I consider one of my greatest accomplishments on this blog to be discovering the origin of Sun Wukong’s golden headband. This would not have been possible without reading about the Hevajra Tantra (8th-century) in Robert Nelson Linrothe’s (1999) Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. This amazing study analyzes Esoteric Buddhist statues and texts to trace the evolution of these guardians from mere dwarf attendants to mighty warrior gods endowed with the power of the Five Wisdom Buddhas. This is a great resource for anyone researching religious art involving wrathful guardians in Buddhism, Daoism, and of course Chinese folk religion, for the iconography of these divine warriors spread far and wide.
I am sharing a PDF of the book found on libgen for the benefit of other scholars. The black and white portions of the book appear to be based on a xeroxed copy. However, there are full color plates in the back.
Buddhists believe that the wrathful spirits represent inherent qualities of our own, and that meditating on them can transmute the otherwise malevolent sides of our own natures into positive qualities and actions. The wrathful deities also provide precious clues as to the early development of esoteric Buddhism in India, about which few early texts survive. Through careful examination of a large body of images as well as Sanskrit, Tibetan, and Indic texts, this lavishly illustrated volume traces the evolution of the forms and the unfolding significance of the wrathful deity in esoteric Buddhist sculpture.
Sun Wukong‘s golden headband (jingguquan, 金箍圈) (fig. 1) is an instantly recognizable part of his popular iconography. Anyone who’s read Journey to the West (Xiyouji, 西遊記, 1592) will know that it painfully tightens around our hero’s skull to correct any unsavory behavior. “What kind of behavior?” someone might ask. Well, mass murder, of course! In chapter 56, for example, Monkey’s Buddhist master Tripitaka recites the spell to punish him for beating a group of bandits to death with his magic staff and beheading one of them with a blade (Wu & Yu, 2012, vol. 3, p. 89).
Fig. 1 – A modern replica of Monkey’s golden headband (larger version).
This spell is first revealed to the monk by Guanyin in chapter 14:
I have a spell which is called the True Words for Controlling the Mind [dingxin zhenyan, 定心真言], or the Tight-Fillet Spell [jingu er zhou, 緊箍兒咒]. You must memorize it secretly; commit it firmly to your memory, and don’t let anyone learn of it […] When [Sun Wukong] returns, give him…the cap [containing the headband] to wear; and if he again refuses to obey you, recite the spell silently. He will not dare do violence or leave you again” (Wu & Yu, 2012, p. 317).
You can see the exact words are never revealed. This is not surprising, though, as the spell is one of the few things in the entire Buddho-Daoist cosmos that can control Sun Wukong. Tripitaka’s life would be in danger and the journey would be doomed if any villains got ahold of this secret. But … what if … we could guess the spell, just for fun? I’d like to suggest a mantra based on historical religious beliefs and iconography. This thought experiment was written for the benefit of artists and fanfiction writers looking to create more accurate portrayals of the novel and its characters.
I. The Band’s Religious Background
As I note in this article, the golden fillet is based on a ritual headband worn by Buddhist ascetics in ancient India. The Hevajra Tantra (Dabei kongzhi jingang dajiao wang yigui jing, 大悲空智金剛大教王儀軌經, 8th-c.) states yogins must wear the band and a list of other prescribed ritual items in their worship of the wrathful protector deity Heruka (Linrothe, 1999, p. 250). Most importantly, the tantra states the band symbolizes the Buddha Akshobhya (Ch: Achu, 阿閦; Budong, 不動; lit: “Immovable”) (fig. 2), who gained enlightenment through moralistic practices of right speech and action (Linrothe, 1999, p. 251; Buswell & Lopez, 2013, p. 27).
Fig. 2 – A depiction of Akshobhya (larger version).  Artist unknown.
Akshobhya and the other esoteric Wisdom Buddhas are sometimes depicted as small figures or colored jewels in the headdress of the Manjusri Bodhisattva (and other Buddhist personages) (Getty, 1914/1988, p. 37; Vessantara, 1993, p. 155). Akshobhya is symbolized by the color blue (Getty, 1914/1988, p. 36). A cursory Google image search shows the blue jewel is often set in the top most position over Manjusri’s forehead (fig. 3).
This might suggest a more religiously accurate version of Sun Wukong’s golden headband would include a figure or jewel representing Akshobhya.
Given the above information, I’d like to suggest the tightening spell for Monkey’s headband—within the context of our thought experiment—is the Akshobhya Mantra! There are two kinds. I’ll leave it up to you which one you like best. The first is a short recitation of the buddha’s name: Oṃ a kṣo bhya hūṃ (fig. 4). This can be very roughly translated as “Praise to the Immovable One!”. Om and Hum are both holy syllables invoking spiritual power and enlightenment, respectively. They also appear in the more well-known Oṃ maṇi padme hūṃ (Ch: An mo ni ba mi hong, 唵嘛呢叭咪吽). One Chinese version of the name mantra appears to be “An a bie zha zhi ga hong hong” (唵 阿別炸枝嘎 吽吽).
The second is a longer chant, again called the “Mantra of Akshobhya” (Achu fo xinzhou, 阿閦佛心咒) (fig. 5 and video 1). It’s interesting to note that the historical Xuanzang (on whom Tripitaka is based) is known to have translated a version of this mantra. 
Reciting this to rein in Sun Wukong not only references the band’s historical and religious connection to Akshobhya but also serves as a physical reminder of right speech and action (how the deity gained buddhahood). It’s Tripitaka’s way of screaming, “Stop murdering everyone within arm’s reach!”
Fig. 6 – Shifu Pigsy (a.k.a. Zhu Bajie) reciting “Amituofo” to activate the golden headband on the Monkey Prince, son of the original Monkey King (larger version). From Yang, 2021, p. 80. Copyright DC Comics.
The case for Akshobhya’s mantra being the tight-fillet spell is strengthened—again, within the context of our thought experiment—by the fact that he has power over strong negative emotions. According to Bangdel and Huntington (2003): “The transcendental insight represented by Akshobhya is mirrorlike wisdom (adarsha jnana), which…is the antidote to the poison of anger, or hatred” (p. 91). The monk Tripitaka assuages these emotions by activating the golden headband, once again reminding Wukong of right speech and action.
In addition, Akshobhya and Gautama have matching iconography: both are shown seated with the left hand palm up on the lap and the right reaching down to touch the earth. Hinayana Buddhists of Sri Lanka and Southeast Asia worship Gautama in this form, but Mahayana worships Akshobhya as such (see note #1). This is important as Gautama gives the three golden headbands to Guanyin in order to pacify any demons that she might encounter during her search for the scripture pilgrim (Wu & Yu, 2012, vol. 1, pp. 206-207). This shows there is a connection between the two Buddhas, and it also explains why Gautama would gift a headband associated with Akshobhya.
Various online sources and adaptations sometimes refer to the spell as the “Headache Sutra” (for example). But to my knowledge it’s never explicitly called this in the novel. The pain associated with the spell is generally used as a threat. For example, in chapter 16, Tripitaka exclaims: “Monkey! Aren’t you afraid of your headache [ni toutong, 你頭痛]? Do you still want to behave badly? (Wu & Yu, 2012, vol. 1, p. 347) (emphasis mine).
Chapter 25 provides two more names for the spell:
There is, moreover, the Tight-Fillet Spell or the Tight-Fillet Sutra [jingu er jing, 緊箍兒經]. It’s also [Tripitaka’s] “Old Saying Sutra” [jiuhua er jing, 舊話兒經].  The moment he recites that, I’ll have a terrible headache, for it’s the magic trick designed to give me a hard time (Wu & Yu, 2012, vol. 1, p. 468).
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).
Bangdel, D., & Huntington, J. C. (2003). The Circle of Bliss: Buddhist Meditational Art. United Kingdom: Serindia Publications.
Buswell, R. E., & Lopez, D. S. (2013). The Princeton Dictionary of Buddhism. Princeton, NJ: Princeton University Press.
Getty, A. (1988). The Gods of Northern Buddhism: Their History, Iconography and Progressive Evolution through the Northern Buddhist Countries. New York: Dover Publications, Inc. (Original work published 1914)
Linrothe, R. N. (1999). Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. Boston, Mass: Shambhala.
Vessantara. (1993). Meeting the Buddhas: A Guide to Buddhas, Bodhisattvas, and Tantric Deities. United Kingdom: Windhorse Publications.
Wu, C., & Yu, A. C. (2012). The Journey to the West (Vol. 1-4). Chicago, Illinois: University of Chicago Press.
Sun Wukong’s magic staff is famed in popular culture for its ability to grow and shrink but less so for its great weight. The latter quality is best demonstrated in chapter 56 when human bandits attempt and fail to pick up the 8.8 ton weapon:
Sticking the rod into the ground, Pilgrim said to them, “If any of you can pick it up, it’s yours.” The two bandit chiefs at once went forward to try to grab it, but alas, it was as if dragonflies were attempting to shake a stone pillar. They could not even budge it half a whit! This rod, you see, happened to be the “As-you-will” gold-banded cudgel, which tipped the scale in Heaven at thirteen thousand, five hundred catties [yiwan sanqian wubai jin, 一萬三千五百斤; 17,560 lbs. / 7,965 kg].  How could those bandits have knowledge of this? The Great Sage walked forward and picked up the rod with no effort at all. Assuming the style of the Python Rearing its Body, he pointed at the bandits and said, “Your luck’s running out, for you have met old Monkey!” (Wu & Yu, 2012, vol. 3, p. 81).
Thirteen thousand five hundred is divisible by nine, which Chinese numerology considers to represent “infinity”. So it’s possible the number (infinity multiplied) was meant to convey that the staff was heavy beyond comprehension, something that only a divine hero such as Monkey would be able to wield.
While I still agree the great weight cements his position as a superior hero, I no longer believe the number is connected to numerology.
1. Connection to the Water Margin
I now suggest the weight of the weapon was directly influenced by a scene in chapter 27 of the Water Margin (Shuihu zhuan, 水滸傳, c. 1400).  It involves the bandit Wu Song lifting a heavy stone block:
“You mean I haven’t got my strength back? All right. How heavy is the stone block [shi dun, 石墩] I saw in front of the Heavenly King Temple yesterday?” 
[Shi En, a young admirer] “Probably three to five hundred catties [san wu bai jin, 三五百斤; 390-650 lbs./177-295 kg].” 
“Let’s take a look. I wonder whether I can move it.”
“Please have some food and wine first.”
“There’ll be time enough for that when we come back.”
The two men walked to the Heavenly King Temple. The prisoners on the grounds bowed and hailed them respectfully. Wu Song shook the stone slightly. He laughed.
“This soft life is spoiling me. I’ll never be able to pick it up!”
“You shouldn’t scoff,” said Shi En. “That stone weighs three to five hundred catties!”
Wu Song grinned. “You really think I can’t lift it? Get back, you men, and watch this.”
He slipped off his tunic and tied the sleeves around his waist. Embracing the stone, he raised it easily [fig. 1], then tossed it away with both hands. It dropped with a thud, sinking a foot into the earth. The watching prisoners were astonished.
Wu Song grasped the stone with his right hand and lifted. With a sudden twist, he flung it upwards. It sailed ten feet into the air. He caught it in both hands as it came down and lightly put it back in its original place. He turned and looked at Shi En and the prisoners. His face wasn’t flushed, he wasn’t even breathing hard, his heart beat calmly (Shi, Luo, & Shapiro, 1999, pp. 845-847).
Now compare it to the scene in chapter three of Journey to the West where Monkey procures his magic staff:
“Take it [the staff] out and let me see it,” said Wukong. Waving his hands, the Dragon King said, “We can’t move it! We can’t even lift it! The high immortal must go there himself to take a look.” “Where is it?” asked Wukong. “Take me there.”
The Dragon King accordingly led him to the center of the ocean treasury, where all at once they saw a thousand shafts of golden light. Pointing to the spot, the Dragon King said, “That’s it—the thing that is glowing.” Wukong girded up his clothes and went forward to touch it: it was an iron rod [tie zhuzi, 鐵柱子] more than twenty feet long and as thick as a barrel. Using all his might, he lifted it with both hands [fig. 2], saying, “It’s a little too long and too thick. It would be more serviceable if it were somewhat shorter and thinner.” Hardly had he finished speaking when the treasure shrunk a few feet in length and became a layer thinner. “Smaller still would be even better,” said Wukong, giving it another bounce in his hands. Again the treasure became smaller. Highly pleased, Wukong took it out of the ocean treasury to examine it. He found a golden hoop at each end, with solid black iron in between. Immediately adjacent to one of the hoops was the inscription, “’As-you-will’ Gold-Banded Cudgel. Weight: thirteen thousand five hundred catties [Ruyi jingu bang zhong yiwan sanqian wubai jin, 如意金箍棒，重一萬三千五百斤] [fig. 3].” He thought to himself in secret delight, “This treasure, I suppose, must be most compliant with one’s wishes.” As he walked, he was deliberating in his mind and murmuring to himself, bouncing the rod in his hands, “Shorter and thinner still would be marvelous!” By the time he took it outside, the rod was no more than twelve feet in length and had the thickness of a rice bowl (Wu & Yu, 2012, vol. 1, p. 135). 
Both scenes involve a hero (Wu Song vs. Sun Wukong) asking someone (Shi En vs. Ao Guang) to show them a heavy object that cannot be moved (stone block vs. iron pillar). Both heroes then adjust their clothing before easily lifting the object with both hands. Most importantly, the Chinese characters for the weight of each object (三五百斤 vs. 一萬三千五百斤) are similar. The only difference is the addition of 一萬 and 千, respectively (fig. 4).  Now, someone might say the numbers are meaningless as “three to five hundred” is a common estimate for lengths, distances, and people used throughout the Water Margin (some examples). But the proposed connection is strengthened when you take into account the many similarities shared by Monkey and Wu. I show in this article that both are reformed supernatural spirits previously trapped under the weight of magic mountains, slayers of tigers, Buddhist monks nicknamed “Pilgrim”, monastic masters of martial arts, wearers of moralistic golden headbands, and wielders of bin steel weapons. Therefore, given the close historical and cultural ties between the two characters, I believe the author-compiler of Journey to the West embellished the Water Margin episode to portray Sun as a hero like no other, a divine immortal that can lift weights far beyond even Wu Song himself.
Fig. 4 – The weight of Monkey’s staff where the red characters represent additions to the weight of Wu Song’s stone in black.
1) I have changed Yu’s (Wu & Yu, 2012) dry rendering “Compliant Golden-Hooped Rod” to the more pleasant one based on W.J.F. Jenner (Wu & Jenner, 2001, p. 56). Also, Yu’s (Wu & Yu, 2012) original translation says “thirteen thousand five hundred pounds” (Wu & Yu, 2012, vol. 1, p. 135). However, the Chinese version uses jin (斤), known in English as “catty“. The catty and pound are two different measures of weight, the former being heavier than the latter. Therefore, the English text has been altered to show this. The catty during the Ming Dynasty when the novel was compiled equaled 590 grams (Elvin, 2004, p. 491 n. 133), so 13,500 catties would equal 17,560 lbs.
2) The scene happens in chapter 28 of the English translation (see Shi, Luo, & Shapiro, 1999).
3) The English translation doesn’t mention the specific name of the temple appearing in the original Chinese version. I’ve corrected this.
4) The English translation says “four or five hundred catties” (Shi, Luo, & Shapiro, 1999, pp. 845-847), whereas the Chinese says “three to five hundred catties” (san wu bai jin, 三五百斤). I’ve corrected this.
5) Again, I have slightly modified Yu’s (Wu & Yu, 2012) translation. Also, both the original Chinese and the translation say the staff was shrunk to “no more than twenty feet in length” (zhiyou er zhang changduan, 只有二丈長短) (Wu & Yu, 2012, vol. 1, p. 135), but it was close to 20 feet from the start. This is likely an error (thanks to Irwen Wong for pointing this out).
6) These mean “10,000” (yiwan, 一萬) and “1,000” (qian, 千), respectively. When combined with the character for three, the latter becomes “3,000” (sanqian, 三千).
Elvin, M. (2004). The Retreat of the Elephants: An Environmental History of China. New Haven (Conn.): Yale university press.
Shi, N., Luo, G., & Shapiro, S. (1999). Outlaws of the Marsh (Bilingual ed.). Beijing, China: Foreign Languages Press.
Wu, C., & Jenner, W.J.F. (2001). Journey to the West (vol. 1). Beijing, China: Foreign Languages Press.
Wu, C., & Yu, A. C. (2012). The Journey to the West (vol. 1-4). Chicago, Illinois: University of Chicago Press.
My previous article on the origin of Sun Wukong’s golden fillet describes how various forms of media portray him wearing three different styles: 1) a band with blunt ends that meet in the middle of the forehead and curl upwards like scowling eyebrows; 2) a band adorned with an upturned crescent moon shape in the center; and 3) a simple band devoid of decoration (fig. 1). Here, I want to speculate on the origin of the first style, what I call the “curlicue headband”.
The oldest example of Sun Wukong wearing the curlicue style headband that I am aware of is a nearly life size stone carving from the Western pagoda of Kaiyuan Temple erected in 1237 CE. He is depicted as a muscular, monkey-headed warrior wearing a circlet, earrings, bracelets, a rosary, arm bangles, and anklets (all prescribed ritual items), as well as a monk’s robe and sandals. He wields a broadsword in one hand, while the other thumbs the rosary at his chest. At his waist hangs a calabash gourd and a sutra scroll (fig. 2). Behind his left shoulder can be seen Xuanzang (a.k.a. Tripitaka) ascending to heaven on a cloud, having won a place in paradise thanks to the protection of our hero. In short, Wukong is portrayed as a guardian deity. The significance of this will become clear below.
The carving’s headband has a gentle double curlicue topped with a wedge shape (fig. 3). This design appears in Daoist art from the same period.
TheInk Treasure of Wu Daozi, (Daozi mobao, 道子墨寶) is a collection of 50 ink drawings of the Daoist pantheon attributed to the noted 8th-century artist Wu Daozi but likely produced during the 13th-century. It features many protector/wrathful deities wearing body adornments with this curlicue pattern (with or without the added wedge). There are too many examples to post, so I will choose just three (Fig. 4–9). Please note that, with the exception of the headband and rosary, these figures are wearing the same esoteric ritual items as Monkey (i.e. earrings, bracelets, arm bangles, and anklets).
This shows a clear connection between body adornments with the curlicue pattern and guardian deities.
Fig. 4 – The esoteric protector deity Marshal of Heavenly Reeds, a.k.a. Zhu Bajie’s previous incarnation (larger version). Fig. 5 – Detail of the anklets on his feet (larger version). Note that Heavenly Reed’s necklace also features the curlicue pattern. Fig. 6 – A demonic guardian detaining a soul undergoing judgement in hell (larger version). Fig. 7 – Detail of the bangles on his arms (larger version). Fig. 8 – One of Lord Erlang‘s demonic soldiers helping to clear animal spirits (in this case a turtle) from a mountain river (larger version). Fig. 9 – Detail of his ornate headband with spherical elements, giving it a floral quality (larger version). The images have been enhanced slightly for clarity.
III. Possible origin of the pattern
The Ink Treasure of Wu Daozi shows several generals, officials, and guardians wearing headgear with lingzhi mushrooms (靈芝) (fig. 10–13), a real world fungi shaped like a rounded heart with a lacquered reddish-brown appearance (fig. 14). Also known as ruyi (如意, “as-you-wish”),—yes, the same as Wukong’s staff—the mushroom is associated with immortality and magic wish fulfillment in Buddho-Daoist culture. The ruyi pattern (ruyi wen, 如意紋) is a common motif in Chinese art, lining vases, topping S-shaped scepters, appearing as flourishes on traditional style rooftops, repeating endlessly on extravagant silken textiles, etc. (fig. 15–17). It has a familiar double curlicue swirl that reminds one of Monkey’s headband (fig. 18).
Given the fungi’s high standing in religious culture, I could see the lingzhi/ruyi‘s curlicue pattern being associated with the ritual garb of guardian deities since they are the front line of defense against evil influences.
Fig. 10 – A sword bearer (larger version). Fig. 11 – Lord Erlang overseeing his demonic soldiers clearing the mountain and river of animal spirits (larger version). Fig. 12 – Detail of his helmet (larger version). Fig. 13 – One of Erlang’s soldiers driving out animal spirits with fire (larger version). Fig. 14 – A lingzhi mushroom (larger version). Fig. 15 – The Bodhisattva Guanyin holding a ruyi scepter (larger version). Fig. 16 – A marvelous Qianlong-era celadon glaze vase with a ruyi shape (larger version). Note the pattern repeating on the lid and base. Image found here. Fig. 17 – The Ruyi Gate in the Forbidden City. Note the Ruyi elements on the roof (larger version here). Fig. 18 – A comparison of a ruyi pattern and Sun Wukong’s golden headband (larger version).
I’ve written an article suggesting a mantra for the secret spell that causes the golden fillet to tighten.
After Monkey’s birth from stone in chapter one, two beams of light shoot forth from his eyes,  alarming the Jade Emperor in heaven (fig. 1). The cosmic ruler then orders the personification of his eyes and ears, generals Thousand-Mile Eye (Qianliyan, 千里眼) and Fair-Wind Ear (Shunfenger, 順風耳), respectively, to trace the source:
At this command the two captains went out to the gate, and, having looked intently and listened clearly, they returned presently to report, “Your subjects, obeying your command to locate the beams, discovered that they came from the Flower-Fruit Mountain at the border of the small Aolai Country, which lies to the east of the East Pūrvavideha Continent. On this mountain is an immortal stone that has given birth to an egg. Exposed to the wind, it has been transformed into a monkey, who, when bowing to the four quarters, has flashed from his eyes those golden beams that reached the Palace of the Polestar. Now that he is taking some food and drink, the light is about to grow dim.” With compassionate mercy the Jade Emperor declared, “These creatures from the world below are born of the essences of Heaven and Earth, and they need not surprise us” (vol. 1, p. 102).
Today, these generals are celebrated as the guardians of Mazu (fig. 2), a popular sea goddess worshiped in Southern China, Macao, and Taiwan. Thousand-Mile Eye is commonly portrayed as a fierce, red warrior scanning the horizon with one hand shielding his eyes (fig. 3), while Fair-Wind Ear is green with one hand to his ear (fig. 4). According to Ruitenbeek (1999), the story of their subjugation is told in a series of circa 1880 mural paintings from the Temple of Divine Mercy (Lingcimiao, 靈慈廟) in Fengting village (楓停), Xianyou district (仙遊), Fujian.
Thousand-Miles Eye (in the murals called Jinxing yan [金星眼], “Venus-eye”), in the disguise of a lovely girl, lures men into a cave, and then dismembers and devours them.  When With-the-Wind Ear sees this, he starts a fight with Thousand-Miles Eye, but in the end the two monsters pledge to become sworn brothers. Guanyin, seated on Mount Potala, orders the Dragon’s Daughter to tell Mazu to subdue the monsters. In the first round of the battle, Mazu is forced to retreat. She then implores heavenly warriors to help her, and with their assistance is able to defeat the two monsters. Thereafter, Thousand-Miles Eye and With-the-Wind Ear become her loyal servants. First they help Mazu to fight a man-eating lion, thereafter they subdue the Evil Dragon Monster (p. 316).
I am unsure when the generals where first associated with Mazu. They are only alluded to in passing as subjugated planetary spirits in the goddess’ early 17th-century pious novelRecord of the Miracles Performed by the Heavenly Princess(Tianfei xiansheng lu, 天妃顯聖錄) (Ruitenbeek, 1999, p. 319). However, it is clear from their appearance in Journey to the West that they were associated with the Jade Emperor during the late 16th-century.  This association stretches back to at least the Shaoxing (紹興, 1131–1162) period of Song Emperor Gaozong, for they appear with the cosmic monarch among the rock carvings of the Shimen Mountain Grotto (Shimen shan shiku, 石門山石窟), one of many sites making up the world famous Dazu rock carvingsin Sichuan (fig. 5-7). 
Readers will notice that, apart from being dressed differently, neither statue is striking their characteristic pose. These poses came later and may have been influenced by earlier deities. For example, Nikaido (2011) writes that a Song-era sea god named Zhaobao Qilang (招寶七郎) is sometimes depicted shielding his eyes just like Thousand-Mile Eye, and so he cautiously suggests that, once the deity’s cult waned in popularity and yielded to Mazu, this trait may have been passed on to her general (pp. 89-90). Conversely, the poses could simply be based on postures used by the very sailors who worshiped such gods. After all, keen eyesight and hearing are skills needed to successfully navigate the open ocean.
II. Golden headbands
The generals are normally depicted wearing flowing clothing or open armor to show off their muscular physiques. Apart from their divine sashes, they are commonly shown wearing golden armbands, bracelets, and / or anklets, as well as a tiger skin at the waist. These traits appear to be consistent from all the examples that I’ve seen in Taiwan and Hong Kong. However, the statues in Taiwan stand out the mostto me because they are often depicted wearing golden fillets on their heads just like Sun Wukong (fig. 8). This is because these headbands share a common origin.
Fig. 8 – Religious statues of Fair-Wind Ear (left) and Thousand-Mile Eye (right) (larger version). Take note of the headbands. Also refer back to figures 4 and 5. Photo originally found here.
I explain in this article that the golden fillet can be traced to a list of prescribed ritual items worn by ancient Buddhist yogins in their worship of Hevajra / Heruka, a wrathful protector deity. These items appear in the 8th-century Hevajra Tantra (Dabei kongzhi jingang dajiao wang yigui jing, 大悲空智金剛大教王儀軌經):
The practitioner should wear divine ear-rings, a circlet around the head, upon each wrist a bracelet, a girdle around his waist, anklets around the ankles, arm ornaments around the upper arms and a garland of bones around the neck. His dress must be of tiger skin and his food the Five Nectars (Farrow & Menon, 2001, pp. 61-62; Cf. Linrothe, 1999, p. 250).
You will notice that all of the items associated with the generals, including the headband, the rings on the arms, wrists, and ankles, and the tiger skin are listed here. This is because wrathful protector deities were often depicted in the same attire as their followers, leading to the fillet becoming a symbol of powerful Buddhist spirits. For instance, the Hevajra Tanta describes Hevajra / Heruka as a wrathful youth wearing such clothing:
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; Cf. Farrow & Menon, 2001, p. 44).
The Hevajra Tantra was translated into Tibetan and Chinese during the 11th-century (Bangdel & Huntington, 2003, p. 455), allowing this iconography to spread eastward. A prime example is the 13th-century Kaiyuan Temple Pagoda carving of Sun Wukong in Fujian. He is depicted with the headband, armbands, bracelets, anklets, and possibly even a tigerskin apron (fig. 9).
Given the close cultural connection between Fujian and Taiwan, the generals’ depiction with fillets is likely based on previous examples from the southern Chinese province.
It’s interesting to note that Fair-Wind Ear’s statue from Shimen Mountain Grotto in Sichuan has the aforementioned body rings (refer back to fig. 6). His head is unfortunately damaged, though. I would be interested in analyzing similarly dressed guardian figures in the area to see if they wear a fillet.
Here is a lovely Dutch engraving of a Mazu temple from a 17th-century book by Olfert Dapper (fig. 10). The generals can be seen standing in their characteristic poses to the left (fig. 11) and right (fig. 12) of the main altar stage. Their attire includes the aforementioned body rings (and possibly tiger skin pants) but no headband.
Fig. 10 – Engraving from Memorable Mission of the Dutch East India Company up the Coast to China and into the Empire of Taising of China (Gedenkwaerdig bedryf der Nederlandsche Ooste-Indische Maetschappye, op de kuste en in het keizerrijk van Taising of Sina, 1670) (larger version). Image from the Clark Collection. Fig. 11 – A detail of General Thousand-Mile Eye (larger version). Fig. 12 – A detail of General Fair-Wind Ear (larger version).
The Puji Temple (普濟寺) in Datong district (大同區), Taipei (near my home) includes door god paintings of the two generals (fig. 13-16). They are depicted with bejeweled headbands. These demonstrate the variability of fillet designs.
1) This feat may be based on Daoist mind-training exercises where adepts try to expand their vision to the ends of the earth/cosmos. According to Robinet (1979), one source reads: “Consider that your two eyes radiate a single light which is like liquid fire and as brilliant as the stars; glowing red, it extends for ten thousand miles. The mountains, marshes, rivers, thickets and forests of the four directions are all resplendent with its light” (p. 55).
2) Wukong states in chapter 27 that he used the same trick to eat humans:
When I was a monster back at the Water-Curtain Cave, I would act like this if I wanted to eat human flesh. I would change myself into gold or silver, a lonely building, a harmless drunk, or a beautiful woman. Anyone feeble-minded enough to be attracted by me I would lure back to the cave. There I would enjoy him as I pleased, by steaming or boiling. If I couldn’t finish him off in one meal, I would dry the leftovers in the sun to keep for rainy days (Wu & Yu, 2012, vol. 2, p. 20).
3) The generals are associated with Huaguang Dadi (華光大帝) in Journey to the South (Nanyouji, 南遊記, 17th-century). They are referred to as Li Lou (離婁) and Shi Kuang (師曠) (Nikaido, 2011, p. 90). They also make an appearance in Investiture of the Gods (Fengshen yanyi, 封神演義, c. 1620). Ruitenbeek (1999) writes:
[T]hey occur, without the context of Mazu, in the guise of the brothers Gao Ming and Gao Jue. In reality, these were a Peach-tree Spirit and a Willow-tree Ogre, who had availed themselves of the divine power of two clay statues of Qianli yan and Shunfeng er in the temple of Xuan Yuan in Qipanshan. Only after these statues were smashed to pieces did they lose their power. They were subsequently transformed into Shenshu and Yulei, better known as the Door Gods (p. 319).
4) See Zhao (n.d.). These carvings are described by Hu (1994). I unfortunately don’t have access to it at the time of this writing.
Bangdel, D., & Huntington, J. C. (2003). The circle of bliss: Buddhist meditational art. Chicago, Ill: Serindia Publications.
Farrow, G. W., & Menon, I. (2001). The concealed essence of the Hevajra Tantra: With the commentary Yogaratnamālā. Delhi: Motilal Banarsidass Publ.
Hu, W. (1994). Sichuan jiaodao fojiao shiku yishu [Taoist and Buddhist Sichuan rock cave art]. Chengdu: Sichuan People’s Publishing.
Linrothe, R. N. (1999). Ruthless compassion: wrathful deities in early Indo-Tibetan esoteric Buddhist art. Boston, Mass: Shambhala.
Nikaido, Y. (2011). The transformation of gods in Chinese popular religion: The examples of Huaguang dadi and Zhaobao Qilang. A Selection of Essays on Oriental Studies of the Institute for Cultural Interaction Studies. Osaka: Kansai University, 85-92.
Robinet, I. (1979). Metamorphosis and deliverance from the corpse in Taoism. History of Religions, 19(1), 37-70.