vice-like hands. The Ape Matriarch is a mistress of illusions; she clouds the minds of the soldiers, making them think that they are fighting her when they are really fighting each other. [J] In addition, their individual songs have grown in power, now capable of destroying anything by separating the yin and yang forces therein (fig. 4).

J) The strengths of each correspond to the skills passed on to the Buddha and the immortal Subodhi. Again, I wanted there to be a parallel between Monkey and his spiritual parents. The pair rebels like he did, but they do so because of injustice, not pride. However, I must say that lofty immortals would have surely evolved passed such earthly “wants and needs” (e.g. lust and anger). Daoist literature and vernacular Chinese fiction often describes immortals as being celibate. But the immortal love of the couple may transcend what might be expected of human-based immortals. That’s why I present them as living embodiments of yin and yang. Wile (1992) states: “The early [Daoist] texts are marked by the existential loneliness of yin and yang for each other, and their union consummates a cosmic synergy” (p. 29).

Fig. 4 – A gibbon yawning. Imagine powerful sound waves emanating from its mouth. A larger version can be found here.

The Jade Emperor begs the Buddha to intervene like he had done for the rebelling Sun Wukong in the past. But considering that heaven went back on its word and the ape immortals are both friends and former teachers of the Enlightened One, the Tathagata sends their spiritual son, the Victorious Fighting Buddha, to ask them to pacify their rage instead of using trickery to halt the onslaught. [K] After a brief reunion, the pair acquiesces, and all three travel by cloud to the Buddha’s abode on Vulture Peak (Lingjiu shan, 靈鷲山) to discuss the matter. The immortal lovers opine the great injustice done to them by the heavenly hierarchy. The Buddha understands that their duet is part of their primordial animal nature and is the ultimate expression of their love, which reaches back to the very beginning of time. Unfortunately, he realizes that the power of their song could destroy the universe if allowed to take place.

K) An example of trickery would be the way that the Buddha uses illusion to make Monkey think that he has left his palm in the seventh chapter of JTTW.

After some thought, the Tathagata gives them a lesson on the cyclical dissolution of the cosmos: at the end of each Mahakalpa (Da jie, 大劫), the universe is destroyed by a different element. There are fifty-six destructions by fire, seven by water, and one by wind. The latter is the most powerful, destroying all earthly and heavenly realms below the pure realm inhabited by the Buddha and his retinue. The Tathagata then suggests a compromise in which the couple can remain as his permanent guests of the Buddha realm, where they can frolic with the Victorious Fighting Buddha. This way the gibbons will be free to sing their melodious song without fear of negative effects. And when the end of the sixty-fourth Mahakalpa comes to a close, their song will serve the function of the wind element to bring about the dissolution of the universe to make way for the new one. [L]

L) Buddhism recognizes a measurement of time called a Kalpa (jie, 劫), which can be many millions or even billions of years long depending on the tradition. Said traditions recognize between four and eighty kalpas (Buswell & Lopez, 2014, p. 409). The total of these respective ranges make up a Mahakalpa (dajie, 大劫), which is divided into four periods of nothingness, creation, subsistence, and finally destruction, each period being between one and twenty kalpas long (Buswell & Lopez, 2013, p. 496). 

Updates

Story Idea #2: Son of Primordial Evil

Update: 01-17-21

Last year, I wrote an article that explored other stone-born figures from world mythology. In the conclusion I cautiously suggested that Wukong’s birth and later rebellion was influenced by a Hurrian myth, the “Song of Ullikummi” (c. 1200 BCE), which appears in an extant Hittite cuneiform text comprising three fragmented clay tablets. For example, one scholar noted similarities between Ullikummi and a later figure from Greek mythology: “(1) The initial situation: the big stone; (2) a god fertilizes the stone; (3) the stone gives birth to a child; (4) the child thus created is a rebel against the gods; (5) the gods gather and plan countermeasures; (6) the enemy of the gods is rendered harmless” (see the linked article). Anyone who has read JTTW will no doubt notice the striking similarities with Monkey’s tale. Therefore, I think Ullikummi’s story would be a solid basis for a more authentic origin story for the Monkey King.

While the ancient tale is named after the eponymous stone monster (fig. 5), the story follows the machinations of Kumarbi, a resentful former ruler of the gods, who wishes to usurp the throne from his son, the storm god Tesub. Kumarbi sets about doing this by bedding a massive stone in an effort to produce a being powerful enough to rout the gods. Upon its birth, the doting father gives the creature a name meaning “Destroy Kummiya,” foreshadowing its intended fate to destroy Tesub’s home.

Fig. 5 – Ullikummi as a playable character from the online video game Final Fantasy XI (larger version).

Fearing that it may be killed by the gods before coming into full power, Kumarbi has the monster hidden in the underworld, where it is placed on the right shoulder of the Atlas-like god Upelluri. The creature quickly multiples in size, growing nine thousand leagues tall, eventually reaching heaven. When the goddess Ishtar fails to seduce the blind and deaf monster, the warrior god Astabi leads seventy deities into battle against the lithic menace only to be defeated and cast into the sea below. Tesub abandons the throne and along with his vizier and brother Tasmisu, seeks the aid of Ea, the god of wisdom and witchcraft, who travels to the underworld in search of the creature’s origins. Upon questioning Upelluri, who effortlessly carries the weight of the heavens, earth, and sea, Ea learns that a great weight, which turns out to be the monster, pains the titan’s right shoulder. In the end (of the third and final extant tablet), Ea calls for a tool originally used by the old gods to cleave heaven and earth and chisels Ullikummi free of Upelluri’s shoulder, thus breaking the monster’s base of power and leaving it vulnerable to attack by the gods. One scholar suggests that there’s a missing fourth tablet that describes the monster’s ultimate defeat (again, see the linked article).

Fig. 6 – A modern depiction of Xingtian (larger version). Artist unknown.

Now, I’ve previously written a story sketch in which Master Subodhi’s school is actually a training ground for an immortal monastic army akin to the Shaolin Temple. I speculated that Wukong’s skill in martial arts and troop movement would come from his time serving as a soldier and eventual officer in this army. Additionally, I suggested that the baddie whom the army faces is the headless monster Xingtian (刑天) (fig. 6), who originally battled the supreme god Shangdi for control of the universe and was beheaded after his defeat. Perhaps he or a figure like him follows in Kumarbi’s footsteps and beds a stone, in this case the rock on the Mountain of Flowers and Fruits, in an effort to create a powerful son to finish what he started. Then, he works in the shadows, influencing the direction of Monkey’s life, leading to his famous rebellion against heaven. Wukong’s defeat of the seventy-two major gods in the heavenly army [1] would mirror Ullikummi routing the seventy gods led by Astabi. Likewise, the Jade Emperor’s call to the Buddha, leading to Monkey’s defeat, mirrors Tesub’s plea to Ea and the eventual downfall of the stone monster.

Thoughts?

Story Idea #3: Arhat Punished to Reincarnation

Update: 06-16-23

Another idea could predate Monkey’s stone birth and instead focus on a past life as a heavenly being. It would draw from three sources: First, the backstory of the Tang Monk, Tripitaka. Those who’ve read JTTW will know that his past life, an Arhat called Master Golden Cicada (Jinchan zi, 金蟬子), is exiled from paradise for ten lifetimes for falling asleep during the Buddha’s lecture.

Just like his master, Sun Wukong is formerly a celestial in paradise. A great name for this figure would be the “Arhat Steel Muscles and Iron Bones” (Gangjin tiegu luohan, 鋼筋鐵骨羅漢). This plays on a similar title given to Sun’s antecedent, the “Monkey Pilgrim” (Hou xingzhe, 猴行者), by Tang Emperor Taizong in the 13th-century oral version of JTTW. [2]

Second, the embellished life story of Song-era General Yue Fei (岳飛, 1103–1142). The Complete Vernacular Biography of Yue Fei (Shuo Yue quanzhuan, 說岳全傳, c. 17th century; “The Biography of Yue Fei” hereafter) actually draws inspiration from the 1592 JTTW by portraying the general as a reincarnation of a bird monster-turned-Dharma protector from chapters 74 to 77. Originally called the “Peng Bird of Ten Thousand Cloudy Miles” (Yuncheng wanli peng, 雲程萬里鵬) in JTTW, the “Great Peng, the Golden-Winged King of Illumination” (Dapeng jinchi mingwang, 大鵬金翅明王) is exiled from paradise in chapter one of The Biography of Yue Fei for killing a stellar bat-spirit who farted during the Tathagata’s sermon on the Lotus Sutra. [3]

Just like the Great Peng bird, the Arhat Steel Muscles and Iron Bones kills a spirit for seemingly offending the Buddha. [4] I imagine that the Enlightened One would admonish him by saying something like, “You are so sure of your strength, so proud of your physical gifts. And yet you don’t know how to defend the Dharma with it!” He then exiles the Arhat to live out ten lifetimes (à la Master Golden Cicada) where he’s a figure of great strength who is continually bested and humiliated and forced by circumstances to protect something weaker than him.

And third, the Buddha’s Jataka tales. The Tathagata has many birth stories where he is both humans and animals who embody an important lesson (Cowell, 1895). In fact, one tale depicts him as a Monkey King!

The Arhat is reborn in the lower three paths of reincarnation, and just like the Buddha, he has several past lives as animals. He works his way up the cosmic hierarchy by performing good deeds, such as a past life where he’s a man-eating tiger who comes to protect a small child. He attains the human-like form of a monkey in his final incarnation, leading to the events of JTTW.

I like this option a lot because this would make both Monkey and Tripitaka former Arhats who undergo prolonged trials that refine their spirits over many lifetimes. This would ultimately explain why both of them attain Buddhahood at the end of their respective character arcs, our hero becoming the “Buddha Victorious in Strife” (Dou zhansheng fo, 鬥戰勝佛) and the Tang Monk “Buddha of Candana Merit” (Zhantan gongde fo, 旃檀功德佛) (Wu & Yu, 2012, vol. 4, p. 381). I also like it because Sun Wukong’s past life references the Tibetan monkey bodhisattva Hilumandju, who is an avatar of the bodhisattva Avalokiteshvara (Guanyin) and a possible Buddhist syncretic version of the Hindu monkey god Hanumanji. What’s interesting about this legendary figure is that he mates with a rock ogress (see the 08-02-19 update here), which reminds one of Sun’s stone birth.

Authenticity

Update: 02-22-25

While I like elements from the first two story ideas, the third one is turning out to be more authentic and interesting.

I had previously referred to Monkey’s past life on this article as a Bodhisattva, but I changed this to an Arhat after finding evidence that Golden Cicada, Tripitaka’s past life, was a Buddhist saint. This includes the following:

  • Xuanzang was historically worshiped as one during the Song dynasty.
  • Two Yuan-Ming plays depict him as the reincarnation of Arhats.
  • The story of Golden Cicada is likely based on the Arhat Aniruddha, one of the ten principle disciples of the Buddha.
  • Two other principle disciples, the Arhats Ananda and Kasyapa, appear among the Tathagata’s retinue in JTTW (see here).

In addition, my previous article on Sun Wukong’s first master, the Buddho-Daoist Sage Subodhi, suggests that he is the historical Arhat Subhuti, also one of the principle disciples. And if we insert the aforementioned Aniruddha as the original identity of Master Golden Cicada, that will make four of ten disciples appearing in the story. I stress this because maybe—within our fanfiction—Monkey’s previous life could be another principle disciple that has been conveniently inserted among the historical figures. That way, the Great Sage would have known both Golden Cicada (his master Tripitaka) and Subhuti (his master Subodhi) in the past!

This is neat because he (Arhat Steel Muscles and Iron Bones) and Golden Cicada could ideally be living out their respective transmigrational punishments around the same time. And this further stimulates my brain: what if each of Monkey’s incarnations have protected each of Tripitaka’s past lives?!?!

Notes:

1) Koss (1981) writes: “Adding up the number of gods listed here [see Wu & Yu, 2012, p. 169] from the Twenty-Eight Constellations through the Deities of the Five Mountains and the Four Rivers, the number arrived at is seventy-three, if 東西星斗 [dongxi xingdou, the “Stars of East and West”] is counted as two, which Yu does in his translation, or seventy two, if the latter is taken as one, which is another possible interpretation” (p. 84).

2) In chapter 17, Tang Taizong names him the “Great Sage Steel Muscles and Iron Bones” (Gangjin tiegu dasheng, 鋼筋鐵骨大聖) (Wivell, 1994, p. 1207).

3) Chapter one of The Complete Vernacular Biography of Yue Fei reads:

Let’s talk about the Buddha Tathagata at the Great Thunderclap Monastery in the Western Paradise. One day, he sat on a nine-level lotus throne, and the Four Great Bodhisattvas, the Eight Great Vajra Warriors, the five hundred Arhats, the three thousand Heavenly Kings, nuns and monks, male and female attendants, all of the heavenly sages who protect the Dharma, gathered to listen to his lecture on the Lotus Sutra. His words were like flowers and precious jewels raining from the heavens. But, at that time, a star-spirit, the Maiden Earth Bat, who had been listening to the lecture from beneath the lotus throne, couldn’t bear it any longer and unexpectedly let out a stinky fart.

The Buddha was a great, merciful lord, so he didn’t mind even the slightest bit. But don’t sympathize with the Dharma protector above his head, the “Great Peng, the Golden-Winged King of Illumination,” whose eyes shone with golden light and whose back was a scene of auspiciousness. He became angry when he saw the nasty, filthy Maiden Earth Bat, and so he unfurled both his wings and dropped down to kill the spirit by pecking her on the head. The light-point of her soul shot out of the Great Thunderclap Monastery and went to the Lands of the East (China) in the world below to find a mother and reincarnate. She was reborn as a daughter of the Wang clan. She would later marry the Song Prime minister Qin Hui (1091-1155) and come to cruelly kill the righteous (i.e. Yue Fei) as a means to get revenge against today’s enemy. We will talk about this later.

Let’s return to the Buddha, who saw what happened with his all-seeing eyes and exclaimed, “Good! Good! It turns out that this is an episode of karma (cause and effect).” Then he called the Great Peng bird to come closer and shouted, “You evil creature! You already took refuge in my teachings. How can you not follow the five precepts by daring to commit such a horrible crime? I don’t need you here; you will descend to the mortal world to pay off your (karmic) debt and wait until you have fulfilled your work. Once that is completed, only then will I allow you to return to the mountain to achieve the right fruit (Buddhist merit).” The Great Peng complied with the decree, flying out of the Great Thunderclap Monastery directly to the Lands of the East to be reincarnated. We will stop here.

且說西方極樂世界大雷音寺我佛如來，一日端坐九品蓮臺，旁列著四大菩薩、八大金剛、五百羅漢、三千偈諦、比丘尼、比丘僧、優婆夷、優婆塞，共諸天護法聖眾，齊聽講說妙法真經。正說得天花亂墜、寶雨繽紛之際，不期有一位星官，乃是女土蝠，偶在蓮臺之下聽講，一時忍不住，撒出一個臭屁來。我佛原是個大慈大悲之主，毫不在意。不道惱了佛頂上頭一位護法神祗，名為大鵬金翅明王，眼射金光，背呈祥瑞，見那女土蝠污穢不潔，不覺大怒，展開雙翅落下來，望著女土蝠頭上，這一嘴就啄死了。那女土蝠一點靈光射出雷音寺，徑往東土認母投胎，在下界王門為女，後來嫁與秦檜為妻，殘害忠良，以報今日之讎。此是後話，按下不提。

且說佛爺將慧眼一觀，口稱：「善哉，善哉！原來有此一段因果。」即喚大鵬鳥近前，喝道：「你這孽畜！既歸我教，怎不皈依五戒，輒敢如此行兇？我這裡用你不著，今將你降落紅塵，償還冤債，直待功成行滿，方許你歸山，再成正果。」大鵬鳥遵了法旨，飛出雷音寺，徑來東土投胎不表。

4) A murderous Buddhist deity may seem weird, but Vajrapani (Jingang shou pusa, 金剛手菩薩; lit: “Bodhisattva Holding the Vajra Weapon”), a yaksha-turned-wrathful Dharma protector, is considered a bodhisattva (Buswell & Lopez, 2014, p. 955).

Sources:

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

Cowell, E. B. (Ed.) (1895). The Jātaka, or Stories of the Buddha’s Former Births (Vols. 1-5). Cambridge: Cambridge University Press. Retrieved from https://archive.org/search?query=The+Ja%CC%84taka%2C+or%2C+Stories+of+the+Buddha%27s+former+births.

Geissmann, T. (2008). Gibbon paintings in China, Japan, and Korea: Historical distribution, production rate and context. Gibbon Journal, 4, 1-38. Received from http://www.gibbonconservation.org/07_publications/journal/gibbon_journal_4.pdf

Koss, N. (1981). The Xiyou ji in Its Formative Stages: The Late Ming Editions (Vols. 1-2). (Doctoral dissertation). Available from ProQuest Dissertations and Theses database. (UMI No. 8112445)

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

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The Monkey King and Graffiti

Jim R. McClanahan 2 Comments

Type the phrase “到此一遊/游” (daoci yi you) into an online Chinese dictionary and chances are the results will say it’s a type of vandalism meaning “…was here,” as in “so-and-so was here.” This phrase is often used as a form of graffiti by Chinese tourists wanting to record their visit to a particular site. The most famous modern example that comes to mind happened in 2013 when a Chinese teenager defaced a carving in Egypt’s 3,500-year-old Luxor Temple with the phrase “Ding Jinhao was here” (Ding Jinhao daoci yi you, 丁锦昊到此一游) (fig. 1) (Wong, 2013).

Chinese graffiti - small

Fig. 1 – The “Ding Jinhao was here” graffiti on the face of a Luxor Temple relief (larger version). Screenshot from a CBS news report. 

Table of Contents

1. The Phrase in JTTW

This same phrase appears in the seventh chapter of Journey to the West (Xiyouji, 西遊記, 1592). After Sun Wukong escapes from Laozi’s eight trigrams furnace, the immortal causes such an uproar that the Buddha is forced to intervene. The latter makes a wager that if Monkey can jump out of his hand, the Tathagata will make him the new Emperor of Heaven. Sun accepts and leaps from the Enlightened One’s palm:

As the Great Sage advanced, he suddenly saw five flesh-pink pillars supporting a mass of green air. “This must be the end of the road,” he said. “When I go back presently, Tathagata [the Buddha] will be my witness and I shall certainly take up residence in the Palace of Divine Mists.” But he thought to himself, “Wait a moment! I’d better leave some kind of memento if I’m going to negotiate with Tathagata.” He plucked a hair and blew a mouthful of magic breath onto it, crying, “Change!” It changed into a writing brush with extra thick hair soaked in heavy ink. One the middle pillar he then wrote in large letters the following line: “The Great Sage, Equal to Heaven, has made a tour of this place” [Qitian Dasheng, daoci yi you, 齊天大聖，到此一遊; fig. 2] (emphasis added). When he had finished writing, he retrieved his hair, and with a total lack of respect he left a bubbling pool of monkey urine at the base of the first pillar (Wu & Yu, 2012, pp. 194-195).

大聖行時，忽見有五根肉紅柱子，撐著一股青氣。他道：「此間乃盡頭路了。這番回去，如來作證，靈霄宮定是我坐也。」又思量說：「且住，等我留下些記號，方好與如來說話。」拔下一根毫毛，吹口仙氣，叫：「變！」變作一管濃墨雙毫筆，在那中間柱子上寫一行大字云：「齊天大聖，到此一遊。」寫畢，收了毫毛。又不莊尊，卻在第一根柱子根下撒了一泡猴尿。

Anyone whose read the story will know that the pillars are in fact the Buddha’s fingers, implying that Monkey never left because the former had exercised his great spiritual powers. Sun, therefore, loses the bet and is crushed under Five Elements Mountain as punishment for his rebellion.

The Great Sage Defaces Buddha's Hand, from Son Goku (1939) - small

Fig. 2 – Sun tags the pillar (Buddha’s finger) with the phrase “The Great Sage Equaling Heaven was here” (larger version). From the Japanese children’s book Son Goku (1939). 

2. Is JTTW the Source?

The quoted translation by Anthony C. Yu (Wu & Yu, 2012) can be rendered simply as “The Great Sage was here.” This is a perfect example of Monkey’s brash, ego-driven personality, not unlike the type of tourist who’d think it appropriate to defile an ancient monument with their name. A few online sources (example) suggest that Journey to the West is the origin of the “…was here” phrase. However, knowing that the novel has so many historical influences, I’m of the opinion that this literary element certainly reflects an already extant real world concept from the Ming (or earlier). But the novel no doubt helped make the phrase more popular in the public eye.

Can you imagine how many people copied this phrase after the novel was published in 1592?

Sources:

Wong, H. (2013, May 29). Netizen outrage after Chinese tourist defaces Egyptian temple. CNN. Retrieved September 6, 2018, from http://edition.cnn.com/travel/article/china-egypt/index.html

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

Archive #6 – A Mission to Heaven (1913) – The First Attempt to Translate Journey to the West into English

Jim R. McClanahan 1 Comment

Here I present A Mission to Heaven (1913), the first English version of Journey to the West translated by the Welsh Baptist missionary Timothy Richard (1845-1919). Modern translator Anthony C. Yu describes it and a slightly later translation as “no more than brief paraphrases and adaptations” (Wu & Yu, 2012, vol. 1, p. xiii). This is because Yu’s translation stretches over 2,000 pages, while Richard’s barely breaks 370 pages. Also, there are many mistranslations that will become apparent to those who have already read Yu’s version. For example, in chapter one when light from Sun Wukong’s eyes reach the celestial realm, A Mission to Heaven reads:

They saw the light burning brightly and ordered a telescope to be brought. (The telescope was invented by Galileo only in 1609 A.D., therefore the Chinese must have had some kind of telescope before we in Europe had it. — Tr.) It was taken to the South gate of heaven to be looked through from thence (Chiu & Richard, 1913, p. 3).

However, Yu’s more accurate version reads:

Upon seeing the glimmer of the golden beams, he [the Jade Emperor] ordered Thousand-Mile Eye and Fair-Wind Ear to open the South Heaven Gate and to look out (Wu & Yu, 2012, vol. 1, p. 102).

As can be seen, Richard completely glossed over the two named deities, choosing instead to refer to both as a telescope.

1913 Sun Wukong print - small

The full title of the translation (larger version).

It’s interesting to note the author of A Mission to Heaven/Journey to the West is listed as one Qiu Changchun, otherwise known as Qiu Chuji (1148-1227), founder of the Dragon Gate sect of Daoism. This may be confusing to some since the novel has long been touted as the work of Wu Cheng’en (1500-1582). However, the novel was anonymously published in 1592. Qiu’s disciple is known to have written a travel journal titled Journey to the West (西遊記), which detailed his master’s journey to meet Genghis Khan. Therefore, early commentators confused this historical travel journal with the fictional narrative, thereby claiming Qiu as the author as early as the 17th-century. Wu Cheng’en wasn’t associated with the novel until the 1920s, and the association is again based on a similarly named work published by Wu. Historians remain divided on the true author.

PDF link

Click to access a-mission-to-heaven-1913-translation-of-xiyouji.pdf

Thanks

The original file can be downloaded for free from archive.org.

Sources

Chiu, C., & Richard, T. (1913). A Mission to Heaven. Shanghai: The Christian Literature Society’s Depot.

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