Sun Wukong’s Curlicue Style Headband

My previous article on the origin of Sun Wukong’s golden fillet describes how various forms of media portray him wearing three different styles: 1) a band with blunt ends that meet in the middle of the forehead and curl upwards like scowling eyebrows; 2) a band adorned with an upturned crescent moon shape in the center; and 3) a simple band devoid of decoration (fig. 1). Here, I want to speculate on the origin of the first style, what I call the “curlicue headband”.

Fig. 1 – (Left) Style 1 – From the comedy A Chinese Odyssey Part Two: Cinderella (1995). (Center) Style 2 – From the famous 1986 TV show. (Right) Style 3 – From the 2011 TV show (larger version).

I. The Kaiyuan Temple carving

The oldest example of Sun Wukong wearing the curlicue style headband that I am aware of is a nearly life size stone carving from the Western pagoda of Kaiyuan Temple erected in 1237 CE. He is depicted as a muscular, monkey-headed warrior wearing a circlet, earrings, bracelets, a rosary, arm bangles, and anklets (all prescribed ritual items), as well as a monk’s robe and sandals. He wields a broadsword in one hand, while the other thumbs the rosary at his chest. At his waist hangs a calabash gourd and a sutra scroll (fig. 2). Behind his left shoulder can be seen Xuanzang (a.k.a. Tripitaka) ascending to heaven on a cloud, having won a place in paradise thanks to the protection of our hero. In short, Wukong is portrayed as a guardian deity. The significance of this will become clear below.

The carving’s headband has a gentle double curlicue topped with a wedge shape (fig. 3). This design appears in Daoist art from the same period.

Fig. 2 – The Kaiyuan Temple pagoda carving (1237) (larger version). Fig. 3 – Detail of the headband (larger version).

II. Ink Treasure of Wu Daozi

The Ink Treasure of Wu Daozi, (Daozi mobao, 道子墨寶) is a collection of 50 ink drawings of the Daoist pantheon attributed to the noted 8th-century artist Wu Daozi but likely produced during the 13th-century. It features many protector/wrathful deities wearing body adornments with this curlicue pattern (with or without the added wedge). There are too many examples to post, so I will choose just three (Fig. 4⁠–⁠9). Please note that, with the exception of the headband and rosary, these figures are wearing the same esoteric ritual items as Monkey (i.e. earrings, bracelets, arm bangles, and anklets).

This shows a clear connection between body adornments with the curlicue pattern and guardian deities.

Fig. 4 – The esoteric protector deity Marshal of Heavenly Reeds, a.k.a. Zhu Bajie’s previous incarnation (larger version). Fig. 5 – Detail of the anklets on his feet (larger version). Note that Heavenly Reed’s necklace also features the curlicue pattern. Fig. 6 – A demonic guardian detaining a soul undergoing judgement in hell (larger version). Fig. 7 – Detail of the bangles on his arms (larger version). Fig. 8 – One of Lord Erlang‘s demonic soldiers helping to clear animal spirits (in this case a turtle) from a mountain river (larger version). Fig. 9 – Detail of his ornate headband with spherical elements, giving it a floral quality (larger version). The images have been enhanced slightly for clarity.

III. Possible origin of the pattern

The Ink Treasure of Wu Daozi shows several generals, officials, and guardians wearing headgear with lingzhi mushrooms (靈芝) (fig. 10⁠–⁠13), a real world fungi shaped like a rounded heart with a lacquered reddish-brown appearance (fig. 14). Also known as ruyi (如意, “as-you-wish”),—yes, the same as Wukong’s staff—the mushroom is associated with immortality and magic wish fulfillment in Buddho-Daoist culture. The ruyi pattern (ruyi wen, 如意紋) is a common motif in Chinese art, lining vases, topping S-shaped scepters, appearing as flourishes on traditional style rooftops, repeating endlessly on extravagant silken textiles, etc. (fig. 15⁠–⁠17). It has a familiar double curlicue swirl that reminds one of Monkey’s headband (fig. 18).

Given the fungi’s high standing in religious culture, I could see the lingzhi/ruyi‘s curlicue pattern being associated with the ritual garb of guardian deities since they are the front line of defense against evil influences.

Fig. 10 – A sword bearer (larger version). Fig. 11 – Lord Erlang overseeing his demonic soldiers clearing the mountain and river of animal spirits (larger version). Fig. 12 – Detail of his helmet (larger version). Fig. 13 – One of Erlang’s soldiers driving out animal spirits with fire (larger version). Fig. 14 – A lingzhi mushroom (larger version). Fig. 15 – The Bodhisattva Guanyin holding a ruyi scepter (larger version). Fig. 16 – A marvelous Qianlong-era celadon glaze vase with a ruyi shape (larger version). Note the pattern repeating on the lid and base. Image found here. Fig. 17 – The Ruyi Gate in the Forbidden City. Note the Ruyi elements on the roof (larger version here). Fig. 18 – A comparison of a ruyi pattern and Sun Wukong’s golden headband (larger version).

The Sun Wukong Cult in Fujian

Last update: 08-17-19

Worshipers of the Wanfu Temple of Tainan, Taiwan believe their high god and oldest altar statue, the “Laying the Foundation Elder Great Sage” (Kaiji Da Dasheng, 開基大大聖) (fig. 1), was transported to the island from the southern Chinese province of Fujian by a certain Lady Ruan (Ruan Furen, 阮夫人) during the Southern Ming/early Qing Dynasty (c. 1660). Fujian is home to a large number of temples dedicated to Sun Wukong. Monkey’s cult on the mainland may have some bearing on the history of his worship on the island. This is especially true since Taiwan was made a prefecture of Fujian in 1684 by the Qing. It was later granted provincehood in 1887 (Gordon, 2007). The cult was no doubt part of the cultural exchange that took place between these two areas during this time. In this paper I use modern demographics and historical records and stories to explore the history of Sun Wukong’s worship in Fujian. I suggest the existence of a historical 12th-century monkey cult explains why the Great Sage’s cult was so readily adopted in the province.

Important Great Sages 1 - small

Fig. 1 – The Wanfu Temple’s Laying the Foundation Great Great Sage altar statue, indicated by the letter A (larger version). B and C are lesser Great Sages within the temple’s pantheon.

I. Modern demographics and possible tie to historical trends

The plains of Putian (莆田) on the central Fujian coast hosts a cluster of Great Sage temples. Dean and Zheng (2009) show the Great Sage is the sixth of the forty most popular deities, his statue appearing in 332 temples, even beating out Guanyin (322 statues) in seventh place (p. 177). Additionally, they describe an interesting geographical correlation in their distribution:

Using GIS mapping, one can unearth many suggestive correlations in distributions of different cultural features across the plain. For example, certain gods such as Qitian dasheng 齊天大聖 (Sun Wukong 孫悟空) and Puji shenghou 普濟聖侯 (Zhu Bajie 豬八戒), the Monkey and the Pig of the classic Xiyouji 西游記 (Journey to the West), appear more often in poorer villages in the northern plain [fig. 2], often in higher elevations than in the low-lying, densely irrigated, wealthier villages of the southern plains. This suggests that the unruly natures of these gods appealed to poorer communities rather than to villages with established scholar-literati lineages (Dean & Zheng, 2009, pp. 38-39)

Fujian Sun Wukong and Zhu Bajie Temple overlay Map - small

Fig. 2 – Left: Distribution of Sun Wukong temples (red) in the Putian plains of Fujian Province, China (larger version); Right: An overlay of Zhu Bajie Temples (light blue) with those of Monkey (red) (larger version). There is quite a bit of overlap. Adapted from Dean & Zheng, 2009, pp. 192-193.

Sun Wukong is one of several gods who never enjoyed state patronage in dynastic China due to their eccentric or rebellious nature (Shahar, 1996, p. 185). Regarding the latter, emperors had to deal with real world challenges to their own primacy, so paying homage to, say, a dissident monkey spirit probably didn’t seem too appealing. It’s interesting to note that Monkey is worshiped in Fujian and Taiwan under his defiant title of the Great Sage Equaling Heaven, a name he chose during his rebellion with the celestial realm, instead of his Buddhist name Wukong (悟空, “Awakened to Emptiness”) (Shahar, 1996, p. 201). Therefore, Monkey may have historically appealed to poorer folks because he had the power to push back against an unfair government, perhaps one that favored rich literati over impoverished farmers. This could explain the demographics mentioned above. If true, such people could be responsible for bringing Sun’s cult to Taiwan.

II. The connection between religion, myth, and popular literature

Emperors who officially recognized gods helped make them more popular or at least better known. [1] But, as Shahar (1996) explains, the state’s involvement rarely went beyond building temples and making offerings. Oral tales and popular novels were largely responsible for spreading the myth of a particular deity (p. 185). He continues:

In some cases the novel’s transformation of its divine protagonist was so profound, and its impact on the shape of its cult so great, that the novelist could be considered the deity’s creator. A notable example is Sun Wukong. The cult of this divine monkey in late imperial times cannot be separated from his image as shaped by the successive Journey to the West novels. In this respect he is indeed their author’s creation, and Pu Songling‘s complaint, voiced through his protagonist Xu Sheng [許盛], is justified: “Sun Wukong is nothing but a parable invented by [the novelist] Old Qiu [老丘]. [2] How can people sincerely believe in him?” (Shahar, 1996, pp. 193-194).

The tale referred to by Shahar, titled the Great Sage Equaling Heaven (Qitian Dasheng, 齊天大聖) appears in Strange Tales from a Chinese Studio (Liaozhai zhiyi, 聊齋誌異), a collection of popular tales recorded as early as 1679 by Pu Songling and later posthumously published in 1740 (Barr, 1984). The story follows the aforementioned Xu Sheng and his older brother, both merchants from Shandong, who travel to Fujian to sell their wares but are told to pray to the Great Sage when they fail to make any money.  They visit the monkey god temple and witness people burning incense and kowtowing to an image of Sun Wukong. The older brother takes part in the rituals, but Sheng simply laughs and leaves, resulting in a subsequent argument between the two during which Sheng ridicules adherents for worshiping a fictional character from a novel. Sheng later falls bedridden with agonizing leg sores that prevent him from walking, yet he refuses to accept the Great sage is punishing him. His brother begs him to repent, but he still refuses. The brother shortly thereafter falls ill and dies, prompting Sheng to go to the temple to beg for his brother’s life. That night, he dreams he is brought before Sun Wukong, who rebukes Sheng for his rude behavior and reveals the leg sores (the result of being stabbed by Monkey’s heavenly sword) [3] and his brother’s subsequent death to be heaven-sent punishments. The deity finally agrees to revive the brother and sends an order to King Yama in hell to release his soul. Sheng shows his thanks by kneeling. He then awakes to find his brother has revived but remains too weak to work. Days later, Sheng meets an old man who claims he can use “a little magic” to transport them to a beautiful place that will sap away the merchant’s depression wrought by the past events. The two travel by cloud to a celestial paradise where Sheng and the old man drink tea with an aged deity. The god rewards Sheng with twelve magic stones for taking the time to visit him. Upon returning to earth, the merchant realizes the old man is the Great Sage, for both use the “Somersault Cloud” (Jindou yun, 筋斗雲) as a means of conveyance. In the end, the magic stones are found to have melted, but this corresponds to a drastic increase in the brothers’ selling profits. The two return home but are sure to pay their respects to the Great Sage anytime they visit Fujian for business (Pu & Sondergard, 2014, pp. 2078-2085).

I’d like to point out the story includes an afterward that critiques the idea of Sun Wukong being a real god:

The collector of these strange tales remarks, “Once upon a time, a scholar who was passing a temple went in and painted a pipa on one wall, then left; when he checked on it later, its spiritual power was considered so outstanding that people had joined together there to burn incense to it. A god certainly doesn’t have to exist in order to be considered powerful in this world; if people believe it to be divine, it will be so for them. What’s the reason for this? When people who share the same beliefs gather together, they’ll choose some creature figure to represent those beliefs. It’s right that an outspoken man like Sheng should be blessed by the god; who else could believe for real that he’s protected by someone who keeps an embroidery needle inside his ear, who he can transform one of his hairs into a writing brush, or who ascends via cloud-somersault into the cerulean sky! In the end, Sheng’s mind must have deluded him, for what he saw simply couldn’t be true” (Pu & Sondergard, 2014, p. 2085)

This shows that, while the common folk believed in Monkey, the literati class scoffed at such an idea. This again may explain why, as mentioned above, more well-educated communities in modern Fujian do not widely worship Monkey.

III. Historical monkey cults in Fujian

Apart from Pu Songling’s story, there are two other 17th-century references to the worship of a monkey god in Fujian. Dudbridge (1970) explains:

According to You Dong [尤侗] (1618-1704) the citizens of Fuzhou worshiped Sun Xingzhe [孫行者, Pilgrim Sun] as a household god and built temples to the monkey-god Qitian Dasheng. Tong Shisi [佟世思] (1651-92) describes the monkey-headed god of Fujian as bearing a metal circlet about his forehead, brandishing an iron cudgel, wearing a tiger-skin and known as Sun Dasheng [孫大聖, Great Sage Sun]. Traditionally he had appeared in the clouds to beat back an attack from Japanese pirates (p. 158). [4]

I find the last reference particularly interesting because it refers to the preceding 16th-century when China’s coast was plagued by Japanese pirates. It depicts the Great Sage as a benevolent god who intervenes to protect his chosen people, the Chinese.

In her excellent paper on the origins of Sun Wukong, Hera S. Walker (1998) discusses a 1237 stone relief from the western pagoda of the Kaiyuan Temple (開元寺) in Quanzhou, a port city in Fujian, that portrays a sword-wielding, monkey-headed warrior (pp. 69-70). [5] Considered by many to be an early depiction of Monkey, the figure wears a fillet, a tunic, a Buddhist rosary, and a pair of bangles (Fig. 3). Walker quotes Victor Mair, who believes the fillet and the figure wearing it recall South and Southeast asian depictions of the Buddhist guardian Andira and the Hindu monkey god Hanuman (Walker, 1998, p. 70). I have suggested in a previous article that the accouterments worn by the warrior are instead based on Esoteric Buddhist ritual attire known in China. So instead of being based on a foreign source, it can be considered a depiction of a local spirit or deity. The relief therefore suggests the proposed Fujian monkey god cult predates the 17th-century.

Better Kaiyung Temple Monkey (Zayton-Quanzhou) - small

Fig. 3 – The 1237 stone relief of Sun Wukong from the Kaiyuan Temple in Quanzhou, Fujian (larger version).

The oldest known evidence for a cult based around a monkey is described in Hong Mai’s (洪邁, 1123-1202) the Record of the Listener (Yijian zhi, 夷堅志, c. 1160), a collection of supernatural tales from the Song Dynasty. The following story is said to take place in the Yongfu County of Fujian. Again, we turn to Dudbridge (2005):

The image [effigy], dubbed Monkey King 猴王, was shaped around a captured living monkey and worshipped as a ‘spirit protecting hills and woods’ (保山林神). [6] It afflicted the surrounding population with fevers and frenzy. Blood sacrifice won no relief. Shamans and monks assaulted the spirit by night with noisy ritual music, but to no effect. Only the Buddhist elder Zongyan 宗演 successfully admonished the resentful monkey spirit and wrought its deliverance by reciting in Sanskrit the dhāraṇī of the All-Compassionate (大悲咒). The grateful monkey appeared to him the same night, explaining that she was now able to rise to heaven. Later the image and its thirty-two attendants (all made from birds) were smashed, and the hauntings came to an end (p. 264; see also Dudbridge, 1970, p. 159).

Dudbridge (1970) is reluctant, however, to accept this as a precursor to Sun Wukong’s cult, especially since both this 12th-century monkey spirit and the “Monkey Pilgrim” (Hou Xingzhe, 猴行者) from the The Story of How Tripitaka of the Great Tang Procures the Scriptures, a 13th-century precursor to Journey to the West, bear little resemblance to the simian god mentioned in 17th-century records. He instead suggests the Great Sage’s cult could have grown up around stories connected to the publishing of the novel (Dudbridge, 1970, p. 159). While Journey to the West certainly played a sizable role in the spread of Monkey’s cult, I think the above tale shows that the Fujian area was already primed for monkey worship by at least the 12th-century. Most importantly, the noted Song dynasty poet Liu Kezhuang (劉克莊, 1187-1269), whose family hailed from the Fujian city of Putian (mentioned in section one) (Ebrey, 2005, p. 95), referenced the Monkey pilgrim twice in his 13th-century work. The second of two such references uses Monkey as a metaphor to describe the ageing 70-year-old poet’s appearance. A portion of the poem reads:

A back bent like a water-buffalo in the Zi stream [泗河],
Hair as white as the silk thread issued by the “ice silkworms”,
A face even uglier than Hou Xingzhe,
Verse more scanty than even He Heshi [鶴何師] (Dudbridge, 1970, p. 46)

This shows the character’s story cycle was so well-known in Fujian at this time that no other specifics from the oral tradition had to be mentioned. Therefore, stories of the early monkey cult and those of Sun Wukong could have existed in Fujian around the same time. It’s not entirely impossible then that the historical monkey worship in the province gave the cult of the Great Sage, whenever it first appeared, a boost. This might explain why a so-called literary character would come to be so readily worshiped in the province.

IV. Conclusion

Taiwan has close ties to the southern Chinese province of Fujian because the former was made a prefecture of the latter during the 17th-century. The province is home to a large number of temples dedicated to the Monkey King, so this is no doubt connected to the spread of his cult to the island nation. Modern GIS mapping in Fujian suggests Sun Wukong’s temples mainly inhabit the northern highlands of the Putian plains where poorer villages reside. Monkey’s cult never received royal patronage in dynastic China due to his rebellious nature. The fact that he is worshiped in Fujian and Taiwan by his rebellious title of the Great Sage Equaling Heaven suggests Monkey may have historically appealed to the poorer class because he had the power to push back against an unfair government, perhaps one that favored the rich over the destitute. If true, these could be the people responsible for bringing Sun’s cult to Taiwan.

The mythos of Monkey’s cult was spread thanks to oral tales and popular literature. His mythos became so inseparable from the novel that the scholar class looked upon him as a literary character that jumped from the pages of fiction to be worshiped as a god. An example of this viewpoint appears in Strange Tales from a Chinese Studio (written c. 17th-cent.) in which a skeptical merchant only becomes an adherent of the Great Sage after he and his brother are punished with painful sores and death, respectively. The author of the tale comments the merchant was probably delusional to fall for such a belief. This scholarly disdain for such literary gods may then explain why the more well-educated villages in Putian don’t widely worship Sun Wukong today.

Other 17th-century sources referring to Monkey’s Fujian cult portray him as a headband-wearing, cudgel-wielding benevolent god who comes to the aid of the Chinese people. A 13th-century stone relief located on the western pagoda of the Kaiyuan Temple in Quanzhou depicts a sword-wielding, monkey-headed warrior wearing a fillet. While past scholarship has posited a South and Southeast Asian origin for the figure’s iconography, my research suggests it to be based on esoteric ritual accouterments known in China. So instead of being based on a foreign source, it can be considered a depiction of a local spirit or deity. The relief therefore suggests the proposed Fujian monkey god cult predates the 17th-century. The oldest evidence for such a cult appears in Hong Mai’s Record of the Listener, a 12th-century collection of supernatural tales. It refers to a malevolent simian god worshiped as the “Spirit protecting hills and woods” that spread fever and was eventually pacified by a Buddhist monk. This shows Fujian was primed for monkey worship by the 12th-century, and the fact that the “Monkey Pilgrim” (Sun Wukong’s original name) is mentioned in the secular works of the Putian poet Liu Kezhuang in the 13th-century shows stories of this god and Monkey existed in Fujian around the same time. The historical existence of a Fujian monkey cult may have given Sun Wukong’s cult a boost, explaining how a literary character came to be so readily worshiped.

Updated: 07-26-19

The American missionary Justus Doolittle (1865) recorded information about the worship of the Great Sage in Fuzhou city, Fujian province, China during the 19th-century:

The Monkey. — It is represented as a man sitting, the face only being like a monkey. The image is usually made of wood or clay. Sometimes a picture of it is made on paper, or simply the title under which the monkey is worshiped is written on a slip of paper, and used instead of an image. There are several large temples at this place, erected for the worship of “His Excellency the Holy King,” one of the titles much used in speaking of the monkey as an object of worship. Oftentimes the niche holding the image or the written name is placed in a hollow tree, or in the wall at the corners of streets, or at the heads of alleys or lanes. Such places, in this city and vicinity, where the monkey is worshiped, reckoned together with the small temples or buildings dedicated to it, amount to several scores. The worship consists principally in the burning of incense and candles, sometimes attended with the presentation of meats, vegetables, and fruits. The monkey was first worshiped in return for some supposed services rendered the individual who went to India, by special command of an emperor of the Tang dynasty, to obtain the Sacred Books of the Buddhist religion — so some affirm. This emperor deified the monkey, or, at least, he conferred the august title of “the great Sage equal to Heaven” upon that quadruped. The birthday of “His Excellency the Holy King” is believed to occur on the twenty-third of the second Chinese month, when his monkey majesty is specially worshiped by men from all classes of society. The monkey is believed to have the general control of hobgoblins, witches, elves, etc. It is also supposed to be able to bestow health, protection, and success on mankind, if not directly, indirectly, by keeping away malicious spirits or goblins. People often imagine that sickness, or want of success in study and trade, is caused by witches and hobgoblins. Hence the sick or the unsuccessful worship the monkey, in order to obtain its kind offices in driving away or preventing the evil influences of various imaginary spirits or powers (vol. 1, pp. 287-288).

He continues, “Sometimes the image carried in procession while praying for rain represents a deified monkey, an object which is much worshiped by some classes of the people at this place” (Doolittle, 1865, vol. 2, p. 119).

It appears that Doolittle wasn’t aware of Journey to the West since he combines folklore with history, claiming a Tang emperor deified and/or bestowed Wukong with his Great Sage title. Sun’s image as an exorcist and healer, as well as his remuneration with incense and delicious foodstuffs, matches what I’ve previously written about in Taiwan. But his association with rainmaking is new, although not entirely a surprise. Also, his birthday is celebrated on a different day, the twenty-third day of the second lunar month, instead of the twelfth day of the tenth lunar month in Taiwan and the sixteenth day of the eighth lunar month in Hong Kong and Singapore. Interestingly, unlike Fuzhou, his birthday is celebrated on the twenty-fifth day of the second lunar month in Putian (Dean & Zheng, 2010, p. 162, for example). Such differences highlight that Monkey’s cult never received state patronage and therefore lacks standardization in beliefs and practices even in Fujian.

This information may have implications for the worship of the Great Sage by southern Chinese immigrants in 19th-century San Francisco.

Updated: 08-17-2019

The Japanese researcher Isobe Akira shows that, despite appearing in Song-era sources, the aforementioned story about the female monkey king can be traced to the late Tang period (Mair, 1989, pp. 694-695). This shows Fujian was primed for monkey worship centuries prior to the development of Sun Wukong’s story cycle.

Additionally, Isobe points to one of the earliest known references to Sun Wukong. A tale appearing in Zhang Shinan’s (張世南, 12th-13th century) Memoirs of a Traveling Official  (Youhuan jiwen遊宦紀聞) tells of Zhang the Sage (Zhang sheng, 張聖), a farmer-turned-Buddhist monk who gains literacy and clairvoyance after eating a magic peach. In the story, Zhang is asked to write a eulogy in honor of a newly built revolving sutra case. The resulting poem references the Monkey Pilgrim:

Fresh are the pattra (palm) leaves on which are written
the unexcelled (anuttara), vigorous texts,
In several lives, Tripitaka went west to India to retrieve them;
Their every line, their every letter is a precious treasure,
Each sentence and each word is a field of blessing (punyaksetra).
In the waves of the sea of misery (duhkha-sagara),
the Monkey-disciple presses on 猴行復,
Through the waters of the river that soak its hair,
the horse rushes forward;
No sooner have they passed the long sand than they must face
the trial of the golden sands,
Only while gazing toward the other shore do they know
the reasons (pratyaya) for being on this shore.
The demons (yaksas) are delighted that they might
get their heart’s desire,
But the Bodhisattva, with hand clasped in respectful greeting,
sends them on;
Now here are the five hundred and sixty-odd cases of scriptures,
Their merit is difficult to measure, their perfection
hard to encompass (Mair, 1989, pp. 693-694).

This eulogy is fascinating because it references additional elements that would appear in The Story of How Tripitaka of the Great Tang Procures the Scriptures, including the Buddhist master’s quest to India over many lifetimes, the tribulations at the river of sand (a nod to Sha Wujing’s precursor), the demons encountered, and heavenly assistance. Isobe dates Zhang the Sage’s tale to the late Northern Song to the early Southern Song (circa 1127) (Mair, 1989, p. 694). But what’s interesting for our purposes is that the original recorder, Zhang Shinan was known to have historically held a government post in Fujian (Zheng, Kirk, Buell, & Unschuld, 2018, pp. 644-645), meaning he could have picked up the tale in the southern province. This adds an additional connection between Fujian and Sun Wukong.


1) One example of this connected to Journey to the West is Erlang. He was originally worshiped as a hunting god and queller of mountain ghosts by the Qiang (羌) ethnic group of the western Sichuan region. But his cult became even more popular upon gaining state recognition. Wu (1987) writes: “The Er-lang cult became even more popular in Sichuan under the patronage of the Later Shu emperor, Meng Chang 孟昶 (r. 934-65), and in 965, when the Song dynasty conquered the kingdom, it adopted the cult, erecting temples for the god in the capital and throughout the country” (pp. 107-108).

2) This refers to Qiu Chuji (丘處機, 1148-1227), the founder of the Dragon Gate sect of Daoism during the Song Dynasty. Qiu is known to have written a travel journal named Journey to the West, which Pu Songling confused with the novel of the same name (Pu & Sondergard, 2014, p. 2080 n. 1).

3) Literally “Bodhisattva Saber” (Pusa dao, 菩薩刀).

4) Source altered slightly. The Wade Giles was converted to pinyin and the Chinese characters from the footnotes were moved into the paragraph.

5) In act 10 of the early 15th-century zaju play Journey to the West, Guanyin gives Sun Wukong an iron headband, a cassock, and, most importantly, a sword. His depiction in the play and this relief then may have some connection.

6) The fact that the effigy was formed around a living monkey suggests it was killed in the process. This would explain its rage.


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Dean, K., & Zheng, Z. (2010). Ritual alliances of the Putian plain. Volume Two: A survey of village temples and ritual activities. Leiden: Brill.

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Walker, H.S. (1998). Indigenous or foreign? A look at the origins of monkey hero Sun Wukong. Sino-Platonic Papers, 81, pp. 1-117.

Zheng, J., Kirk, N., Buell, P. D., & Unschuld, P. U. (2018). Dictionary of the Ben cao gang mu, Vol. 3: Authors and book titles. Berkeley: University of California Press.