The Worship of Sun Wukong in Wanfu Temple: Initial Findings

Last updated: 07-21-2020

As a historian of the great Chinese classic Journey to the West (Xiyouji西遊記, 1592), much of my time researching is spent flipping through piles of books or searching the internet. Rarely do I get the opportunity to conduct field research on living traditions connected with the novel. That’s why I was excited to learn of the Buddho-Daoist Wanfu Temple (Wanfu an, 萬福庵) (fig. 1 & 2) in Tainan, Taiwan, where they worship Sun Wukong under his guise as the Great Sage Equaling Heaven (Qitian Dasheng, 齊天大聖). This happened to coincide with a short break from school, allowing me time to travel. I left Taipei where I live and stayed in the West Central District of the southern municipality. My afternoon was spent independently touring both floors of the recently renovated temple and taking numerous photos, all of which can be seen on my google drive. I had originally planned to catch the train home that evening, but was so intrigued by what I saw that I delayed my return another day. After making introductions, my second afternoon was spent asking questions about pantheon structure, rituals, general beliefs, etc. I was invited back that evening to record their spirit-medium channeling the Great Sage.

Below, I present my initial findings. I realize that a day is obviously not enough time for observation, so the following information should be looked upon as an informal survey. However, I still feel that this material is important, not only because few scholars writing in English have published on the worship of Sun Wukong, but also because it helps flesh out the ongoing history of his veneration going back to at least the 14th century. [1]

Exterior and entrance

Fig. 1 – Wanfu temple exterior (larger version). Fig. 2 – The entrance (larger version).

Table of Contents

1. Temple History

Wanfu is touted as the oldest temple dedicated to the Great Sage in all of Taiwan. It was originally a mansion built during the early-1660s for Ruan Jun (阮駿), a subordinate of the famous Southern Ming Dynasty General Koxinga. His widow Lady Ruan (阮夫人) is said to have lived out the rest of her days there in religious piety, and following her death, the mansion was converted into a house of worship called the Lady Ruan Temple (Ruan Furen si, 阮夫人寺). The name was subsequently changed to “Myriad Blessings” (Wanfu, 萬福) in the 11th year of the Jiaqing reign (1806), during a time when the temple was known for taking in orphans. The change was made by nuns who believed the children benefited from the blessings of an old stone Great Sage statue thought to have been brought over from Fujian by Lady Ruan when she and thousands of other people fled the invading Qing forces to Taiwan. Sun Wukong’s influence over the temple grew to the point that while still officially known as Wanfu (fig. 3), it came to acquire the additional name of Taiwan’s Laying the [Religious] Foundation Great Sage Equaling Heaven Temple (Quantai Kaiji Qitian Dasheng miao, 全臺開基齊天大聖廟) (fig. 4). A second level was added to the building in 1971, and further renovations were completed in 2014.

Fig. 3 (left) – The “Wanfu Temple” sign over the main temple doors (larver version). Fig. 4 (right) – The neon sign on the facade reads “Wanfu Temple Laying the Foundation Great Sage Equaling Heaven” (larger version).

2. Pantheon of Great Sages

One of the most interesting aspects of the temple is that it recognizes more than one Great Sage, each with his own function. Their pantheon consists of a trinity, followed by a small handful in administrative positions, and finally a plethora of soldier Monkeys. The highest-ranking is the aforementioned 300-plus-year-old stone statue named Laying the Foundations Elder Great Sage (Kaiji Da Dasheng, 開基大大聖) (fig. 5A and 8). His central importance is signified by his position atop a chair on the altar stage. He is alternatively known as the Great Sage Lord (Dasheng Ye, 大聖爺). The second and third ranking members of this trinity, respectively named Laying the Foundations Second Great Sage (Kaiji Er Dasheng, 開基二大聖) and Laying the Foundations Third Great Sage (Kaiji San Dasheng, 開基三大聖) (fig. 5B, 5C, and 8), sit to his right and left. The Elder Great Sage and the Second Great Sage remain in heaven unless some important matter requires their direct participation. The Third Great sage alternates with the administrative Tour Inspector Great Sage (see below) to see to external temple business on Saturdays.

Fig. 5 (left) – (A)The Laying the Foundation Elder Great Sage, the 300-year-old stone statue; (B) The Laying the Foundation Second Great Sage; and (C) The Laying the Foundation Third Great Sage (larger version). Fig. 6 (center) – The Tour Inspector Great Sage (larger version). Fig. 7 (right) – The Internal Affairs Great Sage (larger version). 

The administrative Monkeys include the large Tour Inspector Great Sage (Chuxun Dasheng, 出巡大聖) (fig. 6 & 8), who oversees activities outside the temple. He is located to the right of the trinity; the slightly larger, staff-wielding Internal Affairs Great Sage (Neiwu Zongguan Dasheng, 内務總管大聖) (fig. 7 & 8) serves as a manager to lower-ranking Monkeys. He is located to the left of the trinity; and the Sergeant Great Sage (Shiguan Dasheng, 士官大聖) (fig. 9) serves as the temple director. This comparatively small statue sits behind a magistrate’s bench below the altar stage, just behind the offerings table.

Fig. 8 (left) – The altar stage layout, with the most important Great Sages labeled (larger version). Fig. 9 (right) – The Sergeant Great Sage sitting at a magistrate’s bench (larger version). 

In addition, the Elder Great Sage has at his disposal a group of powerful commanders known as the Five Camps Celestial Generals (Wuying Bingjiang, 五營兵將), who protect the five cardinal directions. These are the black Northern Camp Sage Lian Gong (Beiying Lian Gong Shengzhe, 北營連公聖者); the blue/green Eastern Camp Sage Zhang Gong (Dongying Zhang Gong Shengzhe, 東營張公聖者); the red Southern Camp Sage Xiao Gong (Nanying Xiao Gong Shengzhe, 南營蕭公聖); the white Western Camp Sage Liu Gong (Xiying Liu Gong Shengzhe, 西營劉公聖者); and the golden Central Camp Marshal of the Central Altar (Zhongying Zhong Tan Yuanshuai, 中營中壇元帥) (fig. 10). Each general in turn leads a vast heavenly army comprised of tens of thousands of soldiers. Such generals are very common to Daoist temples across Taiwan and find their origin in the 36 protector generals of Daoism (Sanshiliu Tianjiang, 三十六天將), who, funny enough, are led by Zhu Bajie’s previous incarnation Marshal Tianpeng (Davis, 2001, p. 78).

The position of the Great Sage pantheon in relation to the wider Buddho-Daoist pantheon mirrors that from Journey to the West. Despite his central position in Wanfu’s religious life, the Great Sage is still considered subordinate to the Bodhisattva Guanyin (觀音), whose birthday was being celebrated on the second day of my visit with a vegetarian meal open to all. In fact, the temple’s second floor Three Jewels Hall (Sanbao Dian, 三寶殿) contains statues of the Buddha and flanking Bodhisattvas raised on an altar stage, with a statue of Guanyin placed in front of and almost at the same level as the Enlightened One (fig. 11). This shows her great importance.

Fig. 10 (left) – Two sets of the Five Camps Celestial Generals can be seen. Their colors of black, blue/green, red, white, and gold help distinguish each one (larger version). Fig. 11 (right) – The statue of Guanyin sitting in front of and almost at the same level of the Buddha (larger version). The goddess Mazu sits in front of Guanyin. From the second floor Three Jewels Hall.

3. Worshiping the Great Sage and Requesting Blessings

When the faithful come to pray, they often stand directly in line with the center of the altar (fig. 12), with hands pressed and set against their forehead (or chest), or they light a grouping of three incense sticks, kneel on the praying couch, and hold the sticks up to their forehead (or chest) with elbows level, often rhythmically bobbing their arms or upper torso (fig. 13). The procedure for making a request has three steps. First, adherents greet the Great Sage and say their full name, lunar birthday (and time if known), and their address. This is done because many people have names written with the exact same Chinese characters. The step insures that the Great Sage answers the right prayers for the right person. Second, they wish for health, wealth, good luck, removal of a negative influence, etc. Third, they later burn spirit money to repay Monkey’s generosity. This form of prayer is for those who don’t mind waiting for a response.

For those seeking an immediate response, the temple employs a pair of crescent moon-shaped wooden blocks known as “bamboo cups” (jiaobei, 筊杯) (fig. 8) for divination purposes. The procedure starts the same with the greeting and personal information, but the cups are grasped between the hands during the prayer and then dropped to the ground after a few minutes. Like rolling spiritual dice, the faithful take note of the orientation in which the blocks fall. One side of the blocks is flat, while the other is curved. If one cup falls with the flat side upwards (open) and the other flat side down (closed), this means “yes” (shengjiao, 聖筊). If both fall upwards, this means the Great Sage is happy or “laughing” at the request (xiaojiao, 笑筊). If both fall facedown, the Great Sage is “angry” and unwilling to fulfill the request (nujiao, 怒筊) (fig. 14). The cups are thrown three times, and the best two of three results are accepted as the answer.

Fig. 12 (left) – The offering table and altar (larger version). Fig. 13 (center) – A young couple praying to the Great Sage (larger version). Fig. 14 (right) – The Bamboo cups, both sitting in the “angry” response (cup down) (larger version).

Often times adherents will want more clarification, so the blocks are used in tandem with “fortune sticks” (qiuqian, 求籤). The traditional procedure is to shake the cylinder full of sticks, each marked with a number, until one falls out. (I, however, saw one young man with long, dyed hair randomly reach into the cylinder without shaking it. He also didn’t wait the required period after his prayer to drop the cups. He must have been in a hurry!) The adherent then looks up the corresponding oracle in a booklet kept on the temple’s front desk. These oracles are also available on slips of paper that can be taken and read later. The use of the bamboo cups and fortune sticks is common in other temples.

I asked one young couple associated with the temple about the exact number of members. They were unsure of the core members and especially of the number of outside worshipers. It appears the veneration of the Great Sage is so entrenched in Tainan religious society that people from other temples will come from time to time to pay their respects to Monkey.

3.1. Great Sage Spirit-Medium

The second day of my visit coincided with one of the twice weekly (Wed. and Sat.) rituals in which the temple’s spirit-medium (Hokkien: tangki, 童乩; Chinese: jitong, 乩童, lit: “divining youth”) calls down the spirit of the Great Sage to possess his body (video 1). Prior to the ritual, red ropes were used to demarcate a sacred space within the center of the altar hall. The ropes were tied to either side of the main central temple doors and stretched diagonally to the respective left and right walls of the hall, forming a V-shape, or a sort of spiritual bottleneck. Only the medium and the temple workers were allowed to inhibit this sacred space shortly before and during the ritual. The faithful seeking blessings and spectators were asked to wait on the other side of the ropes, entering through secondary doors located to the respective left and right of the main set.

Video 1 – The spirit-medium ritual.

I witnessed the medium chewing an herbal substance that was removed prior to the ritual. [2] He then proceeded to purify himself with a small pot of (psychoactive?) incense, first bathing his hands and arms in the smoke, before passing it around his head, waist, and calves. Taking hold of the pot’s handles, he began belching. This gave way to a moving trance in which he marched in place for several minutes. The arrival of the Great Sage was signaled by an audible growl and the medium lifting high one knee, taking on a martial pose like esoteric protector deities (fig. 15). After an attendant removed his shirt, he squatted low to the ground and struck another pose with arms flexed like said deities (fig. 16). Such postures serve to mark the medium’s transition from a human to a god.

The medium-turned-Great Sage displayed jovial feet clapping, followed by feats of strength, including elevated push ups and a handstand. Finally, he stood atop a wooden bench and used his weight to rock it side to side, slamming the feet down in rapid succession, producing a sound similar to firecrackers. The sound is used to scare away evil influences. I was told in advance that the medium would “do exercise” and use the bench “to make noise,” so these appear to be common aspects of the ritual.

Fig. 15 – The stance announcing the Great Sage’s arrival (left) is similar to esoteric guardian deities, such as the temple’s depiction of Wangling Tianjun (center left) (larger version). Fig. 16 – His next stance (center right) is also similar to said guardians, especially this statue based on a famous 14th-century carving of a Japanese Nio (right) (larger version).

The Great Sage welcomed the first of many children and blessed each the same with the following procedure. First, he touched the top of the incense pot and then transferred his hand to the child’s crown, doing this three times. Second, he dipped his finger into the incense and drew a line down the center of the child’s face from the forehead to the chin and onto the neck. Third, after dipping his fingers in the incense again, he traced a rectangular form on the child’s torso, possibly a symbolic fu (符) talisman, before pushing on the stomach several times to release, as I was told, “bad air” (negative qi). The same rectangle was traced on the child’s back. Fourth, the Great Sage dipped his finger in the incense and turned to the table to write out three fu talismans on yellow strips of paper, his finger often floating above the surface. One was packaged to be later burnt and the ashes combined with an included tea leaf and cold (yin) and hot (yang) water to be given to the child as a magical brew. The second was folded and put inside of a red pouch to be worn as a good luck charm (fig. 17-19). The third was lit and waved over the child’s head and around their body.

Fig. 17 (left) – A baggy containing a loose fu talisman, a folded talisman inside of a red charm, and a tea leaf (larger version). This baggy was given to me when I participated in similar ritual for adults. Fig. 18 (center) – The front of the charm reading “Tainan Wanfu Temple, safety and peace” (larger version). Fig. 19 (right) – The back reading “Great Sage Equaling Heaven,” “Guanyin/Shakyamuni,” and “Multitude of Gods and Buddhas” (larger version). 

The large number of children taking part in the ritual (many of which were not shown in the video) is, as mentioned above, tied to the temple’s history. Adherents believe the Great Sage bestows blessings on children, as well as cures them of illnesses when they are sick. [3] Additionally, they believe that those taken as the Great Sage’s godchildren will be well-behaved and become well-tempered adults. [4] For those who have read the novel, this may at first appear to be a paradox—Monkey, a paragon of good behavior?!—but this no doubt refers to his internalization of self-restraint after becoming a Buddha at the end of the novel. This coincides with the disappearance of his restraint-inducing golden headband.

Numerous adults also sought the Great Sage’s blessing. Having already provided their personal information on salmon-colored prayer sheets to temple personnel, each person in turn greeted the medium and then made their request (health, wealth, good luck, etc.). The blessing procedure was the same regarding fu talismans, complete with the third being lit and waved around the head and body. I even saw the Great Sage bless a shirt in place of an adherent who could not come in person. When interacting with the faithful, the medium spoke to them in a high-pitched voice, [5] often making people laugh with his responses. I was later informed that the language being used was Taiwanese, which explains why I couldn’t understand what was being said. I too took part in the ritual and noted that the medium’s eyes were rolled back into his head. Apart from the poses at the beginning, the voice and eyes serve to mark the possessed state.

The medium has held his position at the temple for 20 years. But it should be noted that he has a normal job during the week and volunteers his time at the temple. His path to mediumship began as a young man when he started displaying certain behavior signifying he had been chosen by the Great Sage to be his earthly representative. While many mediums go through a period of training under a “Red Hat” Daoist (Hongtou Daoshi, 紅頭道士), a master of religious ceremony (Clart, 2008), I was told that the methods of mediumship were revealed to him in his dreams by the Great Sage while he slept in the temple for 49 days.

3.2. Celebrating the Great Sage’s Birthday

The Monkey King’s birthday is recognized as the 12th day of the 10th lunar month and is celebrated over the course of three days. This year (2018) the birthday will correspond to November 19th. The first day of celebrations is undertaken by core temple members, while the subsequent days are undertaken by sister temples. Below is a video showing a time-lapse of a past celebration. Many people crowd the temple to pay their respects, as well as to fill the offering table with all kinds of delicious fruits and sweets. I can picture the Great Sage rolling around on the ground and laughing in delight!

Video 2 – The celebration of the Great Sage’s birthday.

His offerings are later shared with his five celestial generals in the Rewarding Soldiers ritual (Kao jun, 犒軍). This too is common in other temples.

4. Conclusion

The Buddho-Daoist Wanfu Temple of Tainan, Taiwan worships Sun Wukong under his guise as the Great Sage Equaling Heaven, who is venerated as a powerful exorcist and healer, as well as a sort of patron saint of children. The main focus of worship is a 300-plus-year old stone statue believed to have been brought over from Fujian during the turmoil of the late-Ming dynasty. The temple recognizes an entire pantheon of Great Sages, from a trinity (headed by the aforementioned statue) and administrative managers down to an army of lowly soldier monkeys. Furthermore, the Great Sage has at his disposal five cardinal celestial generals and their respective armies to insure his will is done. The position of the Great Sage within the greater Buddhist pantheon is the same as in the novel. He is subordinate to the Bodhisattva Guanyin, who is considered by Wanfu to be almost equal to the Buddha in terms of importance.

The Great Sage-adherent dynamic involves two forms of interaction: impersonal and personal. The former involves the adherent praying to the deity in heaven, sometimes using bamboo cups, fortune sticks, and corresponding oracle booklets to divine the Great Sage’s response to their request. The latter involves personal interaction with the deity via a spirit-medium. The Wanfu medium twice-weekly (Wed. and Sat.) holds a ceremony where he calls down the Great Sage, and after taking possession, the deity personally interacts with those seeking blessings. He employs magic fu talismans to bless both children and adults, the paper slip being burnt and waved around their body. The ritual for children is more involved as incense is first used to draw talismans on their body and then negative qi is released by pushing on the stomach.

I plan to revisit the temple at a later date to conduct more in-depth research into the particulars of the pantheon, as well as the ritual of the spirit-medium. Visiting during the Great Sage’s birthday, the 12th day of the 10th lunar month, would be an ideal time since it’s no doubt a time of much fanfare.


5. Update

Update: 07-21-20

Wanfu Temple’s “black command flag” (Hokkien: or leng ki; Mandarin: hei leng qi, 黑令旗) (fig. 20) is located just outside the rightmost front entrance. Elliott (1955/1990) explains that command flags advertise the presence of a spirit-medium, while also serving as a warning to ghosts and demons (p. 51). Chan (2014) comments that such flags are imbued with the power of the Dark Emperor of the North, considered the greatest exorcist god in Daoism, and act as a covenant between the deity and the tangki spirit-medium who leads his heavenly armies against evil (p. 34).

Fig. 20 (left) – The Wanfu Temple black command flag (larger version). Fig. 21 (right) – The flag legend (larger version).

Each flag is covered with arcane symbols that are usually only intelligible to the initiated. With some help, [6] I have made a near complete translation of the Wanfu black command flag (fig. 21):

  1. 雨漸耳 (Yu jian er, “Rain soaks the ears”) – This likely refers to a commandment from heaven.
  2. 六? (Liu ?) – The mystery character likely refers to the Six Ding (六丁), protector spirits of Daoism. They are often grouped with the Six Jia (Mugitani, 2008). See also no. 11 below.
  3. 六甲 (Liu Jia) – Refers to the Six Jia. See also no. 12.
  4. 北極 (Bei ji, “Northern Ultimate”) – This refers to the Dark Emperor of the North. Here, the character for “north” is split in half and “ultimate” is inserted in the middle.
  5. ?富? – Two unknown characters sandwich that for “wealth” (fu).
  6. Sun – A symbol for 陽 (yang) energy.
  7. Moon – A symbol for 陰 (yin) energy.
  8. Big Dipper – A seven-star pattern associated with Daoist ritualistic dances and purification ceremonies. See section one of this article for more info.
  9. 風調雨順 (fengtiao yushun) – A common Chinese idiom meaning “the wind and rain are seasonal” (i.e. the weather is good).
  10. 國泰民安 (guotai minan) – Another common idiom. It means “the country is prosperous, and the people are secure.”
  11. 敺邪 (qu xie) – “Expel evil/disease.” This is likely connected to no. 2 above. Together it would read the “Six Ding expel evil/disease.”
  12. 押煞 (ya sha) – “Stop malicious spirits”. This is likely connected to no. 3. Together it would read the “Six Jia stop malicious spirits.”
  13. This angular symbol is the 符胆 (fu dan), the talismanic flag’s locus of power (Chan, 2014, p. 35).

Notes:

1) A 14th-century tomb shrine jointly dedicated to the Great Sage Equaling Heaven and the “Great Sage Reaching Heaven” (Tongtian dasheng, 通天大聖) in Baoshan, Fujian shows that Monkey was indeed venerated prior to the publishing of Journey to the West (1592) (Wang, 2004).

2) This appears to be a common practice. In his study of Singaporean spirit-mediums, Elliott (1955/1990) writes:

Before their performances many dang-ki have been seen to chew some sort of root or sip from a cup, but it has been impossible to ascertain whether these contain stimulating substances (p. 64).

3) The Great Sage is, after all, a trained doctor. His medical skills are described in chapters 68 and 69.

4) Such youths are known as “dedicated children” (khoe-kia) in Singapore (Elliott, 1955/1990, p. 83).

5) Elliott (1955/1990) references the tangki‘s “shrill, artificial voice” and notes that it’s “supposed to be ‘shen [神, god] language'” (p. 64).

6) I am indebted to Kelly Black Lin for helping me decipher some of the cryptic characters.

Sources:

Chan, M. (2014). Tangki War Magic: The Virtuality of Spirit Warfare and the Actuality of Peace. Social Analysis: The International Journal of Social and Cultural Practice, 58(1), 25-46. Retrieved from 

Clart, P. (2008). Tang-ki (or jitong) In F. Pregadio (Ed.), The Encyclopedia of Taoism: Volume 2 (pp. 964-966). London [u.a.: Routledge].

Davis, E. L. (2001). Society and the Supernatural in Song China. Honolulu (Hawaii: University of Hawaii Press.

Elliott, A. J. (1990). Chinese Spirit-Medium Cults in Singapore. London: The Athlone Press. (Original work published 1955)

Mugitani, K. (2008). Liujia and Liuding. In F. Pregadio (Ed.), The encyclopedia of Taoism: Vol 1-2 (pp. 695-697). Longdon: Routledge.

Wang, y. (2004). Sun Wukong De Yuanji Keneng Zai Fujian Baoshan [Sun Wukong’s Origin Could be In Baoshan, Fujian]Yuncheng Xueyan Bao, 22(3), 30-34.

The Historical Origins of Zhu Bajie’s Previous Incarnation and his Battle Rake

Last updated: 11-13-2023

Journey to the West (Xiyou ji西遊記, 1592 CE, “JTTW” hereafter) depicts Zhu Bajie as a reincarnation of the Marshal of the Heavenly Reeds (Tianpeng Yuanshuai, 天蓬元帥) (Wu & Yu, 2012, p. 212). But did you know that this general was actually venerated as a deity? His very name suggests that the god can be traced to early shamanistic beliefs about magico-religious medicine, for a better translation of Heavenly Reeds is “Heaven’s Mugwort.” Van Glahn (2004) explains that this “curious name…alludes to the plant’s demonifugic properties” (p. 121). This suggests that the ancient belief that mugwort exorcised demons/illnesses was eventually anthropomorphized and deified as the general.

Table of Contents

1. History of the Deity

Sui Dynasty (581–618) sources describe this god serving under the Northern Emperor (Beidi, 北帝), the Hades of Daoism, as a powerful exorcist. This is best exemplified by the “Northern Emperor’s Method of Killing Demons” (Beidi shagui zhi fa, 北帝殺鬼之法), a sixth-century rite which contains a prayer invoking Tianpeng by name (Davis, 2001, p. 75; Pregadio, 2008, p. 979). Another text identifies him as one of nine stellar gods associated with the Big Dipper constellation and “assign[s him] the function of security and protection” (Davis, 2001, p. 75; see also Andersen, 1989, pp. 35-36). Early-Song Dynasty (960–1279) sources expand on Heavenly Reed’s position under the Northern Emperor and describe him as head of the thirty-six generals of the Department of Exorcism (Andersen, 2008, pp. 991-992). Most importantly, this is when he was associated with two other powerful exorcist deities, namely Black Killer (Heisha, 黑煞) and Dark Warrior (Xuanwu, 玄武), to form the trinity of the “Three Great Generals of Heaven” (Davis, 2001, p. 75). This was later expanded to a quaternity known as the “Four Saints” (Sisheng, 四聖), which included Heavenly Reed, Black Killer, the True Martial God (Zhenwu, 真武, a variant of the Dark Warrior), and Heavenly Scheme (Tianyou, 天猷) (Pregadio, 2008, p. 479; Little, Eichman, & Ebrey, 2000, p. 298).

Tianpeng’s position as a protector and association with the military led to his worship by soldiers. Davis (2001) writes, “The cult of Tianpeng remained popular among military circles into the Southern Song, when [legend has it] he aided various generals in their battles with the Jin” (p. 75). The Song also happened to be when he was bestowed the military rank of Marshal (Yuanshuai, 元帥) (Pregadio, 2008, p. 979), the name by which he is called in JTTW. During the Ming, a martial arts style (Tianpeng’s Fork, 天蓬釵) and a weapon technique (Tianpeng’s Spade, 天蓬鏟) were named in his honor.

Tianpeng is described in one Song dynasty source as a multi-armed god “dressed in black clothes and a dark hat” (Davis, 2001, p. 75). The names of his trinity companions also reveal their connection with black (i.e, “Black Killer” and “Dark Warrior”). This is because the color is associated with the direction north and thereby the Northern Emperor, whom the three serve (Davis, 2001, p. 75; Welch, 2008, p. 223). A circa 1460 painting of the aforementioned Four Saints actually portrays the Marshal of Heavenly Reeds with black Skin (fig. 1). Why is this important? Because JTTW describes Zhu as having a black face (Wu & Yu, 2012, p. 375, for example).

Fig. 1 – (Left) The circa 1460 painting depicting the Four Saints (Sisheng, 四聖) (larger version). Heavenly Reed is the black-skinned figure in the upper left. Fig. 2 – (Center Left) A modern Zhu Bajie action figure with an ornate silver-headed rake (larger version). Fig. 3 – (Center Right) A pair of Pa () military rakes from the San Cai Tu Hui (三才圖會, 1609) (larger version). Fig. 4 – (Right) A Yundang (耘盪hand harrow) from a Ming Dynasty agricultural treatise that borrows heavily from the Nongshu (農書) (larger version). 

2. Zhu’s Rake

JTTW describes Zhu’s rake as being a polearm with nine teeth (fig. 2). But did you know that, despite serving as a general in heaven, his weapon is not the kind that was historically used by the Chinese military. Those of the Ming Dynasty (1368–1644), when the book was written, “were [two] meters in length and used to unseat enemy riders and hook and grab enemy weapons” (Swope, 2009, p. 78). The Pa (鈀, rake) (fig. 3), for example, was covered with hooks in place of teeth to aid in the aforementioned hooking action. [1] But noted Ming General Qi Jiguang (戚繼光, 1528–1588) considered it useless in his battle against Japanese pirates (Tang Pa (钂鈀), 2015).

Zhu’s weapon more closely resembles agricultural tools that were traditionally used by peasant farmers as far back as the Yuan Dynasty (1271–1368). The Book of Agriculture (Nongshu, 農書, 1313), by the Confucian scholar and inventor Wang Zhen (王禎, fl. 1290–1333), includes descriptions and woodblock prints of several manual and water-powered farming implements. The book itself was written in response to the devastation that the Mongols had wrought on China over decades of war, so the featured tools were meant to help make life easier for farmers toiling away in the fields (Bray & Needham, 2004, pp. 59-60). One such innovation to come from the book was the Yundang (耘盪, hand harrow) (fig. 4), a bamboo-handled rake with metal teeth designed to weed rice crops (Bray & Needham, 2004, pp. 61-62). I suggest that this (or other tools like it) most likely influenced Zhu’s weapon.

I also posit that the hog spirit was given such a weapon because it added to his image as a country bumpkin. Whereas Monkey wields a magic iron staff once used by Yu the Great to tame the world flood, Zhu brandishes a gardening tool. The weapon itself is comical in that it is said to have been handcrafted by Laozi (老子) from “divine ice steel” and etched with arcane symbols (Wu & Yu, 2012, pp. 382-383). That’s one fancy rake!


3. Updates

3.1. The Rake in 1592 JTTW Woodblock Prints

Update: 05-15-18

Feng Dajian of Nankai University was kind enough to direct me to this Ming-era woodblock print (fig. 5) by Shide tang (世德堂本), publisher of the original 1592 edition of JTTW. Check out Zhu’s war rake! Again, his weapon from the novel is the agricultural type, but this print is an interesting change of pace. Also, notice how Sandy’s staff doesn’t have any metal blades (as normally shown in pop culture).

Shide tang print (Sandy vs Pigsy) - Small

Fig. 5 – Ming-era Shide tang print of Pigsy vs Sandy (larger version).


3.2. Song-Era Image of Marshal Tianpeng

Update: 12-21-2018

A beautiful rendering of Marshal Tianpeng (fig. 6) appears in the Ink treasures of [Wu] Daozi (Daozi mobao, 道子墨寶), a collection of ink drawings traditionally attributed to the noted 7th/8th-century artist Wu Daozi but likely hails from the 13th century. Tianpeng is portrayed as an esoteric protector deity with multiple arms holding implements of both war and religion. The military arms include a halberd and a sword, while the religious items include a vajra bell, a mirror, and two orbs adorned with a rabbit and a rooster, respectively (fig. 7). These animals represent the moon and the sun, being zoomorphic symbols of yin and yang forces. Interestingly, the rabbit is seen mixing the elixir of immortality, a common motif in Chinese art (fig. 8).

Zhu Bajie Origin pics #2
Fig. 6 – Tianpeng from the 13th-century Ink Treasures of Wu Daozi (larger version). The original drawing can be seen here. Fig. 7 – Details of the Moon Rabbit and Sun Rooster (larger version). Fig. 8 – The Moon Rabbit motif from an 18th-century court robe (larger version).

What’s most interesting about the drawing is the obvious esoteric Buddhist influence. In this article, I mention a 13th-century stone relief carving of Sun Wukong in which he is portrayed with a headband, arm ornaments, bangles, a bone rosary, a girdle, a tiger skin apron, and anklets. These items are listed among an 8th-century source as ritual adornments worn by Buddhist yogis, each one representing a different esoteric Buddha or philosophical aspect of the religion. Many of these same ritual items appear on Tianpeng, pointing to a borrowing of esoteric Buddhist motifs by Daoism.


3.3. Zhu as a Stellar Boar

Update: 01-28-19

Brose (2018) explains that Zhu Bajie is connected to a sun goddess worshiped in China. Known as Marici (Molizhi, 摩利支) in Buddhism and Doumu (斗母/斗姆, “Mother of the Dipper”) in Daoism, [2] she is often depicted as a fearsome, multi-armed guardian astride a boar or aloft a boar-driven chariot, and among whose multiple faces is a boar (fig. 9). This is because a stage play that predates the Ming novel represents Zhu as the goddess’ mount come to earth (Brose, 2018, p. 174). This would mean Zhu Bajie’s connection to Marshal Tianpeng is a later addition to the story cycle. Both Tianpeng and Marici are associated with the stellar bodies of the Big Dipper constellation and share similar exorcistic duties (Brose, 2018, pp 175-176). This may explain why Zhu was later associated with the general.

marci goddess, martial aspect, modern shenxiang

Fig. 9 – A modern altar statue showing Marici’s martial aspect riding a boar (larger version). Take note of the boar-like face on the right.

Regarding the origin of Marici’s boars, Getty (1988) explains that Riksha, the Sanskrit word used to denote the bright stars of the Big Dipper, sounds just like the term for “bear.” Therefore, one hypothesis states that this confusion may have resulted in the sun goddess’ mount being a bear, but due to the scarcity of the animal in South Asia—or just plain iconographic confusion, in my opinion, since both animals are dark-furred quadrupeds—the iconography was changed to a boar over time. If true, this means Zhu could have been a bear! Furthermore, the seven boars shown to be pulling her chariot in some religious art are most likely based on the seven steeds of the Hindu sun god, Surya (pp. 117-118).


3.4. Marshal Tianpeng as a Bodily God?

Update: 09-01-19

Huang (2010) describes the common Daoist practice of visualizing gods residing in an adept’s body (shenshen, 身神, lit: “body gods”). The presence of these deities was thought to bring health and aid in the quest for immortality. She notes that the Ming edition of the Perfect Scripture of the Great Cavern (Dadong  zhenjing, 大洞真經), originally collected by the Supreme Clarity patriarch Jiang Zongying (蔣宗瑛, d. 1281) during the Southern Song, includes fifty illustrations of groups of gods standing on clouds emanating from the top of a seated Daoist’s head. Most importantly, these deities include protective guardians (lishi, 力士), “[o]ne particular trinity [of which] consists of a general ‘who resembles the Great General of Heavenly Mugwort (Tianpeng dajiang 天蓬大將)'” (Huang, 2010, p. 65 n. 12). An example of this illustration appears in the first scroll of the work (fig. 10).

Marshal Tianpeng from the first scroll of the Dadeng zhengjing, or the Perfect Scripture of the Great Cavern, Southern Song - small

The illustration of the trinity of protective deities, including a general that looks like Marshal Tianpeng (larger version). Image found here.

Again, I would like to highlight the fact that the general’s name, Heavenly Mugwort (Tianpeng, 天蓬), recalls the historical use of the plant as a magic medicine to ward off the evil spirits of illness (see the top of the article). Therefore, Tianpeng’s use in this form of Daoist meditation likely served a medical purpose.


3.5. What Zhu Bajie Looks Like

Update: 08-08-21

I’ve written an article about Zhu’s literary description.

What Does Zhu Bajie Look Like? A Resource for Artists and Cosplayers


3.6. The Pig God that Influenced Zhu

Update: 11-13-23

I recently learned about a Tang-era story that likely influenced Zhu Bajie’s characterization in chapter 18 as a dark, wind-riding pig spirit with a lust for young women. Thank you to friend of the blog @ryin-silverfish for giving permission to quote their synopsis. I have added links below where necessary:

  • The earliest tale about a lusty pig demon could be found in the Tang dynasty Xuan Guai Lu (玄怪录). Guo Yuanzhen, a historical general during the reign of Gaozong and Wu Zetian, came across a mansion in his youth during travel. The whole place was lavishly decorated, as if preparing for a wedding banquet, but eerily empty save for one crying woman.
  • Turned out, she was the unwitting soon-to-be bride of a god called “General Wu” (乌将军), who demanded a beauty as his wife every year from the locals, and because they would pay a hefty sum to “buy” said bride, her own father sold her out to be this year’s sacrifice. Furious, Guo disguised himself as a guest, pretended to offer General Wu some venison, then cut off his hand with the meat knife.
  • Wounded, the General fled, and his severed limb turned into a pig’s hoof once the sun came out. Soon, the bride’s family and village elders came to the manor, ready to collect her body for the funeral, and were so freaked out by what Guo did that they were ready to sacrifice him to General Wu too, since the “god” was known to summon storm and hails whenever he didn’t get his bride.
  • Guo scolded them for being so damn gullible because no real gods would demand human sacrifices or, y’know, have pig hooves as hands, before gathering the young men of the villages and following the trail of blood to the pig demon’s abode, where they proceeded to smoke it out and kill it with an assortment of arrows and farming tools.
  • The woman, after calling out her terrible parents, pledged herself to Guo and became one of his wives, and all was well.

Notes:

1) Other kinds of military rakes included the pitchfork-like Yi Pa (㑥耙), the trident-like Tang (钂) and Tangpa (钂鈀), and the more rare halberd-like Mao Lian Tang (茅鐮钂) (Tang Pa (钂鈀), 2015).

2) For information on Marici, see Getty (1988), pp. 117-119. For Doumu, see Esposito, 2008, pp. 282-283.

Sources:

Andersen, P. (1989). The Practice of Bugang. Cahiers d’Extrême-Asie, 5. Numéro spécial Etudes taoïstes II / Special Issue on Taoist Studies II en l’honneur de Maxime Kaltenmark. 15-53.

Andersen, P. (2008). Tianxin zhengfa. In F. Pregadio (ed.), The Encyclopedia of Taoism (Vols. 1-2) (pp. 989-993). Longdon: Routledge.

Bray, F. & Needham, J. (2004). Science and Civilisation in China: Volume 6, Biology and Biological Technology; Part 2 – Agriculture. Cambridge: Cambridge U.P.

Brose, B. (2018). The Pig and the Prostitute: The Cult of Zhu Bajie in Modern TaiwanJournal of Chinese Religions, 46 (2), 167-196, DOI: 10.1080/0737769X.2018.1507091

Davis, E. L. (2001). Society and the Supernatural in Song China. Honolulu: Univ. of Hawaií Press.

Getty, A. (1988). The Gods of Northern Buddhism: Their History and Iconography. New York: Dover Publications.

Huang, S. (2010). Daoist Body and Cosmos, Part I: Body Gods and Starry Travel. Journal of Daoist Studies 3, 57-90.

Little, S., Eichman, S., & Ebrey, P. B. (2000). Taoism and the Arts of China. Chicago: Art Institute of Chicago.

Swope, K. (2009). A Dragon’s Head and a Serpent’s Tail: Ming China and the First Great East Asian War, 1592–1598. Norman: University of Oklahoma Press.

Tang Pa (钂鈀). (2015, March 24). Retrieved November 02, 2017, from https://greatmingmilitary.blogspot.com/2015/03/tang-ba.html

Von, G. R. (2004). The Sinister Way: The Divine and the Demonic in Chinese Religious Culture. Berkeley: University of California Press.

Welch, P. B. (2008). Chinese Art: A Guide to Motifs and Visual Imagery. North Clarendon, VT: Tuttle Pub.

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