A Survey of Sun Wukong’s Magic “Immortal Breath” and Its Abilities

I’ve previously written an article in which I detail the origins of the Monkey King’s magic hair. He first exhibits the ability to transform his hair in chapter two of Journey to the West (Xiyouji, 西遊記, 1592):

Plucking a handful of hairs from his own body and throwing them into his mouth, he chewed them to tiny pieces and then spat them into the air. “Change!” he cried, and they changed at once into two or three hundred little monkeys encircling the combatants on all sides. For you see, when someone acquires the body of an immortal, he can project his spirit, change his form, and perform all kinds of wonders. Since the Monkey King had become accomplished in the Way, every one of the eighty-four thousand hairs on his body could change into whatever shape or substance he desired (Wu & Yu, 2012, vol. 1, p. 129).

拔一把毫毛,丟在口中嚼碎,望空噴去,叫一聲:「變!」即變做三、二百個小猴,週圍攢簇。 原來人得仙體,出神變化無方。不知這猴王自從了道之後,身上有八萬四千毛羽,根根能變,應物隨心。

This tactic of transforming chewed up hairs into dozens, hundreds, or even thousands of monkey clones also appears in chapters 3, 5, 21, 35, 44, 86, and 90 (A & B) (Wu & Yu, 2012, vol. 1, pp. 132, 165, 172, & 409; vol. 2, pp. 138 & 277; vol. 3, p. 332; vol. 4, pp. 164-165, 168, 219, & 221). But these chewed up hairs can also be transformed into other objects, such as sleep-inducing bugs in chapters 5 and 86, as well as seven kinds of hawks in chapter 72 (Wu & Yu, 2012, vol. 1, p. 165; vol. 3, p. 332; vol. 4, p. 168).

But the novel states that Sun sometimes changes his hair by first blowing on it with his magic “immortal breath” (xianqi, 仙氣). This article will provide a brief survey of this skill and its abilities.

I. Hair

Explicit mentions of the immortal breath show that it can transform hair into:

  • Ink-soaked brush to write on the Buddha’s hand (ch. 7) (Wu & Yu, 2012, vol. 1, p. 195).
  • Dagger to skin a tiger (ch. 14) (Wu & Yu, 2012, vol. 1, p. 310).
  • Three-ply hemp rope to tie up Zhu Bajie (ch. 19) (Wu & Yu, 2012, vol. 1, p. 385).
  • Duplicates of the Monkey King (fig. 1) (ch. 25, 27, 45, 73, 77, 84, 85, & 94) (Wu & Yu, 2012, vol. 1, pp. 465; vol. 2, p. 27, 129, & 292; vol. 3, p. 340; vol. 4, pp. 20, 139, 151, & 293).
  • Copper coin to pay for paper (ch. 33) (Wu & Yu, 2012, vol. 2, pp. 117-118).
  • Fake lesser demons (ch. 34) (Wu & Yu, 2012, vol. 2, p. 122).
  • Yellow-gold rope to replace a magical weapon of the same name (ch. 34) (Wu & Yu, 2012, vol. 2, p. 130).
  • Gold-plated, red lacquered box to hold a white jade token (ch. 37) (Wu & Yu, 2012, vol. 2, p. 169).
  • Wrapper to infiltrate a demon’s lair (ch. 41) (Wu & Yu, 2012, vol. 2, pp. 235-236).
  • Yellow hound to carry away a bogus immortal’s decapitated head (ch. 46) (Wu & Yu, 2012, vol. 2, p. 308).
  • Hungry hawk to eat a bogus immortal’s entrails (ch. 46) (Wu & Yu, 2012, vol. 2, p. 310).
  • Group of 30 tigers to scare away monks (ch. 64) (Wu & Yu, 2012, vol. 3, p. 194).
  • Sleep-inducing insects and lice, fleas, and bedbugs (ch. 71 (A & B) & 84) (Wu & Yu, 2012, vol. 3, pp. 303 & 304; vol. 4, p. 139).
  • Gold-headed fly to scare a demon king (ch. 75) (Wu & Yu, 2012, vol. 3, p. 366).
  • Bow drill (comprised of a diamond bit, a bamboo strip, and a cotton string) to drill out of a dangerous magic treasure (ch. 75) (Wu & Yu, 2012, vol. 3, p. 369).
  • Very thin but long rope to climb out of a monster’s stomach (ch. 76) (Wu & Yu, 2012, vol. 4, p. 3).
  • Thirty ropes for tying up bandits (ch. 97) (Wu & Yu, 2012, vol. 4, p. 328).

It should be noted, however, that the novel is very inconsistent regarding this ability. The immortal breath is not always used; Sun often just commands the hair to transform or changes it without saying anything, such as in chapters 4, 33, 34 (A, B, & C), 42, 46, 49, 51, 59, 65, 68, 71, and 74 (Wu & Yu, 2012, vol. 1, p. 156; vol. 2, p. 115, 124-125, 237, 301, 305, & 345-346; vol. 3, p. 13, 120, 216, 269, 305, & 358). The “chewing” and “spitting out” of the hair is another example (see above). But one might argue that spitting requires a build of air in the lungs, so by extension, the immortal breath is being used.

This inconsistency is probably due to the standard 1592 edition of Journey to the West coalescing from independent oral stories developed and told over the centuries (see the late-13th-century version of the story, for example). Therefore, some story tellers likely employed the immortal breath, while others did not.

sc137582 - small

Fig. 1 – “Wukong Blows His Hair” (c. 1882) by Yoshitoshi (larger version).

II. Staff

This immortal breath is also shown capable of transforming the magic iron staff (fig. 2).

  • Steel file to file through a magic golden ring pinning Monkey’s neck to a column (ch. 34) (Wu & Yu, 2012, vol. 2, p. 129).
  • Razor to mutilate two lesser demons (ch. 63) (Wu & Yu, 2012, vol. 3, p. 180).
  • Flag pole to make a pair of magic cymbals stand upright (ch. 65) (Wu & Yu, 2012, vol. 3, p. 216).
  • Seventy forked weapons to cut the threads of supernatural spider webs (ch. 73) (Wu & Yu, 2012, vol. 3, p. 340).
  • Nail to prop open a demon’s mouth while Monkey climbs out of their stomach (ch. 83) (Wu & Yu, 2012, vol. 4, p. 113).
  • Three-pointed drill to make a covert hole in a wardrobe (ch. 84) (Wu & Yu, 2012, vol. 4, p. 139).

As noted above, the novel is inconsistent in this regard. For instance, Monkey changes the staff into a steel drill without blowing on it in chapter 65 (Wu & Yu, 2012, vol. 3, p. 218). Likewise, no breath is used in chapters 46 and 84 when Sun transforms the weapon into razors for shaving heads (Wu & Yu, 2012, vol. 2, p. 305; vol. 4, p. 139).

Fig. 2 – Monkey pointing to the luminous iron pillar that will become his iron staff (larger version). From the Qing-Era Painted, Complete Edition Journey to the West (Qing caihui quanben Xiyouji, 清彩繪全本西遊記).

III. Miscellaneous 

Monkey can also transform items not in contact with his body. For instance, in chapter 46, he changes a Daoist lad’s clothing from a spring onion white robe into a brown monk’s robe (Wu & Yu, 2012, vol. 2, p. 305). In chapter 78, Sun transforms Tripitaka into his likeness using a mask made from mud:

Pilgrim, too, had little alternative but to flatten the mud and press it on his own face and, after a little while, succeeded in making an apelike mask. Asking the Tang Monk to stand up but without uttering another word, Pilgrim pasted the mask on his master’s face and recited a magic spell. He then blew his immortal breath onto the mask, crying, “Change!” At once the elder took on the appearance of Pilgrim. He was told to take off his own garments and switch clothes with Pilgrim, who made the magic sign and then recited another spell to change into the form of the Tang Monk (Wu & Yu, 2012, vol. 4, p. 47).


Again, the novel is inconsistent regarding external objects. Sometimes Monkey bights his tongue and spits blood out to change said item, such as in chapter 25 (A & B) (Wu & Yu, 2012, vol. 1, pp. 474-475 & 477; vol. 2, p. 303). [1-2] But, again, one could argue that the immortal breath is used as spitting requires a build-up of air in the lungs.

IV. Special abilities 

The immortal breath (fig. 3) is also shown to have other special abilities. For instance, in chapter 46, Monkey uses it to heal a gaping wound in his stomach:

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


The novel implies that Sun’s immortal breath also has the ability to manipulate souls. For example, in chapter 88, Sun uses it in an arcane ritual designed to bestow three human disciples with super human strength. The pertinent section reads:

In a secluded room behind the Gauze-Drying Pavilion, Pilgrim traced out on the ground a diagram of the Big Dipper. Then he asked the three princes to prostrate themselves inside the diagram and, with eyes closed, exercise the utmost concentration. Behind them he himself recited in silence the true sayings of realized immortality and intoned the words of Dharani as he blew divine breaths into their visceral cavities. Their primordial spirits [yuanshen, 元神] were thus restored to their original abodes …

行者才教三個王子都在暴紗亭後,靜室之間,畫了罡斗。教三人都俯伏在內,一個個瞑目寧神。這裡卻暗暗念動真言,誦動咒語,將仙氣吹入他三人心腹之中,把元神收歸本舍 。。。

The term “primordial spirits” (yuanshen, 元神) is commonly associated with Buddhahood or enlightenment. In Daoism, it is synonymous with the attainment of immortality via the formation of a “Sacred Embryo” (shengtai, 聖胎), which is forged from spiritual energies over long years of self-cultivation (Darga, 2008). This suggests that Monkey’s immortal breath also grants the disciples some form of immortality. You can read about the entire ritual here.

Fig. 3 – A vapor blowing smoke (larger version). Image found here. Photographer unknown. I imagine this is what the immortal breath would look like.

And in chapter 97, Sun uses the immortal breath to transform an old man’s soul into “ether” for easy transport back to the world of the living:

Pilgrim changed the soul of the squire into ether [qi, 氣] by blowing on him. The ether was stored in his sleeve so that they could leave [Hell] and go back to the world of light together. Astride the clouds, he soon arrived at the Kou house. Eight Rules [Zhu Bajie] was told to pry open the lid of the coffin, and the soul of the squire was pushed into his body. In a moment, he began to breathe once more and revived (Wu & Yu, 2012, vol. 4, p. 339).


The phrase “immortal breath” (xianqi, 仙氣) is missing in the original Chinese, but the ability’s use is understood as the passage mentions Monkey “blowing” (chui, 吹) on the soul.

V. Conclusion

Various chapters of Journey to the West show that Sun Wukong can use his immortal breath to transform his hair, his magic staff, and items not directly in contact with his body into anything he desires. These range from utilitarian items like files, blades, drills, and ropes to living creatures like insects, birds of prey, dogs, tigers, lesser demons, and even independent copies of himself. It can also change the color and appearance of clothing, as well as magically disguise someone when used in tandem with a mask. The skill’s special abilities include healing and soul manipulation. Evidence suggests that it can restore the “primordial spirit”, granting some form of immortality, as well as transform souls into “ether” for better ease of transport.

The immortal breath, however, is not used consistently throughout the novel. Monkey sometimes chews up and spits out the hair, commands it to change, or simply transforms it without saying anything at all. This inconsistency is likely due to the novel coalescing from independent oral stories developed and told over the centuries.


1) Thank you to Irwen Wong for reminding me of this.

2) The second instance of tongue-biting doesn’t mention the word for blood (xie, 血), but it can be understood to be present.


Darga, M. (2008). Shengtai. In F. Pregadio (Ed.), The Encyclopedia of Taoism (Vols. 1-2) (pp. 883-884). London: Routledge].

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

The Monkey King’s Magic Staff: A Complete Guide

I’ve written many articles on the origins of the Monkey King’s staff over the years. Therefore, I’ve decided to combine all of the information in one location for the benefit of people wishing to learn more about the weapon and its history. This will no doubt be interesting to fans of Journey to the West (Xiyouji, 西遊記, 1592; JTTW hereafter), as well as those of modern franchises like Dragon Ball and Lego Monkie Kid (fig. 1). Citations can be found in the articles linked below.

Fig. 1 – The Lego Monkie Kid character “MK” wielding the Monkey King’s magic staff (larger version). Copyright Lego.

1. The Literary Weapon

1.1. Staff Background

The staff first appears in chapter three of the original novel when the Monkey King goes to the underwater kingdom of Ao Guang (敖廣), the Dragon King of the Eastern Sea, looking for a magic weapon to match his supernatural strength and martial skill. When all of the traditional weapons offered to him fail to meet his standards, the dragon queen suggests to her husband that they give Sun Wukong “that piece of rare magic iron” taking up space in their treasury. She claims the ancient shaft had started producing heavenly light days prior and proposes that the monkey is fated to own it. The weapon is said to be a “divine treasure iron” originally used to set the depths of the Heavenly River (Tianhe ding di de shenzhen tie, 天河定底的神珍鐵) by Yu the Great (Dayu, 大禹), a mythic Chinese emperor and demigod.

The staff is initially described as a pillar of black iron or bin steel more than 20 feet in height and as wide as a barrel. It is only when Monkey lifts it and suggests a smaller size would be more manageable that the staff complies with his wishes and shrinks. This is when Sun notices that the weapon is decorated with a golden ring on each end, as well as an inscription along the body reading: “The ‘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). The inscription indicates that the staff is immensely heavy, weighing 17,560 lbs. (7,965 kg).

Apart from the above information, a poem in chapter 75 (see section 2.3 here) highlights another name, “Rod of Numinous Yang” (Lingyang bang, 靈陽棒). In addition, the poem describes the staff being covered in “tracks of planets and stars” (i.e. astronomical charts) and esoteric “dragon and phoenix scripts” (longwen yu fengzhuan, 龍紋與鳳篆).

The novel provides two contradictory origins for the staff. The chapter 75 poem notes that it “[w]as forged in the stove by Laozi himself”. Laozi is of course the high god of Daoism. Chapter 88 instead states that it was “forged at Creation’s dawn / By Yu the Great himself, the god-man of old”.

Contrary to popular images of the Monkey King holding a regular-sized staff, his literary counterpart wields a massive weapon in battle. It is said to be 20 feet long (likely an error for 12), [1] with the width of a bowl (erzhang changduan, wankou cuxi, 二丈長短,碗口粗細) (fig. 2). I did a cursory search of bowls during the Ming (when the standard edition of JTTW was published) and found that they have a radius of between 4 to 6 inches (10.16 to 15.25 cm).

Fig. 2 – An accurate depiction of the size of Monkey’s staff (larger version). Images found here. Artwork by @真·迪绝人.

1.2. Staff Powers

The staff is shown to have multiple powers.

  1. Size manipulation – This is the weapon’s most well-known ability, growing as big or as small as Monkey wishes.
  2. Controlling the oceans –  The aforementioned poem from chapter 88 writes: “The depths of all oceans, rivers, and lakes / Were fathomed and fixed by this very rod. / Having bored through mountains and conquered floods, / It stayed in East Ocean and ruled the seas…”
  3. Astral entanglement – Monkey’s soul is able to use the staff in Hell despite the physical weapon being with his body in the world of the living.
  4. Multiplication – He can multiply his staff in the hundreds of thousands.
  5. Lock-Picking – He can open any door just by pointing it at the lock.
  6. Transformation – He can change it into tools like a straight razor or a drill.
  7. Sentience – The weapon glows in anticipation of Monkey’s arrival (fig. 3), responds to his touch, and follows his commands, denoting a certain level of sentience.

Fig. 3 – Monkey pointing to the luminous iron pillar (larger version). From the Qing-Era Painted, Complete Edition Journey to the West (Qing caihui quanben Xiyouji, 清彩繪全本西遊記).

2. Origins

2.1. Literary Precursors

The staff found in the standard Ming edition of JTTW is actually based on two weapons from a 17-chapter storytelling prompt called The Story of How Tripitaka of the Great Tang Procured the Scriptures (Da Tang Sanzang qujing shihua, 大唐三藏取經詩話, c. late 13th-century). Sun Wukong’s precursor, an ageless immortal called the “Monkey Pilgrim” (Hou xingzhe, 猴行者), magically transports Tripitaka and his entourage to heaven. There, the supreme god, the Mahābrahmā Devarāja (Dafan tianwang, 大梵天王; i.e. Vaiśravana), gives the monk a cap of invisibility, a khakkhara (ringed monk’s staff) (fig. 4), and a begging bowl. Tripitaka and the Monkey Pilgrim take turns using these items throughout the journey. The staff is shown capable of shooting destructive beams of light, as well as transforming into magical creatures like an iron dragon or a giant, club-wielding Yaksha. Later, the Monkey Pilgrim also borrows an iron staff from heaven to fight a dragon.

The two staves from this tale were eventually combined by later storytellers. The rings from the first weapon were added to the ends of the second.

Fig. 4 – A beautiful, modern monk’s staff with six rings (larger version).

2.2. Influence from Religion

The Monkey Pilgrim’s magic ringed staff and begging bowl were directly influenced by the Buddhist Saint Mulian (目連; Sk: Maudgalyayana), a disciple of the historical Buddha. One particular 9th to 10th-century story notes that the Saint uses the staff to unlock the gates of hell in order to save his mother (fig. 5). This is where Sun Wukong’s weapon from JTTW gets the power to open locks.

Mulian saves his mother, scroll - small

Fig. 5 – A scroll or mural depicting Mulian rescuing his mother from the underworld (larger version). Originally found here.

The ringed and metal staves used by the Monkey Pilgrim are based on those historically carried by Buddhist monks in ancient China. The aforementioned ringed variety, called “tin staves” (xizhang, 錫杖) where used by religious monks and decorated with six to twelve metal rings (see fig. 4). These rings were designed to make a clanging noise to not only scare away animals on the road but also to alert possible donors to the monk’s presence.

Martial monks charged with protecting monasteries or deployed by the Chinese government against pirates wielded wooden or iron staves (fig. 6). The former were chosen for their diminished capacity for fatal injuries, while the latter were explicitly used for killing during times of war. Sun Wukong wielding the iron variety makes sense as he’s a martial monk charged with protecting Tripitaka from monsters and spirits.

Fig. 6 – A martial monk practicing a drunken staff-fighting form (larger version).

The term “As-you-will” (ruyi, 如意) from Monkey’s staff (mentioned above) is connected with a scepter used in ancient China as a symbol of religious debate and authority and, to a lesser extent, as a weapon. While it can be traced to a Hindo-Buddhist tradition in India, the scepter came to be associated with the highest gods of Daoism thanks to being decorated with a “numinous mushroom” (lingzhi, 靈芝), a real world fungi believed to bestow immortality. This mushroom scepter was at some point associated with the Buddhist Cintamani (Ruyi zhu, 如意珠), or “As-you-will jewel”. This was believed to grant any wish that one might desire. This explains why Monkey’s As-you-will staff grows or shrinks according to his commands. It’s interesting to note that some religious images of the scepter depict it with a syncretic mix of the Daoist mushroom and the Buddhist jewel (fig. 7).

Fig. 7 – An enhanced detail of the Celestial Worthy’s mushroom scepter with a flaming as-you-will jewel (larger version). See here for a fuller version of the deity.

2.3. Influence from Popular literature

The weapon’s portrayal in JTTW as an iron pillar kept in the dragon kingdom comes from old stories about the immortal Xu Xun (許遜), a historical Daoist master and minor government official from Jiangsu province. Popular tales describe him as a Chinese St. Patrick who traveled southern China ridding the land of flood dragons. One 17th-century version titled “An Iron Tree at Jingyang Palace Drives Away Evil” (Jingyang gong tieshu zhenyao旌陽宮鐵樹鎮妖) describes how he chained the flood dragon patriarch to an iron tree (tieshu, 鐵樹) and submerged it in a well, thus preventing the serpent’s children from leaving their subterranean aquatic realm and causing trouble. Pre-JTTW versions of this tale depict the tree as an actual iron pillar (fig. 8). Chinese Five Elements Theory dictates that metal produces water, and as its creator, holds dominion over it. Therefore, an iron pillar would be the perfect item to ward off creatures entrenched in the aquatic environment.

Fig. 8 – A Ming Dynasty woodblock print depicting the immortal Xu overseeing the creation of the iron pillar in a furnace (right) and it’s placement the well (left). Dated 1444-1445 (larger version).

As previously noted, the staff weighs 17,560 lbs. (7,965 kg). This is likely based on an episode from chapter 27 of the Chinese novel Water Margin (Shuihu zhuan, 水滸傳, c. 1400). It involves the bandit Wu Song lifting a heavy stone block said to weigh 300 to 500 catties (san wu bai jin, 三五百斤; 390-650 lbs./177-295 kg) (fig. 9). This scene and the one from JTTW where Monkey lifts the iron pillar are quite similar. Both 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 “10,000” (yiwan, 一萬) and “1,000” (qian, 千), respectively. And given the close historical and cultural ties between the two heroes, I believe the author-compiler of JTTW 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. 9 – Wu Song lifts the stone block (larger version). Image found here.


1) Irwen Wong of the Journey to the West Library blog has suggested that the length is likely an error for 12 feet (zhanger, 丈二) since the staff was already near 20 feet when Monkey first acquired it, and he later asked it to shrink to a more manageable size.

Dragon Ball and Journey to the West

Last updated: 03-20-2022

It recently occurred to me that I’ve referenced the Dragon Ball franchise in several blog articles. So I’ve taken the opportunity to gather everything into one spot, including information that I haven’t previously mentioned. This is meant to be a very basic introduction and not an exhaustive analysis. My current interest here is in modern adaptations of Journey to the West. Those interested in a broader discussion on the influences of Dragon Ball should consult the work of Derek Padula.

I. Son Goku

The name of the series protagonist, Son Goku (孫悟空), is a Japanese transliteration of Sun Wukong, meaning “Monkey Aware of Emptiness“, an allusion to Buddhist enlightenment. While referencing Rhesus macaques and “grandsons”, the surname Sun (孫), is also a veiled symbol for the development of an immortal spirit in Taoist elixir arts. Therefore, the name Son Goku straddles both Buddhism and Taoism.


Goku’s monkey tailflying nimbus cloud, and extending power pole are all based on the respective trait, skill, and weapon of the Monkey King. The latter’s skill is called the “Cloud Somersault” (jindou yun, 筋斗雲), which can travel 108,000 li (33,554 mi / 54,000 km), or one and one-third the circumference of Earth, in a single leap. Sun’s staff, the “‘As-You-Will‘ Gold-Banded Cudgel”, weighs a whopping 17,560 lbs (7,965 kg) and (among other abilities) can magically grow as big or shrink as small as the immortal desires.

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Goku’s proficiency in boxing has a fun connection to Sun Wukong. Series creator Akira Toriyama partly based the Saiyan’s fighting style on the Wing Chun techniques used by Bruce Lee and Jackie Chan in their respective films. This style falls under the umbrella term “Short Fist” (Duan quan, 短拳), a school of martial arts with a low stance and quick, compact punches. Journey to the West states that this very style is the Monkey King’s preferred fighting technique! He uses Short Fist a few times in the novel.


The spherical spaceship that baby Goku crash lands on Earth in from DBZ is a clever nod to the magic stone that Sun Wukong is born from in the beginning of the novel.


Goku’s Ozaro (大猿) form, or his ability to change into a titanic “great ape” during a full moon, is largely based on the Monkey King’s cosmic transformation. The novel calls this magical skill the “Method of Modeling Heaven on Earth” (Fatian xiangdi, 法天像地), and Sun uses it to grow 100,000 feet (30,480 m) tall during battles with powerful opponents. This is related to ancient Pre-Qin and Han dynasty concepts of astral-geography later used in the construction of imperial Chinese cities.


While I don’t have confirmation from Toriyama, Goku’s “Instant Transmission” skill might be based on the aforementioned cloud somersault. This is because Chinese Buddhist literature mentions the world of man is separated from the Buddha’s paradise by 108,000 li (the distance covered by the cloud), and the only way to instantly bypass all of the hardships in-between is achieving enlightenment. Hence the cloud somersault is symbolic of instant travel.


II. Other characters

Goku’s early quest to find the dragon balls along with Bulma, the shape-shifting pig Oolong, and the desert bandit Yamcha is based on the “journey” of Journey to the West. The Monkey King, along with the pig spirit Zhu Bajie and the sand spirit Sha Wujing, guards a monk traveling to India to retrieve salvation-bestowing scriptures from the Buddha. Not surprisingly, other DB/DBZ characters come from the Chinese novel. The Ox-King and Chi-Chi are respectively based on the Bull Demon King and his wife, Princess Iron FanTien Shinhan is based on Erlang, the only god to truly defeat Sun Wukong, which is why Tien is such a threat to young Goku.


Goku’s martial arts teacher, Master Roshi, is based on the Buddho-Taoist Sage Subodhi who teaches Sun Wukong magic and the secret of immortality. Subodhi is based on Subhuti, a historical disciple of the Buddha. This is hilarious when you think about how much of a pervert Roshi is.


The antagonist Broly wears a shock collar and mind-controlling headband in various DB media. These are based on the Monkey King’s “Golden Fillet” (jing gu quan, 金箍圈), which represses his unruly nature by painfully constricting around his head when a magic spell is chanted. It’s interesting to note that this fillet is based on a historical ritual headband worn by ancient Indian Buddhist yogins as a physical reminder of self-restraint.


III. Miscellaneous

The senzu (仙豆, “immortal bean”) used by Goku and other Z fighters to replenish their strength from prolonged training or battle are based on immortality-bestowing elixir pills that Sun Wukong eats while drunkenly stumbling through the laboratory of the Taoist high god Laozi. Once eaten, the pills immediately counteract the effects of the heavenly wine.


Update: 03-20-22

I recently remembered that I’ve also referenced the origin of the spikey hair in esoteric Buddhist art. On 02-14-2019 I posted on twitter saying: “Goku’s spiked hair is based on esoteric guardian deities. For ex., here is Tianpeng, the former incarnation of Oolong’s precursor Zhu Bajie.”

The Magic Powers of the Monkey King’s Iron Staff

Last updated: 07-04-2021

I’ve written several articles on Sun Wukong’s iron staff, including its origin from religious and martial staves used by historical Buddhist monks, the meaning of its inscription (“‘As-You-Will’ Gold-Banded Cudgel. Weight: 17,560 lbs” (7,965 kg)), the real world metal that it is made from, its ties to Yu the Great and flood control, its ties to the Buddhist Saint Mulian, its possible ties to a Hindu monument, and modern day misconceptions about its ability to weigh down the entire Milky Way galaxy. Now, I’d like to briefly survey the magic powers associated with this weapon. This will by no means be exhaustive.

I. Powers

A. Size Manipulation

Sun travels to the Eastern Sea Dragon King’s underwater kingdom in ch. 3 to acquire a celestial weapon. But when the immortal fails to find a suitably heavy armament, the Dragon Queen suggests that they give him a black iron pillar from their treasury. It is described as over 20 feet (6.096 m) in height and the width of a barrel. Only when Monkey lifts the pillar and suggests a smaller size would be more manageable does it comply with his wishes:

Wukong girded up his clothes and went forward to touch it: it was an iron rod more than twenty feet long and as thick as a barrel. Using all his might, he lifted it with both hands, 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, “The ‘As-You-Wish’ Gold-Banded Cudgel. Weight: 17,560 lbs. [Ruyi jingu bang zhong yiwan sanqian wubai jin, 如意金箍棒重一萬三千五百斤]” (Wu & Yu, 2012, p. 135). [1]

Later in the chapter, Sun shows off the new weapon to his children by shrinking it to the size of a needle and then expanding it to a literal pillar of heaven.

He held the treasure [the staff] in his hands and called out, “Smaller, smaller, smaller!” and at once it shrank to the size of a tiny embroidery needle, small enough to be hidden inside the ear. Awestruck, the monkeys cried, “Great King! Take it out and play with it some more.” The Monkey King took it out from his ear and placed it on his palm. “Bigger, bigger, bigger!” he shouted, and again it grew to the thickness of a barrel and more than twenty feet long. He became so delighted playing with it that he jumped onto the bridge and walked out of the cave. Grasping the treasure in his hands, he began to perform the magic of cosmic imitation. Bending over, he cried, “Grow!” and at once grew to be one hundred thousand feet tall, [2] with a head like the Tai Mountain and a chest like a rugged peak, eyes like lightning and a mouth like a blood bowl, and teeth like swords and halberds. The rod in his hands was of such a size that its top reached the thirty-third Heaven and its bottom the eighteenth layer of Hell (fig. 1) (Wu & Yu, 2012, vol. 1, p. 138).

cosmic transformation

Fig. 1 – Monkey grows his staff to touch heaven as he performs a cosmic transformation for his children (larger version). Original artist unknown. Found on this article.

B. Controlling the oceans

Prior to giving Monkey the staff, the Dragon King tells his wife, “That…was the measure with which [Yu the Great] fixed the depths of rivers and oceans when he conquered the Flood” (Wu & Yu, 2012, vol. 1, p. 135). Later, in ch. 88 our hero recites a poem in which he gives more detail about the weapon’s origins and history. The first few lines discuss its power over water:

An iron rod forged at Creation’s dawn
By Great Yu himself, the god-man of old.
The depths of all oceans, rivers, and lakes
Were fathomed and fixed by this very rod.
Having bored through mountains and conquered floods,
It stayed in East Ocean and ruled the seas,
[…] (Wu & Yu, 2012, vol. 4, p. 201).

Despite the staff’s influence on bodies of water both great and small, it paradoxically doesn’t grant Sun an advantage when traveling through the aquatic realm or fighting water-based demons. [3] I’ll just chalk this up to inconsistencies born from oral storytelling.

C. Astral entanglement

Ch. 3 shows that Monkey’s soul is able to use the staff in the underworld even when the physical weapon is back with his body in the world of the living.

In his sleep the Handsome Monkey King saw two men approach with a summons with the three characters “Sun Wukong” written on it. They walked up to him and, without a word, tied him up with a rope and dragged him off. The soul of the Handsome Monkey King was reeling from side to side. They reached the edge of a city. The Monkey King was gradually coming to himself, when he lifted up his head and suddenly saw above the city an iron sign bearing in large letters the three words “Region of Darkness.” … Yanking and pulling, they were determined to haul him inside. Growing angry, the Monkey King whipped out his treasure. One wave of it turned it into the thickness of a rice bowl; he raised his hand once, and the two summoners were reduced to hash.


[After reprimanding the 10 judges for bringing his soul to hell, Sun says,] “All I want is to erase my name [from the ledgers of life and death]. Bring me a brush.” The judge hurriedly fetched the brush and soaked it in heavy ink. Wukong took the ledger on monkeys and crossed out all the names he could find in it [fig. 2]. Throwing down the ledger, he said, “That ends the account! That ends the account! Now I’m truly not your subject.” Brandishing his rod, he fought his way out of the Region of Darkness.


While our Monkey King was fighting his way out of the city, he was suddenly caught in a clump of grass and stumbled. Waking up with a start, he realized that it was all a dream (Wu & Yu, 2012, vol. 1, p. 139).

Sun’s ability to use the weapon as a disembodied spirit implies that it has some power of astral projection and entanglement (i.e. it goes where his soul goes). However, to my knowledge, this only happens once in the story, and the novel clearly demonstrates that he can’t use the weapon if it is physically taken away from him. [4] This is likely another inconsistency from oral storytelling.

Fig. 2 – Monkey holds his staff as he strikes his name from the Book of Life and Death (larger version). From the Japanese children’s book Son Goku (1939). 

D. Multiplication

The weapon is shown capable of creating manifold copies of itself. For example, in ch. 4, Monkey multiplies his staff to accommodate his monstrous, multi-armed form while fighting Prince Nezha: “Dear Great Sage! He shouted, ‘Change!’ and he too transformed himself into a creature with three heads and six arms. One wave of the golden-hooped rod and it became three staffs, which were held with six hands” (Wu & Yu, 2012, vol. 1, p. 155). Later in ch. 50, he rains staves down on a demonic army.

Using the tip of his lance to point at the ground, the demon king shouted for the little imps to attack together. All those brazen fiends, wielding swords, scimitars, staffs, and spears, rushed forward at once and surrounded the Great Sage Sun completely. Entirely undaunted, Pilgrim only cried, “Welcome! Welcome! That’s exactly what I want!” He used his golden-hooped rod to cover his front and back, to parry blows east and west, but that gang of fiends refused to be beaten back. Growing more agitated, Pilgrim tossed his rod up into the air, shouting, “Change!” It changed immediately into iron rods by the hundreds and thousands; like flying snakes and soaring serpents, they descended onto the fiends from the air” (Wu & Yu, 2012, vol. 2, p. 372).

E. Lock-Picking

Sun demonstrates the staff’s magic lock-picking ability in ch. 25.

The doors are all locked. Where are we going to go?” “Watch my power!” said Pilgrim. He seized his golden-hooped rod and exercised the lock-opening magic; he pointed the rod at the door and all the locks fell down with a loud pop as the several doors immediately sprung open. “What talent!” said Eight Rules, laughing. “Even if a little smith were to use a lock pick, he wouldn’t be able to do this so nimbly.” Pilgrim said, “This door is nothing! Even the South Heaven Gate would immediately fly open if I pointed this at it!” (Wu & Yu, 2012, vol. 1, pp. 468-469).

Admittedly, this passage could be read two ways: 1) The staff opens the lock; 2) Monkey uses the staff as a conduit for his own lock-picking magic. But I’m choosing the first interpretation as this ability was likely influenced by Saint Mulian unlocking the gates of hell with his staff. [5]

F. Transformation

In ch. 46, during a competition of Buddhist and Daoist prognostication, Sun magically disguises himself as a Daoist lad’s ritual master and convinces the boy to let him shave his head: “He changed his golden-hooped rod into a sharp razor, and hugging the lad, he said, ‘Darling, try to endure the pain for a moment. Don’t make any noise! I’ll shave your head.’ In a little while, the lad’s hair was completely shorn” (Wu & Yu, 2012, vol. 2, p. 305). In ch. 65, Sun turns the staff into a drill in order to escape from a pair of magic cymbals, using the tool to bore a hole in the horn of a dragon that was just able to pierce the seam: “Marvelous Great Sage! He changed the golden-hooped rod into a steel drill and drilled a hole on the tip of the horn. Transforming his body into the size of a mustard seed, he stuck himself inside the hole and yelled, ‘Pull the horn out! Pull the horn out!'” (Wu & Yu, 2012, vol. 3, p. 218).

G. Sentience

When the Dragon Queen originally suggests giving the pillar to Monkey, she tells her husband: “These past few days the iron has been glowing with a strange and lovely light [fig. 3]. Could this be a sign that it should be taken out to meet this sage?” (Wu & Yu, 2012, vol. 1, p. 135). This might imply the weapon was aware of its new master’s imminent arrival. Later in ch. 75, Sun recites a poem speaking of the staff’s desire for flight.

Its name was one Rod of Numinous Yang,
Stored deep in the sea, hardly seen by men.
Well-formed and transformed it wanted to fly,
Emitting bright strands of five-colored mist.
Enlightened Monkey took it back to the mount
To experience its pow’r for boundless change.
[…] (Wu & Yu, 2012, vol. 3, p. 375).

The phase “wanting to fly” (yao feiteng, 要飛騰) could be read as a metaphor for yearning to be released from the dragon treasury and/or a call for adventure. Add to this the staff’s ability to follow Sun’s wishes to grow, shrink, multiply, change form, and pick locks. Therefore, the novel depicts the staff having a certain amount of awareness. [6]

Fig. 3 – Monkey pointing to the luminous iron pillar (larger version). From the Qing-Era Painted, Complete Edition Journey to the West (Qing caihui quanben Xiyouji, 清彩繪全本西遊記).

II. Conclusion

Journey to the West (1592) describes the Monkey King’s iron staff having the magic power to shrink and grow, control the ocean, astral project and entangle with Monkey’s spirit, multiply endlessly, pick locks, and transform into various objects. It also has sentience to a certain degree.

Update: 07-04-21

Here I present my theory on why Sun Wukong’s staff weighs 13,500 catties (17,560 lbs/7,965 kg). I believe the number is an embellishment on the weight of a stone block lifted by the bandit Wu Song in the Water Margin (c. 1400).


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. Also, Yu’s original translation says “13,500 pounds”. 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 17,550 lb.

2) Here, Yu’s (Wu & Yu, 2012) English translation says Monkey grows to be “ten thousand feet tall”. However, the original Chinese source reads “萬丈” (wanzhang), wan meaning 10,000 and zhang being a measure designating 10 Chinese feet (10,000 x 10 = 100,000). Therefore, I have changed the source to read “One hundred thousand feet”, much like Yu (Wu & Yu, 2012) translates it in chapters six (vol. 1, p. 181) and 61 (vol. 3, p. 157).

3). For example, Monkey relies on Zhu Bajie to fight Sha Wujing when they first come across him at the Flowing-Sands River. This is when Sun admits his weakness to water:

“Worthy Brother,” said Pilgrim with a laugh, “in this case I’ve really nothing to brag about, for I’m just not comfortable doing business in water. If all I do is walk around down there, I still have to make the magic sign and recite the water-repelling spell before I can move anywhere. Or else I have to change into a water creature like a fish, shrimp, crab, or turtle before going in. If it were a matter of matching wits in the high mountains or up in the clouds, I know enough to deal with the strangest and most difficult situation. But doing business in water somewhat cramps my style!” (Wu & Yu, 2012, vol. 1, pp. 423-424).

4) The rhinoceros demon sucks it away with Laozi’s magic steel bracelet in ch. 50 and 51. A lion spirit uses a magic wind to steal the weapons of all three pilgrims in ch. 88. In both cases, Monkey resorts to trickery to retrieve the physical staff from their respective mountain strongholds.

5) One section of Mulian’s tale reads: “With one shake of his staff, the bars and locks fell from the black walls, / On the second shake, the double leaves of the main gate [of hell] flew open” (Mair, 1994, p. 1113).

6) The idea of sentient weapons is certainly not unique to Journey to the West considering that the ancient Chinese ascribed souls to noted swords. For example, Yuan poet Jia Penglai (賈蓬萊, c. mid-14th-c.) described famed Spring and Autumn period blacksmith Ou Yezi‘s (歐冶子) treasure swords Longyuan (龍淵, a.k.a. Longquan, 龍泉) and Tai’e (泰阿/太阿) as mated lovers who pine for each other when separated and even leap from the scabbard to seek out their beloved (Lee & Wiles, 2015, pp. 161-163).


Elvin, M. (2004). The Retreat of the Elephants: An Environmental History of China. New Haven (Conn.): Yale university press.

Lee, L. X. H., & Wiles, S. (2015). Biographical Dictionary of Chinese Women: Tang Through Ming: 618-1644. Abingdon: Routledge.

Mair, V. H. (1994). Transformation Text on Mahamaudgalyayana Rescuing his Mother From the Underworld With Pictures, One Scroll, With Preface In V. Mair (Ed.), The Columbia Anthology of Traditional Chinese Literature (pp. 1094-1127). New York: Columbia University Press.

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

Sun Wukong and the Buddhist Saint Mulian

Last updated: 02-06-21

Sun Wukong first appears as the “Monkey Pilgrim” (Hou xingzhe, 猴行者), in The Story of How Tripitaka of the Great Tang Procures the Scriptures (Da Tang Sanzang qujing shihua, 大唐三藏取經詩話, late 13th-century) (The Story, hereafter), the earliest known printed version of the Journey to the West story cycle. He is described as an immortal punished by heaven for stealing peaches from the Queen Mother of the West, and after being banished to earth, he becomes the ruler of the 84,000 monkeys of Flower Fruit Mountain. He enters the story as a white-clad scholar and a willing participant in the journey who actively seeks out the monk Tripitaka and his retinue of travel companions on their quest to India. The Monkey Pilgrim then uses his magical abilities, aided by treasures from heaven, to protect the monks from all manner of demons, wizards, and dragons. In the end, he is bestowed the title “Great Sage Bronze Muscles and Iron Bones” (Gangjin tiegu dasheng, 鋼筋鐵骨大聖) (Wivell, 1994).

The Monkey Pilgrim’s heavenly treasures are based on those used by the famed Buddhist saint and hero Mulian (目連; Sk: Maudgalyayana), a disciple of the Buddha, who appears in a late 9th to early 10th-century Bianwen (變文) text in which he travels to the underworld to release his mother from karmic torment (fig. 1). Originally discovered in the oasis of Dunhuang, the text serves as the foundation for the Ghost Festival, which is held on the fifteenth day of the seventh lunar month. In this article, I will discuss the treasures of both Mulian and the Monkey Pilgrim, as well as the saint’s influences on Sun Wukong from the Ming Journey to the West.

Mulian saves his mother, scroll - small

Fig. 1 – A scroll or mural depicting Mulian rescuing his mother from the underworld (larger version). Originally found here.

I. The Staff

Sun Wukong’s signature magic staff is an amalgam of two weapons used by the Monkey Pilgrim, the first being a golden-ringed monk’s staff (fig. 2) and the second an iron staff. The former is capable of shooting destruction rays of light and changing into living beings, including a giant, club-wielding yaksha and an iron dragon (Wivell, 1994, pp. 1188, 1189, and 1190), while the latter is capable of beating nine-headed serpents into submission (Wivell, 1994, p. 1190). Elements of each were eventually combined in the following centuries; the golden rings from the monk’s staff were transposed to the ends of the iron staff, creating a weapon capable of growing, shrinking, and multiplying according to the user’s wishes.

ringed monks staff - small

Fig. 2 – The head of a ringed monk’s staff (larger version). Originally found here.

The Monkey Pilgrim receives the golden-ringed monk’s staff, an alms bowl, and a cap of invisibility from the supreme deity Vaisravana, the Mahabrahma devaraja, to aid in his protection of Tripitaka. The staff and alms bowl were historically two of the eighteen requirements (Ch: suoyi, 所依; Sk: nisraya) of a Buddhist monk, and both were often carried by itinerant monks preaching and begging on the road (Robert & David, 2013, p. 432). The Monkey Pilgrim’s staff is based on that carried by Mulian. Here is the section of The Story in which Monkey receives his holy treasures from heaven:

The Dharma Master [Tripitaka] and Monkey Pilgrim approached the Devaraja and begged for his help. The Devaraja granted them a cap of invisibility, a golden-ringed staff, and a begging bowl. After accepting these three boons, the Dharma Master said farewell, then turned to the Monkey Pilgrim and asked: “How can we get back to the mortal world?” Pilgrim replied: “Before the Dharma Master speaks of returning to the world below, he had better ask the Devaraja how we can save ourselves from the monsters and disasters which lie ahead of us.” The Dharma Master returned to Mahabrahma and asked as Monkey had suggested. The Devaraja responded: “When you meet calamity, point toward the Heavenly Palace from afar and shout ‘Devaraja’ once, and you will be saved.” The Dharma Master accepted his instructions and bowed farewell (Wivell, 1994, p. 1184).

Now compare that with this section of Mulian’s tale in which he receives the staff from the Buddha:

“How will I be able to see my dear mother again?”
The World-Honored called out to him, saying, “Mahamaudgalyayana!
Do not be so mournful that you cry yourself heartbroken;
The sins of the world are tied to those who commit them like a string,
They are not stuck on clay-fashion by anyone else.
Quickly I take my metal-ringed staff and give it to you.
It can repel the eight difficulties and the three disasters.
If only you remember diligently to recite my name,
The hells will certainly open up their doors for you” (Mair, 1994, p. 1111).

So both receive a heaven-sent magic staff with powers tied to the recitation of a Buddhist deity’s name. The power of the Buddha’s staff is best exemplified by two passages:

He [Mulian] wiped his tears in mid-air, and shook the metal-ringed staff,
Ghosts and spirits were mowed down on the spot like stalks of hemp.
Streams of cold sweat crisscrossed their bodies, dampening them like rain,
Dazed and unconscious, they groaned in self-pity;
They let go of the three-cornered clubs which were in their hands,
They threw far away the six-tined pitchforks which were on their shoulders (Mair, 1994, p. 1112).

With one shake of his staff, the bars and locks fell from the black walls,
On the second shake, the double leaves of the main gate [of hell] flew open (Mair, 1994, p. 1113).

Incidentally, the power of the staff to unlock the gates of hell likely influenced the ability of Sun’s weapon from the Ming Journey to the West to magically pick locks. An example of this appears in chapter twenty-five:

The doors are all locked. Where are we going to go?” “Watch my power!” said Pilgrim. He seized his golden-hooped rod and exercised the lock-opening magic; he pointed the rod at the door and all the locks fell down with a loud pop as the several doors immediately sprung open. “What talent!” said Eight Rules, laughing. “Even if a little smith were to use a lock pick, he wouldn’t be able to do this so nimbly.” Pilgrim said, “This door is nothing! Even the South Heaven Gate would immediately fly open if I pointed this at it!” (Wu & Yu, 2012, pp. 468-469)

II. The Alms Bowl

The bowl used by both the Monkey Pilgrim and Tripitaka is shown capable of extinguishing a great prairie fire and sucking up all the water of an ocean-like river (Wivell, 1994, pp. 1188 and 1190). Again, the basin is based on that carried by Mulian. But instead of receiving it from heaven, the saint first receives the bowl and a robe upon becoming a monk (refer back to the eighteen requirements of the monk mentioned above). After attaining supernatural power, he imbues the bowl with magic, allowing him to fly between the realms of heaven, earth, and the underworld. One example reads:

Maudgalyayana awoke from abstract meditation,
Then swiftly exercised his supernatural power;
His coming was quick as a thunderclap,
His going seemed like a gust of wind.
With his supernatural power, he gained freedom,
So he hurled up his begging bowl and leaped into space;
Thereupon, instantaneously,
He ascended to the heavenly palace of Brahma (Mair, 1994, pp. 1097-1098).

It’s interesting that both he and the primate hero meet a deity with the name Brahma.


Fig. 3 – Monkey flying on his somersault cloud. Drawing by Funzee on deviantart (larger version).

The Monkey Pilgrim is also able to travel between earth and heaven but at a much slower pace. However, this could be related to him transporting himself and six human monks at the same time (Wivell, 1994, pp. 1183). As Sun explains in the Ming Journey to the West, mortal bodies are heavy and therefore hard to transport by cloud (Wu & Yu, 2012, p. 436). Having said that, the great speed of Mulian’s travel recalls Sun’s somersault cloud (jindouyun, 筋斗雲) (fig. 3), which the young immortal masters in chapter two of the novel:

[Master Subodhi said,] “Make the magic sign, recite the spell, clench your fist tightly, shake your body, and when you jump up, one somersault will carry you one hundred and eight thousand miles.” … Wukong practiced ardently and mastered the technique of cloud-somersault. From then on, he had complete freedom, blissfully enjoying his state of long life (Wu & Yu, 2012, p. 123).

I’d like to highlight that both passages mention Mulian and Sun Wukong gaining great freedom of travel. Monkey boasts about this skill several times throughout the novel. One example reads:

“You are fibbing again, Elder Brother!” said Eight Rules [Zhu Bajie]. “Six or seven thousand miles, how could you cover that distance so quickly?” “You have no idea,” said Pilgrim, “about the capacity of my cloud somersault, which with one leap can cover one hundred and eight thousand miles. For the six or seven thousand here, all I have to do is to nod my head and stretch my waist, and that’s a round trip already! … “My cloud-somersault is essentially like cloud-soaring,” said Pilgrim, “the only difference being that I can cover greater distances more rapidly” (Wu & Yu, 2012, p. 436).

Mi Wen-K’ai suggests that the somersault cloud is based on the Hindu monkey god Hanuman and his ability to leap great distances (Mair, 1989, pp. 712-713). While certainly plausible, I think the information above suggests Mulian’s bowl is another possible influence.

III. Conclusion

It is clear that the Monkey Pilgrim serves the part of Mulian in The Story. Each is cast as a mythic figure with magic powers who freely visits the realm above, where they meet a deity with the name Brahma. Most importantly, they use a golden-ringed monk’s staff and alms bowl in their respective quests. The staves are received from a Buddhist deity and the power of each weapon is tied to the recitation of that god’s name. Each staff has its own magical abilities. Mulian’s staff can mow down evil spirits and unlock the gates of hell, while the Monkey Pilgrim’s can shoot destructive rays of light and transform into living beings. Furthermore, their bowls are also magic. Mulian’s basin aids in his travel between heaven, earth, and the underworld. Monkey’s bowl can extinguish fires and suck up large bodies of water. Their use of these holy instruments is different but the end result is the same: salvation is bestowed. Mulian’s mother is released from her karmic torments and the Monkey Pilgrim’s protection allows Tripitaka to bring salvation-bestowing sutras back to China.

Mulian’s influence reaches beyond The Story to the Ming Journey to the West. The golden-ringed monk’s staff later influenced Sun Wukong’s As-You-Wish Gold-banded Cudgel. The power of the saint’s staff to unlock the gates of hell may have influenced the ability of Sun’s weapon to magically pick locks. Additionally, the great speed at which Mulian travels on his magic bowl may have influenced Sun’s somersault cloud.

Update: 12-28-19

While I believe Mulian’s bowl influenced the somersault cloud, Shao (2006) notes the 108,000 li (33,554 mi/54,000 km) covered by Monkey in a single leap is based on the symbolic distance said by Huineng to separate the Buddha’s paradise from the world of man. As the Chan patriarch explains in the Platform Sutra, “This number refers to the ten evils and eight wrongs in one’s person” (Huineng & Cleary, 1998, p. 26, for example). Only those who achieve enlightenment can overcome these hindrances and arrive instantly in paradise. This is symbolized in the novel by Monkey zipping their instantly on his cloud, whereas Tripitaka must travel thousands of miles over many years.

Update: 02-06-21

I have written an article that discusses the magic powers of the staff. These include the ability to shrink and grow, control the ocean, astral project and entangle with Monkey’s spirit, multiply endlessly, pick locks, and transform into various objects. It also has sentience to a certain degree.

The Magic Powers of the Monkey King’s Iron Staff


Mair, V. H. (1989). Suen Wu-kung = Hanumat? The Progress of a Scholarly Debate In Proceedings of the Second International Conference on Sinology (pp. 659-752). Taipei:

Mair, V. H. (1994). Transformation text on Mahamaudgalyayana rescuing his mother from the underworld with pictures, one scroll, with preface In V. Mair (Ed.), The Columbia anthology of traditional Chinese literature (pp. 1094-1127). New York: Columbia University Press.

Robert, E. B. J., & David, S. L. J. (2013). The Princeton Dictionary of Buddhism. Princeton University Press.

Shao, P. (2006). Huineng, Subhūti, and Monkey’s Religion in “Xiyou ji”. The Journal of Asian Studies, 65(4), 713-740. Retrieved from www.jstor.org/stable/25076127

Wivell, C.S. (1994). The story of how the monk Tripitaka of the great country of T’ang brought back the Sūtras In V. Mair (Ed.), The Columbia anthology of traditional Chinese literature (pp. 1181-1207). New York: Columbia University Press.

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