Review of Marvel Comics’ Sun Wukong

There have been a number of Monkey King adaptations in mainstream and indie Western comic books over the decades. I’ve been aware of Marvel Comics’ Sun Wukong for a number of years now, but I feel compelled to finally write something after having reviewed DC Comics’ Monkey Prince. Sun’s tale is laid out in several publications, including four tie-ins from the “Fear Itself” (2011) crossover event, four issues of Avengers World (2014-2015), one tie-in from the “Secret Empire” (2017) crossover, and two tie-ins from the “War of the Realms” (2019) event. Sun’s story arc follows him from a greedy crime lord to a heroic demigod who sacrifices his life in an attempt to help save the world. He is comparable to Shazam (a.k.a. Captain Marvel) as he gains his abilities via divine empowerment.

Sun appears as a minor character in several disparate storylines. It would take way too long to summarize each narrative here, so I will only be discussing the events in which he appears. However, the linked articles and notes below should help the uninitiated get up to speed.

A more accurate, cartoonish version of Sun Wukong appears in two issues of Tarot: Avengers/Defenders (2020) (Davis, 2020a; 2020b). But I won’t be covering that depiction here as it is separate from the aforementioned superhero.

1. Character arc

1.1. Iron Man 2.0 #5-7 (2011)

Sun’s story opens in the Eighth City, a hellish dimension that serves as a prison for the evils of the Seven Capital Cities of Heaven. [1] He is first seen enjoying a meal meant for the winner of a demonic fighting tournament. When challenged by the intended recipient and his henchmen, Sun leaps from a tall rampart and soundly beats the monstrous gang, all while touting his superiority based on the pedigree of his magic staff (which can separate into three sections) and past deeds as the historical Monkey King (fig. 1). But this triumphant moment is disturbed when one of the “Seven Hammers of the Worthy” punches through the heart of Beijing, China and breaches the dimensional barrier separating hell from earth, thus allowing demons to spill into the human world. [2] Sun attempts to retrieve the weapon but can’t lift it (similar to the enchantment on Thor’s hammer) as he isn’t the intended wielder (Spencer, 2011a).

The third Worthy, “Skirn: Breaker of Men” (Titania), leads the Absorbing Man to hell so he can become the next Worthy. But Sun greedily boasts that the hammer is his property, along with everything else he sees, much to her annoyance. Skirn then attacks the “little thief” and incapacitates him with a blow of her hammer (Spencer, 2011b, p. 14). Moments later, the Immortal Weapons and War Machine happen upon the scene while attempting to close the dimensional rift. However, despite a brief struggle, they too fall to Skirn’s mighty power, allowing the Absorbing Man to become the sixth Worthy, “Greithoth: Breaker of Wills” (Spencer, 2011b).

When the earthly heroes recover from the attack, they awaken to find Sun standing over them with his staff. The Monkey King bemoans the loss of his hammer and claims that the two Worthies have run away from his martial might. But before turning to leave, he acknowledges the Immortal Weapons as heroes, while also noting a dark aura surrounding one of them, the Immortal Iron Fist (Spencer, 2011c).

Fig. 1 – Sun beating up the winner of the demonic fighting tournament (larger version). Art by Ariel Olivetti. From Spencer, 2011a, p. 8. Copyright Marvel Comics.

1.2. Fear Itself: The Monkey King (2011)

Sun’s eponymous tie-in issue opens on the story of the Buddha‘s wager that the historical Monkey King cannot leap clear of his palm. The imp takes up the challenge by flying a thousand miles across the sky until he reaches a set of five stone pillars. But when Sun returns to gloat, he soon realizes it was all an illusion and that he had never actually left the Enlightened One’s palm. The Buddha then clamps his hand shut, trapping Monkey inside (Fialkov, 2011, pp. 3-4).

Flashforward to present day Beijing, the modern Monkey King reminisces about his origins while fighting his way through a villain’s army of henchmen and women. Fifteen years ago, our hero was a greedy crime lord who referred to himself as and affected the persona of the Monkey King. After a brief fight over poker, the rival crime lord “Lion” attempts to appease Sun by bringing him to a cave in the Wudang Mountains. Sun initially shows no interest, but after his companion reveals it to be the “final resting place of the REAL Monkey King” and his magic staff (Fialkov, 2011, p. 10), the crime lord immediately stakes his claim on the cavern like a selfish child. Lion then plays on his ego by saying that he’s probably not skilled enough to bypass the booby traps protecting the weapon, which lies just inside the cave mouth. Sun answers the challenge by leaping in headfirst, deftly avoiding projectiles with gymnastic grace, and taking possession of the polearm. But this was all a part of Lion’s plan; the rival crime lord activates a button hidden in the rock face, causing the ground beneath Sun to literally engulf him like an octopus attacking prey (Fialkov, 2011, pp. 4-14).

He falls into a deep chasm where he’s confronted by a titanic apparition of the historical Monkey King. The simian god admonishes Sun for stealing the staff but grudgingly admits his abilities: “Only the greatest thief who walks the earth could actually hold onto my dearest Ruyi Jingu Bang” (Fialkov, 2011, p. 14). So the Monkey King presents him with a wager: If he has a clean soul, he’ll receive freedom and the deity’s staff and powers to do with however he wishes; but if he has an unclean soul, he’ll be damned to an eternity in the Eighth City. After agreeing to the bet, the crime lord naturally finds himself banished to the hellish realm, but (for some reason) he still gets the powers and staff, as well as (for some reason) a heroic costume. The narrative then briefly recaps his confrontation with Skirn and the Absorbing Man and eventual escape via the dimensional rift, before circling back to present day (Fialkov, 2011, pp. 14-15).

Sun finally confronts the sought-after villain, who turns out to be Lion. He magically transports him to the same cave mouth and reveals how he survived by gaining the Monkey King’s powers and memories, as well as how his time in the Eighth City led him to repent his criminal past. Sun ultimately punishes Lion to a similar fate by tossing him into the hell realm (Fialkov, 2011, pp. 16-22). The issue ends with Sun standing in a heroic pose and exclaiming: “From this day forth, I will fight for good and truth and peace and honesty … and, uh … all that stuff! With the powers of Sun Wukong, I will bring honor to my country and peace to my city, for I am… the handsome Monkey King!” (fig. 2) (Fialkov, 2011, p. 22).

Fig. 2 – Sun Wukong’s heroic pose (larger version). Art by Juan Doe. From Fialkov, 2011, p. 22. Copyright Marvel Comics.

1.3. Avengers World #7, 10, 13, and 14 (2014)

Sun next appears as a member of the newly-minted Chinese superhero team, the Ascendants, led by the Weather Witch. S.P.E.A.R. deploys the team to reinforce the Avengers as they fight to protect Hong Kong against the attack of an island-sized dragon controlled by the villain Gorgon (Spencer, 2014/2019a). [3] Instead of being a lone wolf, Sun is shown working in tandem with the team (Spencer, 2014/2019a, pp. 156 and 159; 2014/2019b, p. 211; 2019c, pp. 277-278). During their battle, he single-handedly stops one of many vehicle-sized dragons, thrashes it to the left and right, and finally throws it into a building (fig. 3) (Spencer, 2014/2019c, pp. 274-275). A flashback reveals the Weather Witch had hand-picked Sun, who joined the superhero team only on the promise of adventure (Spencer, 2014/2019c, p. 276). [4]

Fig. 3 – Sun stops the dragon with a single hand (larger version). Art by Raffaele Ienco (lines) and Andres Mossa (color). From Spencer, 2014/2019c, p. 274. Copyright Marvel Comics.

1.4. Captain America: Steve Rogers #18 (2017)

A flashback shows Sun (for some reason) crouching on a glowing hover disc while he and the Ascendants prepare themselves to repel an on-coming attack of their airborne base by Hydra ships in southern China (fig. 4) (Spencer & Cates, 2017, p. 15). This happens during a worldwide pushback against Hydra’s attempt at global domination (Spencer & Cates, 2017).

Fig. 4 – Sun standing on the glowing hover disc alongside the Ascendants (larger version). Art by Javier Pina/Andres Guinaldo (lines) and Rachelle Rosenberg (color). Copyright Marvel Comics.

1.5. War Of The Realms: New Agents Of Atlas #3 and 4 (2019)

Sun appears as one of three Asian superheroes giving updates to Amadeus Cho about their respective efforts in Tokyo, Manila, and Beijing to battle the armies of the fire giantess Sindr, who has claimed Asia as her new empire. He reports the Ascendants will protect Beijing, while he plans to attack her fire soldiers in northern China (Pak, 2019a, pp. 5-6). But when Cho asks him to wait for his team, the New Agents of Atlas, Sun snaps at him, noting the situation requires godly powers. Cho then assures him that he has a plan involving their resident goddess Pele (Pak, 2019a, pp. 6).

Sun next appears (for some reason) on horseback in northern China where he meets with the New Agents of Atlas. The head of Atlas asks Shang Chi to give the group a crash course in martial arts ahead of their battle. But when Sun scoffs at the idea of taking directions from a mortal, Shang Chi proves his skill by effortlessly disarming him of his staff and knocking him back with a punch to the chest (Pak, 2019a, pp. 20-21). Thus humbled, the Monkey King accepts this as a learning opportunity: “The Great Sun Wukong is always up for learning something new” (Pak, 2019a, pp. 21).

Sun is among the vanguards who lead the charge against Sindr when she arrives in northern China, but even he is beaten back by her power (Pak, 2019a, pp. 8-9). However, after a brief confrontation with Pele, who turns out to be a robot designed to battle magic beings, a large portion of Sindr’s mystical energy is drained, leaving her open to attack. Sun takes this as an opportunity to sacrifice his life so the New Agents of Atlas have a better chance of defeating her. He leaps into the air and stabs her in the back with his staff before succumbing to the intense heat of her flames (Pak, 2019b, pp. 13-15). His last words are: “Behold, the Great Monkey King, Sun Wukong! I’ll save this word … And I’ll see you in the next! Ha ha ha ha ha ha ha ha!” (fig. 5) (Pak, 2019b, p. 14).

Fig. 5 – Sun’s death scene (larger version). Art by Gang Huk Lim/Moy R./Pop Mhan (lines) and Federico Blee/Andres Mossa (colors). From Pak, 2019b, p. 14. Copyright Marvel Comics.

2. References to Journey to the West

During Sun’s battle with the demonic gladiators in the Eighth City, he refers to his staff as an ocean-calming pillar and recalls his past adventures, including stealing immortal peaches and wine from heaven, stealing his name from the books of life and death, and acquiring a feathered cap from the Dragon Kings of the four oceans (Spencer, 2011a, pp. 7-8). All of these are mentioned in one form or another in the novel, [5] but I must make a few corrections. Instead of Sun stealing his name from the infernal legers, he crosses it out with ink (Wu & Yu, 2012, vol. 1, p. 141). And instead of “defeat[ing] the Four Dragon Kings” to acquire the feather cap (Spencer, 2011a, p. 8), he simply threatens to beat one of them up (Wu & Yu, 2012, vol. 1, p. 136). Also, the cap is only one part of a set of golden armor and boots that he strong-arms from the royal brothers (Wu & Yu, 2012, vol. 1, pp. 136-137).

The Buddha’s wager with the Monkey King recalls the exact event from chapter seven. But instead of trapping the imp in his hand, the Enlightened One transforms the appendage into Five Elements Mountain and imprisons Sun Wukong beneath it.

Sun transforms into a hawk (Spencer, 2011a, p. 5; Fialkov, 2011, p. 18), a gecko (Fialkov, 2011, p. 6), and a lion (Fialkov, 2011, p. 17) in the early part of his story. This recalls Monkey’s famous 72 transformations, which are best exhibited during his battle with Erlang in chapter six (video 1) (Wu & Yu, 2012, vol. 1, pp. 182-184).

Video 1 – The magic battle of transformations between Sun and Erlang. From the 1960s classic Havoc in Heaven.

3. Problems with the writing and art

As I previously stated in my review of DC Comics’ Monkey Prince, an adaptation of Journey to the West, or in this case the Monkey King, has to be super accurate or just different enough for me to find it fresh and interesting. This adaptation is neither accurate nor uniquely different. Sun Wukong has simply been grafted onto a modern, human superhero and in the worst possible way. He is depicted as a Chinese man wearing the queue (bianzi, 辮子) hairstyle, a cleanly shaven scalp adorned with a long braid hanging from the crown (refer back to fig. 3). I get the distinct feeling that Sun’s creators, (writer) Nick Spencer and (artist) Ariel Olivetti, were influenced by Hong Kong wire-fu media of the 1990s in which heroic martial artists, played by the likes of Jet Li and Donnie Yen, sported the queue while fighting injustice. So in that sense, the character could be considered an homage to cinematic folk heroes like Wong Fei-hung and Hung Hei-gun. But the problem is that the creators clearly didn’t take note of the hairstyle’s historical context. Such films are set during the foreign-ruled Qing dynasty (1644-1912).

Historically the Manchu forced their traditional hairstyle on the Chinese as a sign of subjugation after conquering the Middle Kingdom in the mid-17th-century. The Chinese resisted, not because of the braid—long hair was after all a Chinese fashion—but because of the requirement to shave the scalp. Those who refused were put to death (Godley, 2011). The disgust for this style was perfectly summed up by leaders of the Taiping Rebellion in 1853:

The Chinese have Chinese characteristics; but now the Manchus have ordered us to shave the hair around the head leaving a long tail behind, thus making the Chinese appear to be brute animals … You are all Chinese people; how can you be so stupid as to cut your hair and follow the demons? (Godley, 2011).

Students and laborers who traveled abroad were still required to wear the queue up into the early 20th-century. But by then the hairstyle had already become antiquated on the world stage (Godley, 2011). For example, writing in 1903, the nationalist Zou Rong lamented: “When a man with a queue and wearing Manchu clothes loiters about in London, why do all the passers-by say ‘Pig-tail’ or ‘savage’? And if he loiters about in Tokyo, why do all the passers-by say ‘Chanchanbotsu’ [slave with a tail]?” (Tsou & Lust, 1968, p. 79; cf Godley, 2011).

This antipathy for braid-wearing Chinese had already for decades been mirrored in Western “Yellow Peril” propaganda of the late 19th-century. For instance, “Immigration East and West” (1881) (fig. 6), a two-page political cartoon by George Frederick Keller, depicts the concept of “Chinese Immigration” as a monstrous serpent arriving in the “West” (western US) with fangs bared and large, clawed hands threatening to attack a defeated-looking Lady Liberty [6] and a cowering California Grizzly. The serpent’s queue whips in the air overhead, spelling “Asia”, and spots on its body are labeled with afflictions such as “immorality”, “smallpox”, and “ruin to white labor” (Bierce, 1881, p. 173), symbolizing the then prominent fear that the Chinese would overrun the United States with cheap labor and diseases (Lyman, 2000). This is in contrast to the adjoining image, which depicts Lady Liberty [7] welcoming throngs of bustling European immigrants to the “East” (eastern US), who bring with them virtues such as “art”, “labor”, and “agriculture” (Bierce, 1881, p. 172).

So the hairstyle was originally a sign of subjugation forced on the Chinese by foreign rulers under penalty of death. And it later served as a symbol for racist, economic-based fears of Chinese immigration in the West. Therefore, I feel confident in saying that depicting Sun Wukong with a queue was not a well-thought-out idea. In fact, this lack of forethought is indicative of the lazy writing that plagues the rest of the Monkey King’s character arc.

Fig. 6 – “Immigration East and West” (1881) (larger version). It first appeared in volume seven of The Wasp (Bierce, 1881, pp. 172-173), a satirical magazine from San Francisco, California, USA.

Fear Itself: The Monkey King (2011) is the worst perpetrator of this lackadaisical approach. For starters, how did Lion and Sun travel to the Wudang Mountains and why are they still wearing their everyday street clothes instead of thick coats and hiking boots? How does Lion even know the location of this ancient cave and why does he alone know it’s the final resting place of the historical Monkey King? Shouldn’t this be a well-guarded secret only known to a select few? This is even more puzzling considering that, in Journey to the West, Sun Wukong retires to the Buddha’s Western Paradise in India (Wu & Yu, vol. 4, pp. 381-383), so why would he resettle in China? How does Lion know about the trigger hidden in the rock face and why does he know the ground will engulf Sun? Why is the Monkey King’s magic staff just sitting out in the open and how does Sun effortlessly pick it up despite weighing 17,550 lbs. (7,960 kg) in the novel? [8] Sure, the historical Monkey King says, “Only the greatest thief who walks the earth” can hold the weapon (Fialkov, 2011, p. 14), but why is that even a requirement, especially when he ends up sentencing the crime lord to hell for having an unclean soul? Why does Monkey give him the powers and the staff even after judging him to be unworthy? Why does he give him a superhero costume upon sending him to hell? Where does the modern Monkey King get the different superhero costume upon escaping from hell? None of this is answered. This is just frustratingly lazy writing by Joshua Hale Fialkov.

Oh, and the lazy streak continues. Sun Wukong’s ability to fly on clouds from the novel is briefly alluded to in Fear Itself: The Monkey King (Fialkov, 2011, p. 4). But this power is completely forgotten in the very same issue, for the modern hero has to magically transform into a hawk in order to fly (Fialkov, 2011, p. 18; see also Spencer, 2011a, p. 5). In addition, this avian transformation is also forgotten in later appearances, for Sun is shown standing on a glowing hover disc in Captain America: Steve Rogers #18 (2017) (Spencer & Cates, 2017, p. 15). And War Of The Realms: New Agents Of Atlas #3 (2019) depicts him traveling northern China on horseback (Pak, 2019a, pp. 19). Furthermore, the storyline seems to forget that the character has super strength. In Avengers World #13 (2014) he’s capable of stopping a dragon with a single hand (refer back to fig. 3) (Spencer, 2014/2019c, pp. 274-275), but in War Of The Realms: New Agents Of Atlas #3 Shangi Chi, who does not have super strength, easily snatches away his staff (fig. 7 & 8) (Pak, 2019a, pp. 20-21). Ugh.

Fig. 7 – Shang Chi grabs Sun’s staff (larger version). Fig. 8 – Shang simultaneously disarms Sun and punches him (larger version). Art by Gang Huk Lim (lines) and Federico Blee/Andres Mossa/Erick Arciniega (colors). Copyright Marvel Comics.

Beyond the laziness, another problem with the writing is Sun’s negative characterization. He comes off as a boastful, greedy, and thoroughly unlikable person, so this leads me to believe that he was never intended to be a top-tier superhero. In fact, I dare say that he was designed as a throwaway character. His quick, pointless death is the “smoking gun”. Sun isn’t given a chance to evolve as a character—i.e. a series of stories in which he reflects on his flaws and strives to be a better person—and there’s no prolonged battle with a running internal monologue in which he deems his sacrifice a necessary outcome. He just blindly rushes to an empty death that serves no purpose as the fire giantess Sindr continues to fight even after the hero goes up in smoke (Pak, 2019b, p. 18). Next, there are several instances where Sun touts his abilities or fame and subsequently gets knocked off his pedestal, making him the butt of a joke. First, he boasts of his fighting skill but is easily defeated by Skirn, and after she and her companion leave, he claims: “They … ran away like cowardly, lying dogs. I begged them to stay and fight, but they knew better” (Spencer, 2011c, p. 4). This reads less like Sun Wukong and more like a delusional person. Second, he trumpets his fame as the Monkey King, stating everyone knows his name, but Iron Fist comically shrugs his shoulders in confusion (Spencer, 2011c, p. 4). However, given Iron Fist’s training in K’un-lun (a magic city in China) and Sun Wukong’s centuries-long popularity throughout Asia, [9] this makes as much sense as someone in Metropolis saying they’ve never heard of Superman. Third, Sun continually flaunts his godly powers and looks down on mortals, but, as noted before, Shang Chi takes away his weapon (Pak, 2019a, pp. 20-21). This slap to his ego is preceded by the head of S.P.E.A.R. telling Sun, “[A]ll your magic won’t be enough … without training”, suggesting the hero relies solely on the mystical arts (Pak, 2019a, p. 20). But this doesn’t make any sense considering that he’s shown to be a capable fighter in previous issues (refer back to fig. 1) (Spencer, 2011a, pp. 6-9, for example), not to mention the fact that, in Journey to the West, the Monkey King is depicted as a master of unarmed boxing.

The art throughout Sun’s character arc ranges from the divine (Ariel Olivetti) to the demonic (Juan Doe). But here I’d like to focus on the Character design. Beyond the problematic queue, the costume first appearing in Iron Man 2.0 #5 (2011) isn’t bad, it just doesn’t suit the character. Nothing about it says “Monkey King”. Sun is depicted wearing a form-fitting red top with black accent lines on his chest, back, and arms; grey gauntlets with three golden stripes; a black sash belt; a gray apron and baggy pants; and black boots (refer back to fig. 1). The lower half of his costume was likely influenced by period clothing from the aforementioned wire-fu films of the 90s. However, I do have a problem with Sun’s shirt. It is almost exactly the same as the upper half of Shang Chi’s body suit, which is also red with black accent lines on the chest, back, and arms. Shang also has gauntlets with three sections. The similarities are apparent when the characters share the same scene (fig. 9). The only difference is that Shang’s black accents don’t go all the way down his chest, and those on his arms break up into stacked arrows. I think it would have been a smarter move to differentiate the two.

The only other critique I have for Olivetti’s design is the Monkey King’s staff. It is depicted as a gray metal bar with a strange finial. The tip features a cutesy, grinning monkey with half moon-shaped ears on a spherical head. A tail spirals down from the top like a corkscrew (fig. 10). It looks like something straight out of Hello Kitty. This simian ornament next appears in Fear Itself: The Monkey King but only on the cover (fig. 11). The finial within the issue looks more like the gnarled end of a red and black walking stick (Fialkov, 2011, p. 16, for example). Interestingly, the monkey isn’t present in Sun’s later comic book appearances.

Lastly, the superhero costume appearing in Fear Itself: The Monkey King is terrible. It’s so bad in fact that it never appears again in another comic. The overall suit is black with red trim on the chest, arms, apron, and legs. The top features layered shoulder pads, a silver monkey symbol on the chest, and wrapped forearms. It totally looks like something a villain from the Mad Max franchise would wear. And to top it all off, Sun sports a black mask with a molded monkey nose on the front and a hole in the back to accommodate his queue braid (refer to fig. 11). This is another example where the costume just doesn’t suit the Monkey King concept. Juan Doe should have at least tried to mirror some of the elements from Sun Wukong’s literary armor.

Fig. 9 – The similarities between the costumes of Shang Chi and Sun (larger version). From Pak, 2019a, p. 20, panel #4. Fig. 10 – A detail of the monkey finial on Sun’s staff (larger version). From Spencer, 2011a, p. 8. Fig. 11 – The Cover of Fear Itself: The Monkey King (2011) (larger version). Art by Juan Doe. Copyright Marvel Comics.

4. My rating

There are aspects of this character that differ wildly in quality, so I feel like I have to rate them separately. As I stated above, the costume designed by Olivetti isn’t bad, just not suitable for the character. I would give it 3 out of 5 stars. Having said that, everything else, especially Fialkov’s writing and Doe’s art, gets a hard 0 out of 5 stars. It’s painfully clear that no actual thought or research went into the Monkey King’s development or story beyond a lazy read of the Wikipedia article.

Before continuing, I feel I must apologize to Editor Jessica Chen, writer Gene Luen Yang, and artist Bernard Chang for being overly harsh in my previous review of DC’s Monkey Prince. They obviously put more effort into one eight-page story than went into all 11 comics from Marvel’s failed attempt.

5. What I would change

I would completely do away with the queue-wearing crime lord and replace him with a modern spirit-medium (Chinese: Jitong, 乩童; Hokkien: Tangki, 童乩; literally: “divining child”) from Chinese folk religion. Such individuals are believed to channel the spirit of the “Great Sage Equaling Heaven” (Qitian Dasheng, 齊天大聖), the celestial title of Sun Wukong. While inhabited by the monkey god, the spirit of the human host is believed to reside in heaven or some temple-based holy object (Chan, 2006, pp. 59-60; Graham, 2013, p. 330). Therefore, the person would be for all intents and purposes the Monkey King for the duration of the story. As a medium, the character wouldn’t wear a superhero costume. Instead, he would be bare-chested apart from a ritual stomacher (dudou, 肚兜) and a tri-panel dragon-tiger apron (longhu qun, 龍虎裙) over everyday pants and shoes (or no shoes). Such ritual attire is usually decorated with auspicious symbols and, sometimes, the Chinese name of the deity, in this case the Great Sage (fig. 12).

I would also like to make some changes that might seem weird for an adaptation of Sun Wukong. But I’m torn between pandering to the wants of comic book fans and my desire to portray an authentic East and Southeast Asian spirit-medium. The former would involve the character wielding the magic staff, but in the case of the latter, I’ve noticed that few mediums involve the polearm in their public performances. Those who do only use it to enhance the theater of their portrayal of the Great Sage. The weapon serves no ritual function. The latter would involve the character wielding the “Five Treasures of the Spirit-Medium” (jitong wubao, 乩童五寶), a set of ritual weapons consisting of a spiked ball on a rope, a spiked club, a sawfish nose sword, a crescent moon ax, and a double-edged sword engraved with seven stars (fig. 13) (Chan, 2006, p. 73). Mediums use these weapons during a ritual dance in which they inflict wounds on their body. This self-mortification is believed to serve two purposes. One, holy energy from the weapons help the medium prepare “for a particularly difficult battle” by “supercharg[ing] him with spirit power” (Chan, 2006, pp. 108-109). And two, the resulting holy blood—for it is considered the blood of the god, not the host—is believed to have demonifugic properties. It can be used to write paper sigils commanding heavenly forces to attack demonic spirits (Chan, 2006, p. 108). Now, I’ll admit that this would no doubt be off-putting to the average comic book reader. So herein lies the dilemma. The only compromise that I can think of would be to use them both but more so in one case and sparingly in the other. An enchanted brass pole, like those used by Great Sage mediums during performances (fig. 14 & 15), would be the character’s main weapon. But when he runs into trouble, he could summon the aforementioned treasures to “supercharge” himself—he could even empower himself further by taking damage from an opponent’s weapon—and, if needed, he could draw blood in order to call on heavenly forces. This leads me to my next change.

Fig. 12 – An entranced spirit-medium wearing the stomacher and apron (larger version). Picture taken by the author in Tainan, Taiwan. Fig. 13 – The “Five Treasures of the Spirit-Medium” (larger version). Found on Facebook and slightly modified. Here, the original biological sawfish nose sword (photo by author) has been replaced by two modern, metal, single and double-edged versions. Fig. 14 – An example of a brass pole used by Great Sage mediums (larger version). Fig. 15 – A detail of joss paper and joss sticks attached to the pole (larger version). Pictures taken by the author in Jiayi, Taiwan.

Despite the Monkey King’s immeasurable strength in Journey to the West, I wouldn’t want to make the character an unstoppable powerhouse like, say, the Sentry. I would instead make him moderately powerful for a few reasons. First, there’s no fun in an invincible hero who one-shots all his foes; there has to be some struggle in order to make the character more interesting and relatable. Second, spirit-mediums only protect their local community and, therefore, not an entire country or planet like more powerful characters. And third, there are many Great Sage spirit-mediums across East and Southeast Asia. What’s interesting about this concept is that each medium is believed by their respective communities to be the Great Sage. For example, one very small temple I visited in Taiwan has an astounding seven Great Sage mediums. This means that, if a particularly nasty evil befalls the earth, an entire army of Great Sages, who in turn command their own heavenly forces, can be called on to deal with the villain! This would not only be authentic, but also reference Sun Wukong’s magic power of creating endless doubles of himself. [10] And the best part? The story could follow a series of different spirit-mediums in different countries. So the “character” wouldn’t be limited to a single person. The medium could be Chinese, Taiwanese, Malaysian, Singaporean, basically any person of Chinese descent who practices spirit-mediumship. And they can be young, old, and even female, too. That’s right, there are female Great Sage mediums! (video 2).

Video 2 – A female Great Sage medium in Chinese opera-inspired attire.


1) A portal leading to this hell realm was first discovered centuries ago by inhabitants of the hidden city of K’un-lun. The Immortal Weapons of old were tasked with rounding up the world’s evils and forcing them inside (Swierczynski, 2009).

2) These hammers are mystical uru weapons called forth by Serpent (a.k.a. Cul Borson), the Asgardian god of fear and the deposed brother of Odin. Once rained across the earth, superpowered beings who come into contact with the weapons are immediately transformed into the “Worthy”, apocalyptic generals who lay waste to everything around them, thus enabling Serpent to regain his youth by feeding on the resulting fear and discord.

3) Sun is introduced in Spencer, 2014/2019a, p. 155.

4) Sun only appears at the end of Avengers World #14 on a splash page just above Black Widow (top right) (Spencer, 2014/2019d, p. 300).

5) For example, regarding Sun’s weapon, a poem in chapter 88 states: “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). In addition, the Monkey King steals immortal peaches and wine in chapter five (Wu & Yu, 2012, vol. 1, p. 162, 165, and 167).

6) As Liberty’s crown shows, she symbolizes the “Pacific States” (Bierce, 1881, p. 173).

7) Here, Liberty’s crown says “NY” (New York), symbolizing the eastern states (Bierce, 1881, p. 172).

8) Yu’s (Wu & Yu, 2012) original translation says “thirteen thousand five hundred pounds” (vol. 1, p. 135). However, the Chinese version uses jin (斤), known in English as “catty“. The catty and pound are two different measures of weight, the former being heavier than the latter. 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 lbs. Therefore, the English text has been altered to show this.

[9] Sun’s story cycle has existed since at least the Song Dynasty (960-1279). Stories of his adventures were celebrated in Korea during the 14th-century. Journey to the West was translated into Japanese during the 19th-century and became so wildly popular that it influenced the creation of Son Goku from the Dragon Ball franchise (Chien, 2017, pp. 2 and 21-22).

10) For example, chapter two reads:

Plucking a handful of hairs from his [the Monkey King’s] 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. 128).


Bierce, A. (Ed.). (1881). The Wasp (Vol. 7). San Francisco: Wasp Pub. Co. Retrieved from

Chan, M. (2006). Ritual is Theatre, Theatre is Ritual: Tang-ki, Chinese Spirit Medium Worship. Singapore: Wee Kim Wee Centre, Singapore Management University.

Chien, P. (2017). A Journey to the Translation of Verse in Five English Versions of Xiyouji [Master’s thesis, National Taiwan Normal University]. DSpace at National Taiwan Normal Univ.

Davis, A. (2020a). Tarot: Avengers/Defenders, (3) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Davis, A. (2020b). Tarot: Avengers/Defenders, (4) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

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

Fialkov, J. H. (2011). Fear Itself: The Monkey King [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Godley, M. (2011). The End of the Queue: Hair as Symbol in Chinese History. China Heritage Quarterly.

Graham. F. (2013). Vessels for the Gods: Tang-ki Spirit Mediumship in Singapore and Taiwan. In J. Hunter & D. Luke (Eds.)., Talking With Spirits: Interdisciplinary Approaches to Spirit Mediumship (pp. 327-348). Brisbane: Daily Grail Press.

Lyman, S. (2000). The “Yellow Peril” Mystique: Origins and Vicissitudes of a Racist Discourse. International Journal of Politics, Culture, and Society, 13(4), 683-747. Retrieved June 13, 2021, from

Pak, G. (2019a). War Of The Realms: New Agents Of Atlas, (3) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Pak, G. (2019b). War Of The Realms: New Agents Of Atlas, (4) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Spencer, N. (2011a). Iron Man 2.0, (5) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Spencer, N. (2011b). Iron Man 2.0, (6) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Spencer, N. (2011c). Iron Man 2.0, (7) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Spencer, N., & Cates, D. (2017). Captain America: Steve Rogers, (18) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Spencer, N. (2019a). Avengers World, (7). In M. D. Meazley (Ed.), Avengers World: The Complete Collection (pp. 139-159) [Kindle version]. New York, NY: Marvel Comics. Retrieved from (Original work published 2014)

Spencer, N. (2019b). Avengers World, (10). In M. D. Meazley (Ed.), Avengers World: The Complete Collection (pp. 202-222) [Kindle version]. New York, NY: Marvel Comics. Retrieved from (Original work published 2014)

Spencer, N. (2019c). Avengers World, (13). In M. D. Meazley (Ed.), Avengers World: The Complete Collection (pp. 261-281) [Kindle version]. New York, NY: Marvel Comics. Retrieved from (Original work published 2014)

Spencer, N. (2019d). Avengers World, (14). In M. D. Meazley (Ed.), Avengers World: The Complete Collection (pp. 282-300) [Kindle version]. New York, NY: Marvel Comics. Retrieved from (Original work published 2014)

Swierczynski, D. (2009). Immortal Iron Fist, (25) [Kindle version]. New York, NY: Marvel Comics. Retrieved from

Tsou, J., & Lust, J. (1968). The Revolutionary Army: A Chinese Nationalist Tract of 1903. The Hague: Mouton.

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

Archive #20 – Qing-Period Color-Illustrated Complete Edition of Journey to the West

Upon the initial release, I was entranced by the cover art for the 2012 revised edition of Anthony C. Yu’s famed Journey to the West translation. For example, the cover for volume one (fig. 1) featured the pilgrims crossing the Flowing-Sands River via a boat made from Sha Wujing‘s skull necklace and a heaven-sent gourd. I loved the individuality and color scheme of each figure. They look almost like characters from a comic book. Though the art style was old, I assumed the bright, vibrant colors signaled the illustration was a modern reproduction. This was not the case. I later learned that the art was made by an anonymous painter of the Qing Dynasty (1644-1911). The paintings from this series were later gathered into an abridged ten-volume set titled Qing-Period Color-Illustrated Complete Edition of Journey to the West (Qing caihui quanben Xiyouji, 清彩繪全本西遊記, 2008). Here I present lower res PDFs of this work, complete with the gorgeous artwork. Each page is formatted with simplified Chinese dialogue on the left side and art on the right (fig. 2).

Fig. 1 – The cover of volume one (larger version). Fig. 2 – An example of the page format (larger version). It portrays the pilgrims finally coming before the Buddha in India. The formerly subjugated “Peng of 10,000 Cloudy Miles” (i.e. Garuda) can be seen hovering above the Enlightened One’s throne.

Book links


These have been posted for educational purposes. No malicious copyright infringement is intended. Please support the official release.


Ming, Q. (Ed.). (2008). Qing caihui quanben Xiyouji [Qing-Period Color-Illustrated Complete Edition of Journey to the West]. Beijing: Zhongguo shudian.

Monkey Fist: The Connection Between Primates and Martial Arts in Ancient China

Look up the terms “monkey” or “ape” in the dictionary and you’ll find that they serve as verbs meaning to mimic the movements or actions of another. This is because monkeys and apes have a propensity for observation and mimicry. Being primates ourselves, humans are no different. But interestingly this mimicry sometimes mirrors our primate cousins. Chinese martial arts, for example, has developed several primate-based fighting arts, including White Ape Connected Arms boxing (Baiyuan tongbei quan, 白猿通背拳) and several flavors of Monkey boxing (Houquan, 猴拳), and other styles have even adopted primate techniques, such as the monkey footwork of Praying Mantis boxing (Tanglang quan, 螳螂拳). Humans have long marveled at the physical prowess and acrobatic mastery of apes and monkeys. So it’s only natural that boxers would want to incorporate the powerful arm movements and awe-inspiring leaps and flips of primates into various fighting arts. But how long have our cousins been associated with martial arts in Chinese culture, and when and how did primate-based martial arts develop?

Two approaches can be used in an attempt to answer both questions. The first method involves charting similarities in techniques shared between modern regional primate-based Chinese martial arts styles and relying on folk lineages, ethnographic data, and (when possible) historical manuals to discover the earliest vestiges of primate boxing in China. A second method is to search for references to primate-based martial arts in the historical record. A benefit of the first approach would be pinpointing the areas in China where these styles likely first emerged in recent history. The downside is that martial arts are passed from teacher to student via embodied practices (e.g. fist and weapons forms and sparring), often without the material being recorded in a manual. This means such styles can’t be reliably traced beyond a certain time period. A benefit of the second approach is that it provides a deeper view of history, giving the researcher license to record not only the odd mention of historical boxing styles but also associations between primates and weapons and other forms of physical exercise in ancient folklore, literature, medicine, and religion. Obviously, the best approach would be a combination of the two. However, I lack the necessary encyclopedic knowledge of Chinese martial arts techniques. Such a grand project will have to wait for a more qualified researcher. I have instead decided to adopt the second approach.

This article is divided into five sections. The first presents a folk history for Tai Shing Pek Kwar, a popular modern form of Monkey boxing, to serve as an example of how such styles can be created. The second provides three references to premodern Monkey boxing appearing in military and travel writings of the 16th-century during late Ming (1368-1644), pointing to the commonplace nature of the style. Here I suggest the lack of evidence for pre-Ming references to primate-based boxing points to the style emerging during this time. This section also gives examples of armed techniques associated with apes in military literature of the 16th and 17th-century. The third discusses the story of the noted literary monkey hero Sun Wukong (孫悟空), his portrayal as a master of armed and unarmed fighting, and how he bridges the gap between the aforementioned lack of pre-Ming boxing references and older material associating apes and monkeys with armed combat. The fourth presents ancient stories pitting a magic white ape against the martial skills of legendary Chinese heroes, including the archer Yang Youji (養由基, 7th-c. BCE) and the swordswoman the Maiden of Yue (Yuenu, 越女, 5th-c. BCE). And the fifth discusses ancient animal mimicry and suggests primate-based boxing is tied to war-like shamanic totemic dances and yoga-like daoyin calisthenics (8th-c. to 2nd-c. BCE). [1]

I. Tai Shing Pek Kwar Monkey boxing

There are three main styles of monkey boxing:

  • Shaolin Monkey – This combative style is said to have developed among various animal styles at the famed Shaolin Monastery (Shaolin si, 少林寺) in Henan province, China. Matsuda (2013) claims this particular style to be thousands of years old (p. 50); however, this has no basis in history, as will be explained below.
  • Wushu Monkey – This modern, non-combative style focuses on gymnastic leaps and flips for entertainment purposes. It is used in both Chinese opera and the floor routines of form competitions (video 1) (Matsuda, 2013, pp. 54-56).
  • Tai Shing Pek Kwar Monkey – This is the Cantonese variant of the Mandarin Dasheng Pigua men (大聖劈掛門), or the “Great Sage Ax School” of boxing. This combative style is said to be quite young, being a little over 100 years old (Matsuda, 2013, p. 56).

To this I add one more:

Video 1 – The first half of this video shows a youth performing Wushu Monkey for a form competition.

Tai Shing Pek Kwar is a combination of two different styles. The first, which I will only describe briefly, is Pek Kwar kyun (Pigua quan, 劈掛拳), a style that mimics the swinging of an ax, relying on the lively arm movements to generate power much like the Choy Li Fut style of southern China. It is said to have been created over two hundred years ago in Shandong (northern China) by a woodcutter named Ma Chi Ho (Matsuda, 2013, pp. 64-68). The weapons practiced by this style include the double-edged sword (jian, 劍), the single-edged saber (dao, 刀), and the staff (gun, 棍) (Matsuda, 2013, pp. 70-75).

The Tai Shing kyun (Dasheng quan, 大聖拳) style is said to have been founded in northern China around the year 1911 (the end of the Qing dynasty) by a prisoner named Kou Si (寇四). [2] After being sent to jail for murder, Kou discovered his cell faced a forest where he could observe the day-to-day lives of a troupe of monkeys. He noted five distinct behaviors among them that, when combined with his knowledge of Great Earth boxing (Di tang quan, 地趟拳), a type of ground combat, could be adapted for fighting.

  1. Lost Monkey (Mi Hou, 迷猴) – This form mimics the behavior of a frightened monkey, comprising periods of attack and retreat, with lots of rolling, low kicks, and quick, frantic running low to the ground (video 2).
  2. Stone Monkey (Shi Hou, 石猴) – This form mimics the behavior of an enraged alpha male, comprising slower but drastically more powerful fist, elbow, and knee strikes, all of which are delivered from a low stance.
  3. Tall Monkey (Qi Hou, 企猴) – This form mimics the behavior of a tall monkey, comprising longer, quicker swinging arm strikes and higher-level kicks.
  4. Drunken Monkey (Zui Hou, 醉猴) – This form mimics the behavior of intoxicated monkeys, comprising falls, swaying motions with broken footwork, and circular punches, all of which are delivered from a low stance.
  5. Wooden Monkey (Mu Hou, 木猴) – This form mimics the behavior of an intelligent, deceptive monkey, comprising quick, low attacks and rolls similar to the Lost Monkey, but feigning retreat only to turn and unleash strikes upon the pursuing opponent.

After perfecting the style, Kou Si is said to have named it “Great Sage boxing” in honor of the monkey hero Sun Wukong (Matsuda, 2013, pp. 86-116). This is a reference to the title taken by the character during his rebellion against heaven (see section III below). The weapons practiced by this style include the staff and the metal ring (Matsuda, 2013, pp. 118-131).

Video 2 – The Lost Monkey form.

II. Primates and martial arts during the Ming

Textural evidence for Monkey boxing actually predates Kou Si’s lineage, appearing in late Ming dynasty (1368-1644) records. The first reference appears in the eighteen volume edition of famed general Qi Jiguang‘s (戚繼光, 1528-1588) (fig. 1) New Treatise on Military Efficiency (Jixiao Xinshu shiba juan ben, 紀效新書十八卷本), a military training manual completed in 1561 or 1562. The fourteenth chapter, titled “Chapter on the Fist Canon and the Essentials of Nimbleness” (Quanjing Jieyao Pian, 拳經捷要篇), reads:

Among the past and present fist specialists, the Song Great Founder had the Long Fist system with thirty-two positions. Moreover there are six pace and fist techniques, the Monkey Fist, and the Feinting Fist. The famous positions each have their own names, but in reality they are quite similar and scarcely differ from one another (Gyves, 1993, p. 34).

While Qi believed boxing had no place in armed conflict, he thought such training was useful as it strengthened soldiers’ bodies, coordinated their limbs, improved their weapons skills, and bolstered their courage (Gyves, 1993, pp. 33-37). Qi gathered what he considered the most efficient techniques to achieve this goal, meaning he consulted with many martial artists in the process. The fact that he mentions Monkey boxing suggests it was a common style among fighters of this time.

Qi Jiguang statue (Fuzhou) - small

Fig. 1 – A modern statue of General Qi Jiguang (larger version). Originally found on Wikipedia.

The second reference appears in Zheng Ruozeng’s (郑若曾, 1505-1580) Strategic Situation in Jiangnan (Jiangnan jinglue, 江南經略, 1564), which was written in response to the ever-present threat of the Woukou (倭寇), a conglomeration of Japanese, Chinese, and Korean sea bandits, invading China’s coastline. In the eighth volume, Zheng provides a long list of armed and unarmed martial arts, including the “thirty-six roads (forms) of Monkey boxing” (Houquan sanshiliu lu, 猴拳三十六路) (Zheng, 1564). Again, this suggests Monkey boxing was quite common.

The third appears in scholar Wang Shixing’s (王士性, 1547-1598) A Journey to Mt. Song (Song you ji, 嵩遊記), a travel log of the mountain on which the famed Shaolin monastery is located:

Martial monks again each came to present skills. With fists and staves contending, they struck as if flying. Their teacher with folded hands looked on. Among them was a monkey striker, spinning and leaping, just like a monkey… (Wells & Chang, 2004, p. 23).

This shows a single Shaolin warrior monk practiced Monkey boxing. But does this mean the style was part of the monastery’s official curriculum at this time? The answer is no. According to Shahar (2008), textual evidence suggests Shaolin officially took up boxing in the proceeding 17th-century, and the first styles practiced were Drunken Eight Immortals boxing (Zui baxian quan, 醉八仙拳) and Lost Track boxing (Mizong quan, 迷蹤拳), possibly followed by Plum Flower boxing (Meihua quan, 梅花拳) in the 18th-century. The monks adopted pugilism as a form of calisthenic exercise, later combining it with Daoyin (導引) calisthenics and spirituality to create a new form of self-cultivation. [3] Prior to this, the Shaolin monks were only known for their proficiency with the staff. Therefore, given the seeming commonplace nature of Monkey boxing during the late Ming, the monk could have learned the style from an outside source.

Modern folklore associated with one primate-based style, White Ape Connected Arms Boxing (Baiyuan tongbei / bi quan, 白猿通背 / 臂拳), traces its origins to religious and military figures of the Song dynasty (960-1279), centuries prior to the Ming (Lu, 2006, pp. 103-105, for example). However, it should be said that having a Song-era foundation is a reoccurring theme in many martial arts legends. For instance, the famed Song general Yue Fei (岳飛, 1103-1142) is commonly attributed Eagle Claw boxing (Yingzhao quan, 鷹爪拳) and Form-Intent boxing (Xingyi quan, 形意拳) (Liang & Yang, 2002, pp. 15-16, for example). But textual evidence for these styles don’t appear until the Ming and Qing, respectively. [4] Most importantly, the oldest source associated with White Ape Connected Arms Boxing, titled the Connected Arms Boxing Manual (Tongbi quan pu, 通臂拳谱), was written during the late Ming and finally published in 1665 during the early Qing (List of surviving Ming period martial arts, 2017). Likewise, concrete references to primate-based boxing do not predate the Ming. This might suggest such styles arose during this time when there was an explosion in the popularity of pugilism. But this tells us nothing about how primate-based boxing may have developed. The history of animal mimicry in Chinese martial arts can be traced to much older concepts based in medicine and religion. This is discussed in section V below.

Japanese and ape sword-fighting combination - small

Fig. 2 – A compilation of images of the sword-fighting apes from the Collection of Military Works (c. 1621) (larger version). By the author. Fig. 3 – A compilation of the original stick figures and Japanese calligraphy from the fourteen volume edition of the New Treatise on Military Efficiency (1584) (larger version). From Qi, 1584/2001, p. 83. Note the similarities in stance and the position of the blades. 

As for the association between primates and armed combat during the Ming, the animals are occasionally referenced in the named fighting techniques of military literature. For example, the tenth volume of Qi Jiguang’s aforementioned manual includes a feinting lance technique titled “White Ape Trailing Sword Stance” (Baiyuan tuo dao shi, 白猿拖刀勢) (Yang & Xie, 1995, p. 336). The 35th volume of the Collection of Military Works (Wubei zhi, 武備志, c. 1621), a Ming treatise on military armaments and fighting techniques compiled by Mao Yuanyi (茅元儀, 1594-1640), includes “White ape exits cave” (Baiyuan chudong shi, 白猿出洞勢), a stance appearing in the sequence for an overhead sword guard. [5] (Incidentally, this is also the name of a fist set practiced in some lineages of Praying Mantis boxing). Additionally, the same volume includes a two-section sword manual, the first section of which portrays fanciful images of apes practicing with the “Sprout saber” (miaodao, 苗刀) (Mao, 1621), a long, two-handed blade similar to the Japanese Katana (fig. 2). These strange images differ from the human-based figures in the rest of the source. It’s important to note that the original sword manual, called Saber Techniques of the Xinyou-era (i.e. 1561) (Xinyou daofa, 辛酉刀法), is taken directly from the fourth volume of the revised fourteen volume edition of Qi’s New Treatise on Military Efficiency (Jixiao Xinshu shisi juan ben, 紀效新書十四卷本, 1584). The first of the aforementioned two sections reproduces a series of sword-wielding stick figures taken from a Shadow School (Kage-ryu, 影流 / 陰流) manual of Japanese sword fighting. The section is prefaced by lively Japanese calligraphy, and the few words recognizable to readers of Chinese include “ape flying” (yuanfei, 猿飛) and “ape returning” (yuanhui, 猿回) (fig. 3), both of which are Kenjutsu techniques still practiced today (video 3). [6] This then might explain why the stick figures were changed to apes when the material was reproduced in the Collection of Military Works decades later. But I would also like to suggest that the change (as well as the allusion to the sword-wielding white ape from the lance technique mentioned earlier) was influenced by a famous first-century Chinese story about a talented swordswoman who has her skills tested by a magic white ape. This is discussed in section IV below.

Video 3 – A modern demonstration of the “ape-flying” technique.

III. Sun Wukong the Monkey King

By far, the most famous weapon-bearing primate of the late Ming-period is Sun Wukong (a.k.a. “Monkey”), the simian protagonist of the highly popular Chinese novel Journey to the West (Xiyouji, 西遊記, 1592). According to the tale, the stone-born monkey rules a mountain utopia before learning magic, martial arts, and the secret of immortality under a Buddho-Daoist sage. He soon thereafter acquires a magic, size-changing iron staff, which he uses to wage war against the celestial realm (fig. 4), proclaiming himself the “Great Sage Equaling Heaven” (Qitian Dasheng, 齊天大聖, hence the name for Kou Si’s Monkey boxing). But his rebellion is eventually quelled by the Buddha, who imprisons the indestructible monkey demon beneath a mountain for his crimes. Five hundred years later, the repentant immortal is called upon to use his great strength, martial arts, and powers of transformation to protect the monk Tripitaka on a journey to procure scriptures from India.

Mr. Li's Criticism - Detail of Monkey fighting Heaven (small)

Fig. 4 – A woodblock print of Sun Wukong fighting the heavenly army with his magic staff (larger version). From Mr. Li Zhouwu’s Literary Criticism of Journey to the West, late 16th-century. 

The narrative portrays Sun as a well-rounded martial artist proficient in both weapons and boxing. For example, during his rebellion with heaven, he trains his monkey children as soldiers, teaching them troop movement and weapons, including swords, spears, axes, and bows and arrows. But he is best known for his skill with the staff (fig. 5). One episode sees Monkey give a display of his martial prowess while he and his master travel through a spooky mountain. His skill is so great that the story likens it to the strategy taught in two of the Seven Military Classics of China: 

“Going through this tall mountain and rugged cliff must have made master [Tripitaka] rather apprehensive, that’s all. Don’t be afraid! Don’t be afraid! Let old Monkey put on a show for you with my rod to calm your fears somewhat.” Dear Pilgrim! Whipping out his rod, he began to go through a sequence of maneuvers with his rod as he walked before the horse: up and down, left and right, the thrusts and parries were made in perfect accord with the Six Secret Teachings and Three Strategies [Liu Tao San Lue, 六韜三略)]. [7] What the elder saw from the horse was a sight incomparable anywhere in the world (Wu & Yu, 2012, vol. 2, p. 105).

Sun Wukong In-Flames action figure - small

Fig. 5 – A modern action figure of Sun Wukong with his magic staff (larger version).

Furthermore, Monkey displays a mastery of unarmed fighting (fig. 6) in two episodes. A poem in chapter 51, for example, is important because it describes a battle between Sun and a rhinoceros demon in which they use real boxing techniques, many of which are still known and practiced to this day:

Hitching up his clothes and walking forward, the fiend assumed a boxing posture; his two fists upraised looked truly like two iron sledge hammers. Our Great Sage also loosened his legs at once and moved his body to attack; right before the cave entrance, he began to box with the demon king. This was quite a fight! Aha!

Opening wide the “Four Levels Posture”;
The double-kicking feet fly up.
They pound the ribs and chests;
They stab at galls and hearts.
“The Immortal pointing the Way”;
“Lao Zi Riding the Crane”;
“A Hungry Tiger Pouncing on the Prey” is most hurtful;
“A Dragon Playing with Water” is quite vicious.
The demon king uses a “Serpent Turning Around”;
The Great Sage employs a “Deer Letting Loose its Horns.”
The dragon plunges to Earth with heels upturned;
The wrist twists around to seize Heaven’s bag.
A green lion’s open-mouthed lunge;
A carp’s snapped-back flip.
Sprinkling flowers over the head;
Tying a rope around the waist;
A fan moving with the wind;
The rain driving down the flowers.
The monster-spirit then uses the “Guanyin Palm,”
And pilgrim counters with the “Arhat Feet.”
The “Long-Range Fist,” stretching, is more slack, of course.
How could it compare with the “Close-Range Fist’s” sharp jabs?
The two of them fought for many rounds—
None was the stronger, for they are evenly matched (Wu & Yu, 2012, vol. 3, pp. 12-13).

While the techniques are not Monkey boxing, the narrative certainly helped solidify the connection between primates and martial arts during the late Ming when references to the style were recorded.


Fig. 6 – Sun teaching a young human apprentice martial arts. Drawing by Celsohenrique on deviantart (larger version).

Sun Wukong’s image as a master of armed and unarmed combat led to his veneration among northern Chinese martial artists at the end of the Qing. As noted in this article, fighters of the anti-foreign Boxer Rebellion (1899-1901) were known to channel the spirit of the Monkey King (among other deities) in order to gain his martial prowess. A German catholic missionary active in Shandong in the late-19th and early-20th-century recorded how four boxer youths were chosen as possible vessels, and after a ritual enticed the deity to earth, the “possessed” individual performed a frightening saber dance, indicating the Great Sage had taken control. Additionally, Dudbridge (1970) cites one 17th-century source that describes Sun’s veneration in the southern Chinese province of Fujian for “appear[ing] in the clouds to beat back an attack from Japanese pirates” (p. 158). This refers to the preceding 16th-century when China’s coast was plagued by the aforementioned Wokou pirates. Interestingly, Sun Wukong fighting pirates puts him in the same company as the Shaolin warrior monks, who used their martial arts skills to rout the same bandits during the 1550s (Shahar, 2008, pp. 68-70).

Better Kaiyung Temple Monkey (Zayton-Quanzhou) - small

Fig. 7 – The Monkey Pilgrim stone relief carving, 1237, from the Kaiyuan Temple Western Pagoda, Quanzhou City, Fujian Province, China (larger version).

Monkey is important to this study because he bridges the gap between the lack of pre-Ming references to primate-based boxing and older material associating apes and monkeys with armed combat. Sun 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), a seventeen chapter storytelling prompt dated to the late 13th-century. The narrative presents our hero wielding two staves, one a golden-ringed monk’s staff and the other an iron staff, in defense of his Buddhist master. These two staves would later be combined by storytellers to create his signature weapon.

Older still, the Kaiyuan Temple (Kaiyuan si, 開元寺) of Fujian is home to a nearly life-sized carving of the hero (fig. 7), who is presented as a saber-wielding guardian deity. He appears alongside other such wrathful gods, as well as bodhisattvas, arhats, patriarchs, and eminent monks, on a stone pagoda that was erected in the year 1237. So Monkey was associated with various weapons as far back as the 13th-century.

Han-era Stone tomb rubbing showing a white ape - small

Fig. 8 – A Han-era stone tomb rubbing showing a sword-wielding hero striking at a fleeing white ape (center). A woman can be seen held captive in a teardrop-shaped cave (left). The hero is followed by an assistant beating a gong (right) (larger version). From Wu, 1987, p. 88.

Apart from possible Indian influences, Sun Wukong’s origins can be traced to a body of Han (206 BCE-220 CE) and Tang (618-907 CE) dynasty tales in which a magical white ape or gibbon (baiyuan, 白猿) kidnaps human woman and spoils their innocence (fig. 8). For example, the unnamed primate antagonist of “A Supplement to Jiang Zong’s Biography of a White Ape” (Bu Jiang Zong baiyuan zhuang, 補江總白猿傳, c. late 7th-c.) is described as a 1,000-year-old hermit who lives in a mountain utopia, practices Daoist longevity arts, wields the power to fly and change his shape, and has supernatural strength and an iron-hard, nigh-invulnerable body immune to most efforts to harm him. Most importantly, he is depicted as a master of armed combat, one displaying a fondness for sword dancing. His blade is said to “circl[e] his body as fast as lightning and as round as a full moon”. [8] As noted above, this is not the first story involving a magic white ape who is fond of swordplay. 

IV. Magic apes and ancient Chinese heroes

The Chinese classic the Water Margin (Shuihu zhuan, 水滸傳, c. 1400) describes the literary heroes Hou Jian (侯健), Lin Chong (林沖), and Zhang Qing (張清) (fig. 9) each having ape-like arms, denoting their great strength and agility. This same nickname was applied to powerful archers of the past. Ma (2010) writes:

[I]t is said that the Xiongnu warrior Liu Chong ‘had arms like an ape, was skilled at archery (yuanbei shanshe 猿臂善射), and could pull a bow of three hundred jin’ 斤(Book of Wei《魏書》). Similarly, History of Ming describes General Chang Yuchun 常遇春 as ‘distinguished looking, with peerless courage and strength, had arms like those of an ape and was skilled at archery’; and in the same vein, Tang poet Cui Daorong 崔道融 wrote that ‘the ape-armed general runs as if on wings, sparing no one with his bow from a hundred paces’ (General Li’s Biography [Ti Li jianjun zhuan 題李將軍傳]) (p. 24).

Zhang Qing (Water Margin hero) with Sun Wukong tattoo - small

Fig. 9 – A woodblock print of the hero Zhang Qing by Kuniyoshi produced between 1827 and 1830 (larger version). It is part of the artist’s “One of the 108 Heroes of the Popular Water Margin” series (Tsuzoku Suikoden goketsu hyakuhachinin no hitori, 通俗水滸傳濠傑百八人一個). Original image found here. Look closely and you’ll notice that the tattoo on Zhang’s back portrays Sun Wukong producing magical clones of himself from his mouth.

Oddly enough, the earliest tales mentioning archers and magic white apes do not liken one to the other. In fact, they are diametrically opposed. For example, a third-century BCE tale about the famed archer Yang Youji (養由基, 7th-c. BCE) portrays the creature as an elusive target for his arrow:

Once in the palace of Jing 荊 there was a supernatural white ape. Even the skillful archers of Jing could not hit it. Then the king of Jing asked … Yang Youji to shoot it. Yang straightened his bow and went to the palace with arrows in his hands. Before shooting he aimed at a place where the [moving] ape had not yet arrived. When he let the arrow fly, the ape fell immediately. Thus Yang Youji could be called the archer who could hit a target before it was there (Wu, 1987, p. 103; see also Gulik, 1967, p. 41).

A similar version of the tale states the ape recognizes Yang’s supernatural skill, anticipating the arrow and crying out in pain moments before actually being struck (Wu, 1987, p. 103; Gulik, 1967, p. 41).

Perhaps the most famous story associating the magic white ape with martial arts is the “Maiden of Yue” (Yuenu, 越女, 1st-c. BCE), named after its protagonist, a peerless swordswoman of the 5th-century BCE. The story describes how she participates in a sparring match with the shape-changing ape:

The Young Woman of Yue travelled north for her audience with the king [Goujian of Yue]. On the way, she met an old fellow who said his name was “Old Mr. Yuan” [Yuan Gong, 袁公].

He said to the young woman, “I hear you fight well with a [sword]. I’d like to see a demonstration.”

She replied, “I wouldn’t presume to keep anything from you: you are welcome to test my skill, Sir.”

So Old Man Yuan drew out a length of Linyu bamboo. But the bamboo was rotten at one end. The end fell to the ground and the young woman immediately snatched it up. The old man wielded the top end of the staff and thrust towards the young woman, but [she] parried straight back, thrust three times, and finally raised her end of bamboo and drove home her attack against Old Man Yuan [fig. 10]. Old Man Yuan hopped off up a tree, turning into a white ape [baiyuan, 白猿, hence the surname]. Then each went their own way, and she went on to meet with the king. [9]

Upon meeting the king, the Maiden reveals the secret to her fighting ability is the application of yin and yang energy, which are metaphorically described as the opening and closing of large and small swinging doors. This is “[t]he earliest extant published exposition of [the] theory applied directly to the martial arts” (Henning, 2001, p. 746), predating the artificial categorization of Chinese boxing into “internal” (neijia, 内家) and “external” (waijia, 外家) styles during the 17th-century (Henning, 2007, p. 26). Therefore, the importance of the story in the annals of Chinese martial arts history can’t be overstated. Nor can the inclusion of the white ape. His supernatural challenge and subsequent defeat respectively tests and confirms the effectiveness of the theory.

This tale likely influenced the association between white apes and swordplay in later sources, such as the sword-dancing antagonist of the Tang-era “Supplement to Jiang Zong’s Biography of a White Ape” (section III) and the sword-wielding primates of military literature (section II). For example, “White Ape Trailing Sword Stance”, the aforementioned feinting lance technique from New Treatise on Military Efficiency (c. 1561/1562), may refer to Old Mr. Yuan’s defeat.

Maiden of Yue vs Old Man Yuan (the white ape) - small

Fig. 10 – A modern drawing of the Maiden of Yue fighting Old Mr. Yuan by martial historian Stan Henning (larger version). From Henning, 2007, p. 24.

Our heroes’ respective stories make no reference to animal mimicry, the cornerstone of primate-based boxing. In fact, it’s the reverse in the second narrative: an ape mimics man. [10] The tales instead promote the idea of trained human skill conquering the raw, often magical, power of nature. In the case of the Maiden of Yue, her mastery of yin and yang energy enabled her to best the magic white ape. Yang Youji is more of a mythic figure capable of miraculous feats, such as sinking an arrow into a boulder simply because he mistook it for a rhino (i.e. mind over matter) (Selby, 2000, p. 131). But he succeeded in falling a white ape when many archers failed. These tales are therefore the antithesis of primate-based boxing, representing what might have been considered more “civilized” or “noble” forms of martial arts, namely the armed disciplines of archery and swordplay.

V. Animal mimicry in Chinese medicine and religion

I suggested above that primate-based styles may have arisen during the Ming. But how the styles developed is likely tied to the long history of animal mimicry in China. For example, around the year 60 BCE (during the Han), the courtier Tan Changqing (檀長卿) is said to have been reprimanded for violating ritual norms by performing the dance of the “dog and macaque combat” (wu wei mu hou yu gou dou, 舞為沐猴與狗鬭) while at a drunken party (Harper, 2001, p. 18). This dance may have some connection to a funerary motif appearing in Han-era stone tombs in which dogs are shown intimidating apes, the motif representing the conquering of evil influences. [11] Tan’s display can’t be assigned a martial role, however, because it was likely a comical pantomime. [12] But this shows mimicking primates served a variety of purposes in Chinese culture.

Primate-based movements figure in a number of ancient therapeutic exercises. For instance, the monkey appears in the Five Animals’ Frolic (Wuqin xi, 五禽戲), a 3rd-century system of daoyin calisthenics, which mimics the movements or behaviors of the tiger, deer, bear, monkey, and bird (in that order), each animal set strengthening a particular area of the body (Kohn, 2008, pp. 163-169). Movements mimicking the bear, monkey, and bird actually predate this system, appearing among forty-four exercises listed in the Illustrations of Guiding and Pulling (Daoyin tu, 導引圖, 168 BCE), the oldest known diagram of daoyin exercises, discovered in Mawangdui (馬王堆) (fig. 11 and 12). Primate-based exercises include the “Monkey Bawling to Pull Internal Hotness” (muhou guan yinling zhong, 沐猴灌引靈中) (#35) and “Gibbon Shouting” (yuanhu, 猿謼) (#40) (fig. 13 and 14) (Harper, 1998, pp. 315 and 316). [13]

The Masters of Huainan (Huananzi, 淮南子, 139 BCE), a compendium of Daoist, Confucian, and Legalist thought, references another primate-based daoyin set in a section criticizing such exercises as inferior to spiritual cultivation:

If you huff and puff,
exhale and inhale,
blow out the old and pull in the new,
practice the Bear Hang [xiongjing, 熊經], the Bird Stretch [niaoshen, 鳥伸],
the Duck Splash [fuyu, 鳧浴], the Ape leap [yuanjue, 蝯躩],
the Owl Gaze [chishi, 鴟視], and the Tiger Stare [hugu, 虎顧]:

This is what is practiced by those who nurture the body. They are not the practices of those who polish the mind (Liu & Major, 2010, p. 236).

Daoyin tu - Original, reconstruction, monkey and gibbon - 35 and 40

Fig 11 – (Top left) The Illustrations of Guiding and Pulling, 2nd-c. BCE, paint on silk, 142 x 70 cm (55.9 x 27.5 in) (larger version). Image originally found here. Fig. 12 – (Top right) A modern reconstruction (larger version). Image originally found on Wikipedia. Harper (1998) warns such reconstructions “should be regarded as conjectural in many details” since the original is in such poor condition (p. 191). Fig. 13 – (Bottom left) The reconstruction of “Monkey Bawling to Pull Internal Hotness” (larger version). Fig. 14 – (Bottom right) The reconstruction of “Gibbon Shouting” (larger version).

These therapeutic exercises likely find their origin in ancient Shamanic animal dances designed to drive away demonic illness and influences (Harper, 1985, pp. 487-488). One such dance was the seasonal Da Nuo (大儺 / 難; Jp: Tsuina, 追儺) ritual in which a bearskin-clad exorcist (Ch: fangxiangshi; Jp: hōsōshi, 方相氏) and his army of fur, feather, and horn-clad youths, representing twelve animal deities, expelled evil spirits from human dwellings. Evidence suggests it may have been performed as early as the Shang (17th to 11th-c. BCE), but the earliest concrete references come from the Eastern Zhou (8th to 3rd-c. BCE) (Poo, 2009, p. 286). What’s interesting for our purposes is that the exorcism has a martial aspect; not only does the exorcist bear a lance and shield for ritual combat (fig. 15), but also the group travels throughout the given location dancing and shouting, with the youths beating drums and commanding twelve spirits by name to devour or eviscerate anthropomorphic representations of malevolent influences (Poo, 2009, pp. 287-288). So by wearing animal products, the exorcist and his ritual army gained the strength of animal deities to combat dark forces.

Nuo exorcist expelling demon (Hayaike Yu Okami and Oni Yarai) - small

Fig. 15 – A Japanese woodblock print portraying the Da Nuo exorcist expelling a “pestilence” spirit with his lance and shield (larger version). Originally found here. Note the four-eyed mask. This is based on the four golden-eyed bear skin worn by the exorcist in ancient Chinese records (Poo, 2009, p. 287).

It’s possible that the “twelve animals” of the Da Nuo exorcism refer to some precursor of the Chinese zodiacal animals (rat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog, and pig). If true, monkey fur could have been among the animal products worn by the ritual army. After all, monkeys have long been associated with curing illness and expelling evil in East Asia. [14] A modern example of exorcists who don monkey fur are the shamans of the Qiang ethnic group of Sichuan. The Qiang worship monkeys as the source and savior of their sacred knowledge, as well as the progenitor of their people, the latter being a myth cycle common among ethnic groups of Tibet and southwestern China.

Henning (2001) highlights the connection between animal totemism and animal boxing:

Another view is that at least some animal forms may hark back to a distant totemic past that still occupies a place in the Chinese psyche. This totemic influence is difficult if not impossible to trace in majority Han Chinese boxing styles; however, it can be seen in the combination of martial arts and dance practiced by some of China’s many national minorities. Cheng Dali, in his Chinese Martial Arts: History and Culture, points to Frog Boxing, practiced by the Zhuang Nationality of the Guangxi Zhuang Autonomous Region, as an example, the frog being considered their protector against both natural and man-made disasters (p. 16).

Therefore, the primate-based martial arts of the Ming could descend from totemic mimicry of apes and monkeys in Chinese spiritual practices. The development could have gone something like this:

  1. Early shamanic dances drawing on the totemic power of primate deities (via their fur) to exorcise evil influences through ritual combat, including the bearing of weapons, drumming, dancing, and the shouting of spells.
  2. The animal fur and martial dancing give way to calisthenics drawing on primate mimicry to expel sickness and strengthen the body.
  3. These calisthenic movements are adapted for fighting.

It’s even possible that the war-like shamanic dancing gave way directly to boxing. Martiality (wu, 武) and dance (wu, 舞) have long been associated in Chinese history, for drums and gongs were used to direct the movements of both troops and dancers (Lorge, 2012, p. 26-27). Musical accompaniment remains a staple of folk martial arts performances. A modern example of totemic mimicry, dancing, and martial arts is the Lion Dance (wushi, 舞獅) popular in Asian communities throughout the world (video 4).

Video 4 – Five lion dancing teams performing before a crowd. 

VI. Conclusion

Apes and monkeys have been associated with armed and unarmed martial arts in Chinese culture for over two thousand years. Tai Shing Pek Kwar, a popular modern combat style of Monkey boxing created in the early 20th-century, is predated by even older instances of Monkey boxing alluded to in military and travel writings of the 16th-century, suggesting it was a common form of pugilism. Additionally, military literature of the 16th and 17th-century associates white apes with swordplay. The lack of historical references to primate-based boxing prior to the Ming (1368-1644) suggests such styles developed during the explosion in popularity of pugilism at this time. The image of the highly popular late Ming literary monkey hero Sun Wukong as a master of armed and unarmed martial arts, as well as his association with staff and sword fighting in 13th-century oral literature and Buddhist art, respectively, helps bridge this gap between the lack of historical boxing references and older material associating primates with armed combat. He can be traced to a body of Han (206 BCE-220 CE) and Tang (618-907 CE) dynasty stories about magic white apes who, due to their supernatural abilities, were portrayed as the ultimate test of a warrior’s martial skills. The most famous of these tells how the Maiden of Yue, a talented swordswoman of the 5th-century BCE, vets her yin-yang theory-based sword style by defeating a white ape-turned-old man in a sparring match. This story is important because it’s the first recorded association of yin-yang theory and martial arts in Chinese history. This tale and another involving the mythic archer Yang Youji are the antitheses of primate-based boxing because each touts the superiority of trained human skill over the raw, magical power of nature. Despite this, animal mimicry played a large role in early therapeutic yoga-like Daoyin calisthenics, such as the Five Animals Frolic (3rd-c. CE) and those appearing in the Illustrations of Guiding and Pulling (168 BCE), which copied the movements of monkeys and apes (among other animals) to strengthen given areas of the body. These exercises likely find their origin in ancient war-like Shamanic animal dances designed to drive away demonic illness and influences, one example being the seasonal Da Nuo exorcism of the Eastern Zhou (8th to 3rd-c. BCE). The Da Nuo exorcist and his ritual army wore animal products (fur, horns, feathers, etc.) to invoke the power of animal deities capable of driving away malevolent forces. Monkey fur may have been worn by members of the ritual army because the animal and its products have long been associated with curing illness and expelling evil in East Asia. Shamans among the modern Qiang ethnic group of Sichuan worship monkeys and draw on the power of their fur to perform exorcisms. Animal totemism plays a part in some animal-based martial arts, such as the Frog boxing of the Zhuang ethnic group. Therefore, the primate-based martial arts of the Ming may have been influenced by the ancient totemic mimicry of apes and monkeys in Chinese spiritual practices, those that formed the basis of later animal-based therapeutic exercises. This is where the historical study would benefit from modern ethnographic field research. A follow-up study might bridge the gap between the historical data and modern practice.


1) A shorter paper with a similar focus is Ma (2010). The editor of the Journal of Chinese Martial Studies was gracious enough to provide me with a PDF copy of the article when I was nearing completion of this paper.

2) Regarding the name of the creator of Monkey boxing, Kou Si (寇四), kou (寇) means “bandit, foe, or enemy”. I find this especially interesting given he was imprisoned for murder, the reasons for which range from accidentally killing a villager in a fight to purposely killing a military official to avoid service (Matsuda, 2013, pp. 86-87). It’s possibly this name is simply a folk title given to an unknown creator, or one known to have been active in crime.

3) See chapters three and four.

4) The earliest mention of Eagle Claw appears in Qi Jiguang’s training manual. It refers to “Eagle Claw Wang’s grappling methods” (Yingzhao Wang zhi na, 鷹爪王之拿) (Gyves, 1993, p. 35). Qing-era manuals and family histories suggest Xingyi was created by a certain Ji Jike (姬際可, fl. 1650) (Shahar, 2008, pp. 134-135).

5) For an English translation of the sword technique mentioning the stance, see Chen, 2018, pp. 73-75.

6) Qi, 1584/2001, p. 83. I’m indebted to the operator of the Great Ming Military blog for explaining the connection between the ape images and the visible characters from the Japanese calligraphy, as well as providing me with a digital copy of the fourteen volume edition of Qi’s training manual.

7) The original English translation omits the two named books from the Chinese version. It reads, “…the thrusts and parries were made in perfect accord with the manuals of martial arts” (Wu & Yu, 2012, vol. 2, p. 105).

8) Chen, 1998, p. 84. Some readers may have noticed the sword is a reoccurring theme in Sun Wukong’s history: 1) The Qing-era boxers are said to have performed a saber dance under his possession; 2) he is depicted with a saber on the Kaiyuan temple pagoda in Fujian; and 3) the magic white ape on whom he is likely based loves performing sword dances. In addition, two other sources mention Monkey’s association with the sword. First, a 15th-century Zaju play describes Guanyin giving Sun Wukong a Buddhist saber (jiedao, 戒刀) (apart from other magic items) to protect his master on the eve of their journey. Second, a 17th-century tale set in Fujian describes the Great Sage magically afflicting a merchant with painful leg sores using a “Bodhisattva Saber” (Pusa dao, 菩薩刀).

I don’t think these have any unifying significance, however. For example, the saber requires less training and is cheaper than other implements of war. So it was often the go to weapon for soldiers and bodyguards. Monkey’s association with the saber on the pagoda is likely tied to this same concept. As a guardian deity, he is portrayed with the same weapon used by mortals to protect others in times of need. The magic white ape is portrayed as a Daoist gentleman, one in possession of a pair of treasure swords (baojian, 寶劍), the kind used in Daoist ritual. His fancy for the sword may be based on Old Mr. Yuan from the Maiden of Yue (see section IV). Another literary character with Buddhist sabers is Wu Song from the Water Margin (Shuihu zhuan, 水滸傳, c. 1400). I explain in this article (footnote #2) that his sabers are based on real world Buddhist knives issued to monks. The same concept is no doubt tied to Monkey’s weapon from the play. Having said that, I will admit, though, that the saber from the pagoda may have had some influence on that mentioned in the 17th-century story. After all, the pagoda example is portrayed with a lick of heavenly flame, just like one would expect from a celestial sword. Also, both the story and the pagoda take place/are located in Fujian, home to the Great Sage’s cult.

9) Selby, 2000, pp. 155-156. The famous Tang poet Li Bai (李白) referenced Mr. Yuan’s defeat in one of his poems. A line reads “The White Ape was ashamed of his fencing” (Ma, 2010, p. 24). This is fascinating as Li Bai was also known to have been a proficient swordsmen in his youth (Liu, 1967, pp. 46-47).

10) This is based on an old concept in which primates were thought to progress through a type of magical evolution, similar to modern day Pokémon. The Baopuzi (抱朴子, 2nd-c. CE) states a monkey will transform into a gibbon after 800 years of life. It will then change into several legendary apes over some 3,500 years, before evolving into an old man (Ball, 1927, p. 117). Gulik (1967) cites a tale in which the soothsayer Zhou Qun (周羣 / 周群) learns the secrets of divination from a gibbon-turned-old man (p. 50).

11) As noted in this article, Sun Wukong’s capture at the mouth of Lord Erlang’s hound is tied to the Han-era tomb motif of dogs intimidating apes.

12) Ma (2010) translates the historical passage, noting those at the party were “drinking wine and making merry, then Tan Changqing, the high official of Changxin Palace, starts to dance, to imitate a monkey fighting with a dog, bringing laughter to all present” (p. 25).

13) Harper (1998) suggests an alternate reading for “Gibbon shout” (yuanhu謼) is “Gibbon Jump” (yuanjue, 蝯躩) based on graphical similarities to an exercise from the Huainanzi. (淮南子, 139 BCE) (p. 316, n. 1).

14) This is tied to a Song-era (and likely older) superstition from Sichuan where people would place monkeys in stables to ward off equine sickness (Eberhard, 1969, p. 52). This is why heaven appoints Sun Wukong the Bimawen (弼馬溫, “Keeper of the (Heavenly) Horses”), which is a pun on Bimawen (避馬瘟, “Avoid the horse plague”). Due to his former exalted position, earthly horses are shown to fear the Monkey King throughout the narrative (Wu & Yu, 2012, vol. 1, p. 309, for example).

In Japan, monkeys were also associated with horses and healing via the warding of evil. Apart from monkeys being kept in stables like their Chinese counterparts, their fur was applied to the harnesses and quivers of Samurai because the warriors believed it gave them more control over their mounts. Furthermore, monkey body parts have been consumed for centuries as curative medicines, and their hides have even been stuffed to make protective amulets (kukurizaru) to ward off illness. Likewise, a genre of painting depicts divine monkeys (saru gami), messengers of the mountain deity, performing Da Nuo-like dances to ensure a good rice harvest (Ohnuki-Tierney, 1987, pp. 43-50)


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Henning, S. (2001). Written Texts: China In T. A. Green (Ed.), Martial arts of the world: An encyclopedia, volume two: r–z (pp. 745-748). Santa Barbara, Calif: ABC-CLIO.

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List of surviving Ming period martial arts. (2017, December 3). Retrieved from

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The Worship of Sun Wukong in 19th-century America

I by chance happened upon an old magazine article that mentions the worship of Sun Wukong in San Francisco’s Chinatown in 1892. The piece is written by one Frederic J. Masters, D.D., a Methodist pastor who wrote extensively about the area’s Chinese community. Not surprisingly, the article is dripping with condescension towards Chinese religion, condemning the Great Sage’s worship as “the acme of absurdity and sinfulness.” Below is the section discussing the Monkey King.

In the Spofford-alley temple are found the shrines of some twenty other gods and goddesses, the principal being the Grand Duke of Peace, the God of Medicine, and Pan Kung, a celebrated Prime Minister of the Sung Dynasty. The funniest discovery in this temple was that of Tsai Tin Tai Shing [Qitian dasheng, 齊天大聖]. He is a beatified monkey in the image of a man. Hatched from a bowlder [sic], this animal is said to have proclaimed himself king of the monkeys. At last he learned the language of men, and finding himself possessed of supernatural powers, he obtained a place among the gods. Such is the legend. Chinese idolatry thus reaches the acme of absurdity and sinfulness in the canonization of a monkey. Thoughts of Darwin’s descent of man at once flashed across our mind as we looked at this image. It was disappointing at one’s curiosity to find that the old temple keeper who cared more for a pipe of opium than for speculations in theology and anthropology could not tell us what part natural selection played in the evolution of Chinese deities, or whether monkey worship was the newest phase of Chinese ancestral worship. Finding him lamentably ignorant upon the great question of the descent of man, we astonished with him with a complete history of his monkey god.

There was an ape in the days that were earlier;
Centuries passed and his hair became curlier;
Centuries more and his tail disappeared,
Then he was man and a god to be feared (Masters, 1892, pp. 736-737).

So what can we learn from this brief entry? Given the time, place, and use of Cantonese, the worshipers were most likely immigrants from Guangdong province. Refo Mason (1994) explains, “When news of the discovery of gold in California reached South China in 1849, thousands of labourers in Guangdong and Fujian provinces left their villages to seek work in the gum shan ([金山] ‘Gold Mountain’) … Emigration from South China to California…peaked in 1852, when 20,000 Chinese arrived in San Francisco” (p. 200). Monkey‘s adherents may have counted among these men or their descendants (or possibly among those from later periods of immigration). Either way, belief in the Great Sage came with those who traveled from southern China to America.

Monkey King Bust - American Gods - Instagram 1 - small

Fig. 1 – A photomanipulation of Sun Wukong above the title logo from the ongoing American Gods television show (larger version). By the author. The program is based on the 2001 novel of the same name.

Somebody please get Neil Gaimon on the phone and tell him that he can now include Monkey in American Gods (fig. 1). What do you think the character would look like? Maybe a short old man with a cane?

Spofford Alley, home to 19th-century temple with Monkey King shrine - small

Fig 2 – A modern Google satellite image of Spofford Alley (larger version). It is only a few hundred feet long.

During the 19th-century, Spofford Alley (fig. 2), where the temple housing the Great Sage shrine was located, was home to the Chee Kong Tong (Zhigongdang, 致公堂, “Chamber of High Justice Society,” a.k.a. the “Chinese Freemasons”), the secret Chinese society-turned-criminal organization running Chinatown’s illicit opium, gambling, and prostitution trade (Risse, 2012, p. 37). The Chee Kong Tong were originally an offshoot of anti-Manchu rebels who wanted to overthrow the foreign-ruled Qing dynasty (Cassel, 2002, pp. 218-219). [1] Therefore, Sun Wukong’s worshipers may have included gangsters and rebels. As mentioned in this article, the Great Sage was venerated by fighters of the Boxer Rebellion (1899-1901). This makes sense as the divine primate is famous for his rebellion against heaven in Journey to the West.


1) Sun Yatsen, the “Father of modern China,” made contact with the Chee Kong Tong several times and even used their no. 36 Spofford Alley office as his own while raising money for his revolution in China (United States, 1993, pp. 45-46; Lum & Lum, 1999, p. 57).


Cassel, S. L. (2002). The Chinese in America: A history from Gold Mountain to the new millennium. Walnut Creek, CA: AltaMira Press.

Masters. F. J. (1892). Pagan Temples in San Francisco. In C.F. Holder (Ed.). The Californian illustrated magazine: June to November, 1892, vol. 2 (pp. 727-741). San Francisco, Calif.: Californian Pub. Co.

Lum, Y. M., & Lum, R. M. K. (1999). Sun Yat-sen in Hawaii: Activities and supporters. Honolulu: Hawaii Chinese History Center.

Refo Mason, S. (1994). Social Christianity, American feminism, and Chinese prostitutes: The history of the Presbyterian mission home, San Francisco, 1874-1935 In M. Jaschok and S. Miers (Ed.) Women and Chinese Patriarchy: Submission, Servitude, and Escape (pp. 198-220). Hong Kong: Hong Kong University Press.

Risse, G. B. (2012). Plague, fear, and politics in San Francisco’s Chinatown. Baltimore: The Johns Hopkins University Press.

United States. (1993). An introduction to organized crime in the United States. Washington, D.C.: Organized Crime/Drug Branch, Criminal Investigative Division.