Review of DC Comics’ Monkey Prince #0

Last updated: 12-24-2021

The DC Comics character the Monkey Prince (Ch: Hou wangzi, 猴王子; a.k.a. “Marcus”, Makusi, 馬庫斯), son of Sun Wukong (孫悟空), first appeared in the story “The Monkey Prince Hates Superheroes” from the DC Festival of Heroes: The Asian Superhero Celebration (2021) (Yang, 2021a). In anticipation of the character receiving his own 12-issue series in February 2022, DC released a free digital issue #0 (readable here) (fig. 1) (DC Publicity, 2021). I stated in my previous review of the Monkey Prince that I wasn’t going to evaluate issue #0 due to so many problems with the original, as well as unpromising errors in promotional material for upcoming issue #1. But I changed my mind because I want readers unfamiliar with Journey to the West (Xiyouji, 西遊記, 1592), the Chinese classic on which the comic is based, to have an informed opinion about the quality of the character design and writing through the lens of the original.

Issue #0 is written by Gene Luen Yang, colored by Sebastian Cheng, lettered by Janice Chiang, and edited by Jessica ChenBernard Chang provides art for the opening and closing pages, while Billy Tan draws the “flashback” scenes, or the majority of the issue (Yang, 2021b, p. 3). Readers of my previous review will remember that Editor Chen thought up the Monkey Prince but also worked with Mr. Yang and Mr. Chang to craft “the origin and the essence of [the character] together” (Aguilar, 2021). 

Those who like this subject might fancy learning about Sun Wukong’s children in 17th-century Chinese literature. See also my review of Marvel’s Sun Wukong.

Fig. 1 – The front cover of Monkey Prince #0 (larger version). From Yang, 2021b. Copyright DC Comics.

1. Story overview

Titled “Apokolips in the Heavenly Realm”, the story opens on the Monkey Prince fighting a nest of insect-like parademon soldiers at night in Philadelphia. When asked how he knew about the nest, Shifu Pigsy (a.k.a. Zhu Bajie, 豬八戒) reveals that he and Sun Wukong had fought their kind once before in the past. This took place centuries ago when Darkseid, a despotic New God, sent his army to conquer the heavenly realm. A flashback shows the Bull Demon King (Niu mowang, 牛魔王), his wife Princess Iron Fan (Tieshan gongzhu, 鐵扇公主; a.k.a. “Rākṣasi”, Luocha, 羅剎), their son Red Boy (Hong hai’er, 紅孩兒), the immortal Erlang (二郎), and the child god Nezha (哪吒) standing against a wave of invading vanguard warriors and a sea of parademons (fig. 2). In the initial clash, Princess Iron Fan uses her famous palm-leaf fan (bajiao shanzi, 芭蕉扇子) to attack Mad Harriet, and the Bull Demon King protects his wife by punching Kalibak. But Big Barda incapacitates Red Boy with a sneak attack from behind. Luckily, the Monkey King swoops in at the last moment to save him from a second, fatal blow. Pigsy thereafter takes Red Boy’s place and strikes at the warrioress with his battle rake.

At the height of battle, Sun and Erlang sense something traveling through time and space. This is revealed to be Darkseid himself when he arrives via boom tube. The evil god then exclaims:

“Hear me denizens of the Heavenly Realm! I am … the sovereign ruler of Apokolips! I’ve come to save you from your own incompetence! You are clearly outnumbered! If you value your lives, you will surrender immediately!” (Yang, 2021b, p. 6, panel #2).

The Bull Demon Family jointly attacks the despot with their magic weapons, but this proves futile against his invulnerable body. Meanwhile, Monkey and Pigsy find and destroy the parademon nest, thereby decimating the invaders’ numerical advantage.

Sun soon after returns to confront Darkseid, comically referring to him as “our most venerable though uninvited guest” (Yang, 2021b, p. 7, panel #3). When the New God claims to have never heard of the famous Monkey King, our hero reveals that he’s destroyed the nest. He goes on to flaunt his power by creating countless hair clones of himself, stating: “It is YOU who are clearly outnumbered” (Yang, 2021b, p. 8, panel #1). Darkseid admits defeat; though, he claims to have a future use for Sun Wukong but not the others. So he unleashes his omega beams and kills the Bull Demon King and Princess Iron Fan. Red Boy is left to mourn over the bodies of his parents.

The issue ends with the Monkey Prince and Shifu Pigsy discussing how the event likely drove Red Boy to a life of villainy (Yang, 2021b).

Fig. 2 – A splash page showing some of the Journey to the West characters fighting Darkseid’s army (larger version). From Yang, 2021b, p. 3. Copyright DC Comics.

2. The art

There’s a noticeable difference in quality throughout the comic. The “flashback” by Mr. Tan has a rough, sketchy style, while the “present day” sections by Mr. Chang, are crisp and dynamic. Mr. Cheng, the colorist, should be congratulated on his amazing work because he helps elevate the mediocre pencils comprising the majority of the comic.

2.1. Character design

The panels of issue #0 are often packed with kinetic figures, making it hard to see detailed, full body images of the characters. I’ve therefore chosen to base my analysis on the character sheets from Blum (2021). I won’t be including Erlang or Nezha in the analysis as their presence is not as out of place as the others.

A major flaw is that the Journey to the West characters are presented as they might have looked during the pilgrimage instead of at the end of the novel. This doesn’t make any sense as the story takes place centuries after the events of the journey. And of course Mr. Chang has taken some artistic license with the designs instead of using descriptions from the book. But, admittedly, some are quite beautiful, such as that for Princess Iron Fan.

The Bull Demon King is depicted as a brown, minotaur-like figure with blue and red armor and matching gauntlets and boots, green pants, and a black battle ax (Blum, 2021) (fig. 3). The problem is that: 1) In the novel, the monster wields his own “cast-iron rod” (huntie gun, 混鐵棍) and a pair of his wife’s treasure swords (Wu & Yu, 2012, vol. 3, pp. 137 and 147). I’m guessing Mr. Chang got the idea for a black ax from the 2014 Chinese film The Monkey King (fig. 4). Films are obviously not a good source to use when adapting a readily available novel; 2) his armor doesn’t match that described in chapter 60:

He had on a wrought-iron helmet, water polished and silver bright; / He wore a yellow gold cuirass lined with silk brocade; / His feet were shod in a pair of pointed-toe and powdered-sole buckskin boots; / His waist was tied with a lion king belt of triple-braided silk (Wu & Yu, 2012, vol. 3, p. 137).

And 3) while the novel doesn’t note the color of his anthropomorphic form, the demon’s true form is said to be a “giant white bull” (da bai niu, 大白牛) (Wu & Yu, 2012, vol. 3, p. 157). This is why the faithful 2011 TV show depicts the Bull Demon King with white fur (fig. 5). 

Fig. 3 – The Bull Demon King’s character design (larger version). Image from Blum (2021). Copyright DC Comics. Fig. 4 – The Monkey King (2014) movie poster showing Aaron Kwok’s bull demon summoning energy from his black ax (larger version). Fig. 5 – A screenshot of the white Bull Demon King from the 2011 TV show (larger version). Image found here. Take note of his iron staff.

Princess Iron Fan is portrayed with jewelry and makeup, a layered coif, and an elegant, multi-colored dress (fig. 6). A mini version of her palm-leaf fan is shown tucked inside a white belt at her waist (Blum, 2021). The problem is that: 1) Her main weapons in the novel are a pair of “blue-bladed treasure swords” (qingfeng baojian, 青鋒寶劍); [1] 2) the fan is reduced to a small leaf and kept inside her mouth, and when full size, it is 12-feet long (Wu & Yu, 2012, vol. 3, p. 145). This obviously differs from the small, handheld weapon shown in the comic (Yang, 2021b, p. 4, panel #1); and 3) most importantly, chapter 61 expressly states that Princess Iron Fan forsakes her lavish clothing to dress as a renunciate upon the defeat of her husband:

When Rākṣasi heard the call [of the Bull Demon King], she took off her jewels and her colored clothing. Tying up her hair like a Daoist priestess [daogu, 道姑] and putting on a plain colored robe like a Buddhist nun [biqiu, 比丘] [fig. 7], she took up with both hands the twelve-foot long palm-leaf fan to walk out of the door (Wu & Yu, 2012, vol. 3, p. 161).

She thereafter follows a reclusive life of self-cultivation (Wu & Yu, 2012, vol. 3, p. 163). So there is a huge contrast between her comic book design and how she looks at the end of her story arc.

Fig. 6 – Princess Iron Fan’s character design (larger version). Image from Blum (2021). Copyright DC Comics. Fig. 7 – A drawing of a Buddhist nun (larger version). Image found here. Just imagine Raksasi with her hair tied into a knot on top and perhaps wearing grey-blue robes.

Red Boy is portrayed as a muscular teenager with a red and black undercut hairstyle, a small, purple cape, a bare chest and shoulders with a red, armored stomacher and matching gauntlets and boots, and purplish-blue, baggy pants. Flaming jewels(?) adorn the armor on his stomach, forearms, and knees (fig. 8). He wields a golden, red-tassled spear with a partitioned blade (Blum, 2021). The problem is that: 1) Red Boy’s weapon is described in chapter 41 as an “eighteen-foot fire-tipped lance” (zhangba chang de huojian qiang, 丈八長的火尖槍) (Wu & Yu, 2012, vol. 2, p. 222); and 2) he’s depicted as a small child in the novel. He’s said to be huskier than Nezha, with a powder white face, deep red lips, and beautiful, black hair (Wu & Yu, 2012, vol. 2, p. 222). In fact, his nickname is the “Great King Holy Infant” (Shengying dawang, 聖嬰大王) (Wu & Yu, 2012, vol. 2, p. 219). [2] And after his defeat at the hands of the Bodhisattva Guanyin (Guanyin pusa, 觀音菩薩), he becomes her disciple, taking the religious name “The Child Sudhana” (Shancai tongzi, 善財童子; lit: “Child of Goodly Wealth”) (Wu & Yu, vol. 2, p. 354). So he definitely shouldn’t look like a teenager; and 3) Guanyin subdues the fiery demon with gold circlets that squeeze his head, wrists, and ankles (fig. 9) (Wu & Yu, vol. 2, p. 251). This story is used to explain the presence of golden bracelets and anklets on modern religious statues of the deity (fig. 10). So a child-like appearance and golden bands are associated with Red Boy in both literature and religion, and yet we see these are totally absent from Mr. Chang’s design.

Fig. 8 – Red Boy’s character design (larger version). Image from Blum (2021). Copyright DC Comics. Fig. 9 – A modern drawing of the literary demon (larger version). Image found here. Take note of the rings on his wrists and ankles. Fig. 10 – A modern day religious statue of Sudhana (larger version). 

Lastly, Sun Wukong is depicted wearing a purple gold cap with lingzi (翎子) feathers, golden armor with a blue cape and gauntlets, a tiger skin kilt, and red pants with black boots (fig. 11) (Blum, 2021). He wields a golden staff with dragon finials spiraling down each tip like a corkscrew. The problem is that: 1) Chapter 3 describes the staff as a bar of black iron banded on each end with a golden ring (Wu & Yu, 2012, vol. 1, p. 135); 2) while the armor design is similar to early depictions of the Monkey King (minus the blue cape and gauntlets and the tiger skin kilt), the novel implies that it was stripped from his body once he was captured by heaven. I quote from my previous article (see section 2.2.):

Contrary to popular belief, Sun does not wear the armor throughout the entire story. Though not openly stated, the novel suggests it is stripped from the monkey when he is captured by heavenly soldiers in chapter six: “They bound him with ropes and punctured his breast bone with a knife, so that he could transform no further” (Wu & Yu, 2012, vol. 1, p. 186). Obviously the knife wouldn’t have punctured the magic armor. And after heaven fails to harm his body during an attempted execution, one celestial reports:

Your Majesty, we don’t know where this Great Sage has acquired such power to protect his body. Your subjects slashed him with a scimitar and hewed him with an ax; we also struck him with thunder and burned him with fire. Not a single one of his hairs was destroyed. What shall we do? (Wu & Yu, 2012, vol. 1, p. 186). (emphasis mine)

Prior to his turn in Laozi’s eight trigrams furnace in chapter seven, the story again references the knife in Monkey’s breastbone, suggesting he is still naked: “Arriving at the Tushita Palace, Laozi loosened the ropes on the Great Sage, pulled out the weapon from his breastbone, and pushed him into the [brazier]” (Wu & Yu, 2012, vol. 1, p. 189). One late-Ming woodblock print actually portrays him naked upon his escape from the furnace (fig. 16). Most importantly, after being released from his 600 plus-year-long imprisonment under Five Elements Mountain, Monkey is expressly described as being “stark naked” (chi tiao tiao, 赤條條) (Wu & Yu, 2012, vol. 1, p. 309).

Monkey escaping from Laozi's 8 trigrams furnace - from Mr. Li Zhuowu's Literary Criticism of Xiyouji, later 16th-early 17th-c. - small

Fig. 16 – Wukong in his birthday suit escaping from Laozi’s eight trigrams furnace (larger version). From Mr. Li’s Criticism (late-16th to early-17th-c.).

This means he wouldn’t have worn the armor during the entirety of the journey (ch. 14 to 100); and 3) most importantly, the Monkey King is elevated in spiritual rank at the journey’s end, becoming the Buddha Victorious in Strife (Dou zhansheng fo, 鬥戰勝佛; a.k.a. the “Victorious Fighting Buddha”) (Wu & Yu, 2012, p. 381). Religious depictions of this historical deity portray him wearing the traditional robes of a Buddhist monk and holding a symbolic sword and suit of armor in his hands (fig. 12). So Sun Wukong should be portrayed as a Buddha and not an armored warrior (fig. 13). 

Fig. 11 – Sun Wukong’s character design (larger version). Image from Blum (2021). Copyright DC Comics. Fig. 12 – The Buddha Victorious in Strife holding a sword and suit of armor (larger version). Image found here. Fig. 13 – A modern drawing of Monkey as a Buddha by Tianwaitang on deviantart (larger version).

Someone might ask: “Who cares what the characters look like?” Well, the creative team had two choices when they elected to adapt Journey to the West. One, they could have done so in broad strokes and laid the foundation for a fresh, new take that departs greatly from the original. An example of this is the South Korean drama Hwayugi (2017-2018), where the characters are gods disguised as humans living in modern Seoul. Or two, they could be faithful to the novel. The team sort of chose the latter as they created a main character that’s a carbon copy of the Monkey King (complete with the same strengths and weaknesses), designed secondary characters how they might have looked in the original, and Mr. Yang even references specific events from the novel in the comic story. For instance, Monkey recalls his past battle with Red Boy after saving him from Big Barda (Yang, 2021, p. 5, panel #1; Wu & Yu, 2012, vol. 2, pp. 224). So if they’re going to adhere this much to the literary source, they should have at the very least followed the descriptions provided therein. As the old saying goes: “If it ain’t broke, don’t fix it”. It would be like me adapting Harry Potter despite never having read the books (I’m looking at you Mr. Chang). [3] My designs would no doubt be so wildly different from the original that the characters would be nearly unrecognizable.

3. The writing

Let me begin by saying that I actually like the idea of Darkseid taking a boom tube to the heavenly realm. It’s a smart way of bridging the dimensional gap between modern comics and traditional Chinese literature. But that’s where my favorable comments end for the most part.

Mr. Yang makes some strange choices in the story. For example, making Zhu Bajie and the Bull Demon Family part of the heavenly army’s main force is odd because it overlooks the 72 commanders and 100,000 stellar soldiers from the original. [4] With the exception of Nezha, they are nowhere to be found in the comic, making it look like Sun Wukong, Erlang, Zhu, the Bull Demon King, Princess Iron Fan, and Red Boy are the sole defenders of heaven fighting to hold back the tide of Darkseid’s invasion (maybe this will be explained in a future issue).

Zhu Bajie would not have been involved at all because he was made the “Janitor of the Altars” (Jintan shizhe, 淨壇使者) at the end of the journey. This position allows him to constantly eat any leftover offerings on Buddhist altars (tan, 壇) from all over the world (Wu & Yu, 2012, vol. 4, p. 382). So Zhu would have been too busy selfishly stuffing his stomach to his heart’s content.

Apart from being strange that earth-dwelling villains like the Bull Demon King and Princess Iron Fan would defend the heavenly realm, their inclusion in the story does not mesh with the way their respective arcs end in Journey to the West. As noted above, the monster king’s true form is a giant white bull. His story ends when he is trapped in this form and taken under guard by Devraja Li Jing (李靖天王) and Nezha to see the Buddha (Wu & Yu, 2012, vol. 3, pp. 161 and 162). The details of his arc are quite similar to that of Sun Wukong: he’s an iron staff-wielding demon king nicknamed the “Great Sage”, who knows 72 changes, can adopt a titanic form, takes part in a battle of transformations with an enemy, is trapped by a joint effort from heaven and incapacitated by a circular object, and finally faces the Buddha. [5] So it’s not a stretch to suggest the Bull Demon King is also punished in a similar manner. I show in this article (see section 1) that being trapped under the pressing weight of a mountain is a reoccurring sentence for supernatural offenders in Chinese literature. And don’t forget about Monkey’s secondary punishment, a hellish diet of hot iron balls and molten copper. Therefore, the monster king would likely still be imprisoned by the time Darkseid invades heaven.

Before continuing, I should note that Mr. Yang is well aware of the Bull Demon King’s fate, for he references his literary defeat in the comic. During the flashback, the monster asks Sun Wukong: “Would a blood brother have betrayed me to a cosmic net of Buddha’s warrior guardians, Monkey?” (Yang, 2021b, p. 5, panel #3). So this makes the demon’s inclusion in the heavenly army twice as puzzling as he’s still bitter about his defeat.

Princess Iron Fan’s story ends when she “[goes] off somewhere to practice self-cultivation as a recluse” (Wu & Yu, 2012, vol. 3, p. 163). The novel continues: “In the end she, too, attained the right fruit [zhenguo, 正果] and a lasting reputation in the sutras” (Wu & Yu, 2012, vol. 3, p. 163). This might imply that she compounds Buddhist merit by performing good deeds or perhaps even religious miracles, becoming a sort of Buddhist saint in her own right. So I imagine she too would be unavailable to fight against the sudden invasion of Darkseid’s army.

On the contrary, Red Boy’s inclusion makes more sense because, as Guanyin’s disciple, she might send Sudhana to “test the waters” (so to speak) to see whether or not a given threat merits the intervention of a higher power. She does this, for example, in chapter six when she sends Muzha (木吒) to help fight Sun Wukong during his rebellion (Wu & Yu, 2012, vol. 1, p. 175). But just like his senior religious brother, Sudhana surely wouldn’t be able to stand against the threat alone. He would have to work with the aforementioned heavenly commanders and stellar soldiers.

This brings me to Sun Wukong. The story does make a passing reference to his elevation in spiritual rank. When Darkseid fails to recognize Monkey’s name, our hero states: “Enlightenment sure does a number on fame” (Yang, 2021b, p. 7, panel #5). But that’s it. Sun is not presented as a Buddha, just his regular, pre-enlightened self swinging a staff and resorting to the same old tricks. The narrative could’ve been taken to a new level by featuring the Buddha Victorious in Strife.

The thing that bothers me the most about the comic is the anticlimactic confrontation between Sun and Darkseid. Neither takes any overt action against the other. In my opinion, Darkseid, who has never met the Monkey King, gives up way too easily (fig. 14). You’d think there would at least be a brief exchange of fists so they can gauge each other’s strength. And once the invader realizes he’s dealing with a powerhouse, seeing Sun then multiply himself many times over would make him think twice about sticking around. But this only dresses up the story at hand. See below for my suggested changes.

Fig. 14 – Darkseid gives up the invasion upon seeing Monkey duplicate himself (larger version). From Yang, 2021b, p. 8. Copyright DC Comics.

4. My rating

Overall, I would give issue #0 2.5 out of 5 stars. It is marred by mediocre pencils, designs that don’t match the characters’ description from Journey to the West, and a story that doesn’t agree with how the respective characters’ arcs end in the original. I gave extra points for the beautiful coloring of Mr. Cheng, though.

Now, I have to ask the question: Why would the creative team (haphazardly) cram so many recognizable Journey to the West characters into canon? The first answer is clear: DC is likely after that sweet, sweet money from the Asian market. Sure, sales stateside might get a small boost from Asian Americans, but the target demographic is likely the millions of mainland and diasporic Chinese comics readers. The second answer is that the death of the Bull Demon King and Princess Iron Fan under Darkseid’s omega beams likely sets up Red Boy’s spiral into villainy and a later battle between him and the Monkey Prince. [6] That’s right ladies and gentlemen, we have ourselves some throwaway characters! It honestly would have been better (and more respectful to the original) if the husband and wife had never appeared in the comic.

5. What I would change

(My sugestions for issue #0 build off of the changes I made in the original review (section 5). Read it first to better understand my choices here.)

I would do away with the Bull Demon King, Princess Iron Fan, and Zhu Bajie. Instead, the original heavenly army would meet the brunt of Darkseid’s forces upon their arrival. Playing off of the comic story, and acknowledging my own changes, Guanyin would send her disciples Muzha and Sudhana to take part in the battle. And taking more inspiration from the comic story, I would also have Erlang arrive but instead go toe-to-toe with Darkseid. The “Small Sage” (Xiaosheng, 小聖) is after all the only god to truly defeat the Monkey King, so he would be a worthy opponent. But lets say the invader somehow gets the upper hand, and so I would pay homage to the original novel by having the Jade Emperor call on Gautama Buddha to intervene. But he instead sends the Buddha Victorious in Strife, who obviously has experience with causing havoc in heaven. The Monkey Buddha shows off his power by easily nullifying the attacks of Darkseid’s army and even negating the omega beams by turning them into a shower of flowers, reminiscent of ancient biographies of Gautama Buddha:

The host of Mara hastening, as arranged, each one exerting his utmost force, taking each other’s place in turns, threatening every moment to destroy [the Buddha, but] … Their flying spears, lances, and javelins, stuck fast in space, refusing to descend; the angry thunderdrops and mighty hail, with these, were changed into five-colour’d lotus flowers…” (Beal, 1883, pp. 152 and 153).

I could borrow still more from the novel and have the Buddha Victorious in Strife make Darkseid a wager, recalling Gautama Buddha’s bet with Sun Wukong involving his cloud somersault. But instead of betting that he can’t leap from his palm, the Monkey Buddha makes a wager involving the boom tube.

This is where I run into trouble, though. I don’t know enough about the cosmic hierarchy of the DC universe to go past this point. I say this because Darkseid is considered a “conceptual being” that lives outside of time and is capable of creating avatars of himself (Darkseid (New Earth), n.d.). I’m not sure how this stacks up against DC’s concept of an enlightened being. But from a Buddhist cosmological perspective, I believe the Buddha would be more powerful because he has achieved “nirvāṇa” (Ch: niepan, 涅槃) and broken free of the wheel of rebirth (Buswell & Lopez, 2014, pp. 589-590). However, the New God, even as a deva capable of creating avatars, would still be subject to the “Desire realm” (Sk: kāmadhātu; Ch: yujie, 欲界) of Saṃsāra (Ch: lunhui, 輪迴; shengsi lunhui, 生死輪迴) (Buswell & Lopez, 2014, pp. 230-233 and 411). Therefore, I imagine the Buddha Victorious in Strife plays a trick on Darkseid and is able to trap or even destroy his avatar. As mentioned above, this would make the real villain (in his home dimension) think twice before tangling with Monkey again. 

I’m now obligated to insert my concept of the Monkey Prince into the story. Since he’s born during the Tang Dynasty (618-907 CE), he would be alive during the attack on heaven. But as a young, inexperienced disciple, he wouldn’t take part in the battle, just hear news of it from Guanyin during the event and stories of what happened from his half-brother Sudhana after the fact. This way, the Monkey Prince would remember the invasion and yearn to do his part when Darkseid reappears in the present.

Lastly, I feel it’s necessary to give the character a name. The comic calls him the “Monkey Prince” in his hero form and “Marcus” in his human form. I think Sun Taizi (孫太子), or “Prince Sun”, is a great name as it plays off of San Taizi (三太子), the “Third Prince” (fig. 15), one of Nezha’s titles in Chinese folk religion. (Fun fact: This deity serves as a heavenly vanguard in Sun Wukong’s own religion.) Borrowing from existing religious beliefs sparks the titillating idea that Sun Taizi’s heroic deeds would earn him devotees. Beyond his own continuing spiritual cultivation, he would grow in strength as more and more believers pray to and leave him offerings! This wouldn’t be the first time a monkey god is worshiped in America.

Fig. 15 – A religious statue of San Taizi, the “Third Prince”, from the Nine Dragons Prince Temple (Jiulong taizi gong, 九龍太子宮) in Tainan, Taiwan (larger version). Photo taken by the author. 

Update: 12-24-2021

I noted in my original review that promotional material for upcoming issue #1 shows Marcus living in Gotham City prior to the events in Philadelphia. The story is said to include Batman, and a sneak peek shows the caped crusader accosting Marcus’ criminal foster parents (fig. 16). I predict that future suggested changes to issue #1 and beyond are going to become harder and harder as the comic story is fleshed out. My original changes portray the character as a young demigod who grows up in Guanyin’s earthly paradise and only later becomes acquainted with modern superheroes through happenstance. So I will have to bypass all of these flashbacks and only suggest changes to the broader story.  

Fig. 16 – The Batman panel from issue #1 (larger version). Copyright DC Comics.


1) The novel doesn’t name the swords upon their first appearance (Wu & Yu, vol. 3, p. 124). They are named slightly later when the Bull Demon King wields them (Wu & Yu, vol. 3, p. 147).

2) Yu (Wu & Yu, 2012) translates this as “Great King Holy Child” (vol. 2, p. 219). 

3) Mr. Chang admits that he only heard a few Journey to the West stories as a child and doesn’t know how the novel ends (Ching, 2021)

4) This is based on a passage from chapter five:

[The Jade Emperor] at once commanded the Four Great Devarājas to assist Devarāja Li and Prince [Nezha]. Together, they called up the Twenty-Eight Constellations, the Nine Luminaries, the Twelve Horary Branches, the Fearless Guards of Five Quarters, the Four Temporal Guardians, the Stars of East and West, the Gods of North and South, the Deities of the Five Mountains and the Four Rivers, the Star Spirits of the entire Heaven, and a hundred thousand celestial soldiers (Wu & Yu, 2012, vol. 1, p. 169).

Koss (1981) counts 72 commanders from the names listed in the beginning (pp. 83-84).

5) I’ve already mentioned the iron staff above (compare this to Monkey’s weapon). The Bull Demon King takes the title “Great Sage, Parallel with Heaven” (Pingtian dasheng, 平天大聖) in chapter four (compare this to Sun’s title, the “Great Sage Equaling Heaven“) (Wu & Yu, 2012, vol. 1, pp. 156-157). Most of the similarities that I mentioned happen in chapter 61. His skill with the 72 changes is referenced when he takes on Zhu’s appearance (compare this to Monkey’s ability) (Wu & Yu, 2012, vol. 3, p. 148). The battle of transformations against Sun takes place shortly after he’s overwhelmed by our hero and Zhu in combat (compare this to Monkey’s battle of changes with Erlang in ch. 6) (Wu & Yu, 2012, vol. 3, pp. 156-157; vol. 1, pp. 182-183). He takes on his cosmic form, a giant white bull, in a last ditch effort to defeat Sun (compare this to Monkey’s skill) (Wu & Yu, 2012, vol. 3, p. 157). He is trapped on all sides by Buddho-Daoist deities (compare this to Sun’s troubles with heaven in ch. 6) (Wu & Yu, 2012, vol. 3, pp. 159-160; vol. 1, pp. 185-186). Nezha uses his fire wheel to stop him from regrowing his severed heads (compare this to the diamond bracelet that Laozi (老子) uses to knock the Monkey King off his feet in ch. 6) (Wu & Yu, 2012, vol. 3, p. 160; vol. 1, p. 186); and he is taken to see the Buddha at the end of his story arc (compare this to Sun’s meeting with the Buddha) (Wu & Yu, 2012, vol. 3, p. 162).

6) This spiral is implied during the discussion between the Monkey Prince and Shifu Pigsy at the end of the issue (Yang, 2021b, p. 10). 


Aguilar, M. (2021). Jessica Chen Talks Returning Favorites and the Monkey Prince’s Debut in Festival of Heroes: The Asian Superhero Celebration. Comic Book.

Beal, S. (Trans.). (1883). The Fo-sho-hing-tsan-king: A Life of Buddha by Asvaghosha Bodhisattva. Oxford: Clarendon Press. Retrieved from

Blum, J. (2021). DC Festival of Heroes’ Monkey Prince Gets Solo Series. CBR. Retrieved from

Buswell, R. E., & Lopez, D. S. (2014). The Princeton Dictionary of Buddhism. Princeton, NJ : Princeton University Press.

Ching, B. A. (2021). Meet the Monkey Prince: Yang and Chang Introduce DC’s Newest Hero. DC.

Darkseid (New Earth). (n.d.). DC Database. Retrieved from

DC Publicity. (2021, October 15). DC’s Monkey Prince: New Series to Debut on Lunar New Year 2022. DC Comics. Retrieved from’s-monkey-prince-new-series-to-debut-on-lunar-new-year-2022

Koss, N. (1981). The Xiyou ji in its Formative Stages: The Late Ming Editions (vol. 1 and 2). (Doctoral dissertation). Available from ProQuest Dissertations and Theses database. (UMI No. 8112445)

Yang, G. L. (2021a). The Monkey Prince Hates Superheroes. In Jessica Chen (Ed.). DC Festival of Heroes: The Asian Superhero Celebration (pp. 70-82) [Google Play]. New York, NY: DC Comics. Retrieved from

Yang, G. L. (2021b). Monkey Prince, (0) [Digital]. New York, NY: DC Comics. Retrieved from

Archive #27 – The Journey to the West Japsang Effigies of Korean Royal Palaces

Japsang or Chapsang (Kor: 잡상; Ch: zaxiang, 雜像, “miscellaneous figurines”) are effigies of dark gray fired clay adorning the roof-hips of royal palaces in Korea. The first four of (up to eleven) figures are traditionally associated with the main characters of Journey to the West (Xiyouji, 西遊記, 1592) (fig. 1 & 2). Tripitaka is connected to the first figure, which wears a suit of armor and sits in a kingly fashion with hands on splayed knees (fig. 3). Sun Wukong is connected to the second, an ape-like figure with a pointed hat, long arms, and small legs. Zhu Bajie and Sha Wujing are respectively connected to the third and fourth figures, which are portrayed as scaled beasts with their heads turned in different directions.

Wall (2019) reveals the earliest reference to our our heroes’ association with the japsang appears in Eou yadam (어우야담, “Eou’s Unofficial Histories”), a collection of stories by the scholar-official Yu Mongin (유몽인, 1559-1623). Yu frames knowing the names of the figures as a test for a new official:

When newly appointed officials meet their predecessors for the first time, they have to be able to tell the names of the ten divine figures on top of the palace gates for ten times. . . . The names are Master of Great Tang (Taedang sabu, 大唐師傅 [Tripitaka]), Pilgrim Sun (Son haengja, 孫行者 [Sun Wukong]), Zhu Bajie (猪八戒), [and] Monk Sha (Sa Hwasang, 沙和尙 [Sha Wujing]) (Yu, 2004, as cited by Wall, 2019, p. 2137).

Interestingly, Sun Wukong was eventually associated with the very nails that fastened the figures to the royal rooftops (Chang, 2004, as cited by Wall, 2019, p. 2137). They were called “Pilgrim Sun-Nails” ((Sonhaengja taech’ ol; Ch: (孫)行者帶鐵), [1] which implies our hero “was at some point considered representative of all roof ornaments” (Wall, 2019, p. 2137). This connection no doubt references Monkey’s adamantine body and position as the demon-conquering exorcist par excellence. After all, the japsang figurines were believed to “protect the palaces from calamities” (Ro & Park, 2015, p. 78), making them cognates for Chinese roof figurines, which serve as “guardians against fire and evil spirits” (Li, 1990, as cited by Wall, 2019, p. 2138). This is fascinating from a historical perspective as late dynastic Korea was staunchly Neo-Confucian, showing Journey to the West was so wildly popular in the “Land of the Morning Calm” that the pilgrims were able to transcend their original Buddhist associations (Wall, 2019, pp. 2137-2138).

(I also find this subject interesting because, while not officially worshiped by people of non-Chinese descent, it shows Sun served a religious function in Korea. Thus, we can add this thread to the complex tapestry of his worship in East and Southeast Asia.)

I originally intended to write my own in-depth article on japsang figures but later discovered Macouin (2003). This masterful paper explains the evolution of such roof adornments and their later association with the Chinese novel. Macouin (2003) is written in French, so I am presenting both the original and a rough English translation. I did not include the Korean and Chinese characters in the translation.

Fig. 1 – A chart of nine japsang (larger version). Notice that most feature the same basic arched back design similar to the Hebrew letter mēm (מ). Fig. 2 – Photo of a roof-hip featuring seven figures (larger version). From Wikipedia. Fig. 3 – A picture of the lead figure believed to be Tripitaka (larger version). From Yogin, 2001 as cited in Macouin, 2003, p. 29. But as noted, Sun Wukong came to be associated with all japsang figures. 

I. Abstract (with translation)


Dans l’architecture ancienne de la Corée, à l’époque de la dynastie des Yi (1392-1910), les toits de certains bâtiments étaient ornés de statuettes protectrices, disposées en file sur leurs arêtes. À la fin du XIXe siècle, seuls les édifices peu ou prou en relation avec la fonction royale en étaient pourvus. La présence de ces figurines, à l’aspect d’animaux accroupis, est attestée au XVe siècle. Elles peuvent avoir succédé à d’autres ornements et, plus lointainement, à des tuiles spéciales à embout relevé.

Une tradition associe quatre de ces grotesques à des personnages bien connus par le roman chinois du XVIe siècle, le Xiyou ji. Plus précisément, la statuette placée en rive est identifiée au célèbre moine Xuanzang, héros de ce livre. Il est suggéré finalement que la personnification de ces statuettes pourrait être en relation avec des pratiques de bizutage.


In the ancient architecture of Korea, during the Yi Dynasty (1392-1910), the roofs of some buildings were adorned with protective statuettes, arranged in a line on their ridges. At the end of the 19th century, only buildings more or less related to the royal function were provided with it. The presence of these figurines, with the appearance of crouching animals, is attested in the 15th century. They may have succeeded other ornaments and, more distantly, special raised-toe tiles.

One tradition associates four of these grotesques with figures well known from the 16th century Chinese novel, Xiyou ji. More precisely, the statuette placed on the bank is identified with the famous monk Xuanzang, hero of this book. It is finally suggested that the personification of these statuettes could be related to hazing practices.

II. Original French Paper

Click to access Chapsang-paper.pdf

III. English Translation

Click to access Chapsang-paper-English-Translation-PDF.pdf


This has been uploaded for educational purposes. No malicious copyright infringement is intended. Please support the official release.


1) For a discussion of Monkey’s “pilgrim” nickname, see section three of my previous article.


Macouin, F. (2003). Des Figurines De Toiture Coréennes, Les Chapsang. Journal Asiatique, 291(1-2), 17-34.

Ro, M. & Park, S. (Eds.). (2015). The King at the Palace: Joseon Royal Court Culture at the National Palace Museum of Korea (C. Kwon, Trans.). Seoul: National Palace Museum of Korea.

Wall, B. (2019). Dynamic Texts as Hotbeds for Transmedia Storytelling: A Case Study of the Story Universe of the Journey to the WestInternational Journal of Communication 13, 2116-2142. Retrieved from



Archive #26 – The Heavenly Horses of Ferghana (1955) by Arthur Waley

Last updated: 11-26-2021

Sun Wukong is invited to heaven in chapter four to serve as the Bimawen (弼馬溫), a minor post overseeing the imperial horse stables (Wu & Yu, 2012, p. 148). [1] He takes the position seriously, caring for nearly 1,000 horses day and night and making sure they are all well-fed, exercised, and rested (Wu & Yu, 2012, p. 149) (fig. 1). But these are no regular horses. A poem associates them with the most famous steeds in Chinese history (Wu & Yu, 2012, pp. 148-149), and most importantly, the last line states: “They tread the mist and mount the clouds with unflagging strength” (Wu & Yu, 2012, p. 149). This points to them having the supernatural ability to gallop through the skies (fig. 2). Additionally, the novel refers to them as “dragon horses” (long ma, 龍馬) (Wu & Yu, 2012, p. 309), which brings to mind the White Dragon Horse (Bai long ma, 白龍馬) that serves as Tripitaka‘s mount throughout the journey (Wu & Yu, 2012, p. 328).

The following essay by Arthur Waley (1955), famed translator of the Journey to the West abridgement Monkey (1942), links heavenly horses to a historical breed from Central Asia, the Ferghana horse. He describes China invading the region to procure these horses by force, suggesting Emperor Wu of Han directed this action because the ruler believed the equines were dragon horses capable of transporting him to heaven. This is linked to stories of ancient Chinese rulers attaining immortality by riding horses or dragons to the celestial realm. Waley (1955) notes both the Chinese and Indians believed supernatural steeds hailed from the water, showing a link between horses and dragons.

But Creel (1982) refutes the claim that the heavenly horses were procured for purely religious reasons. He shows they were indeed used in military battles. See the 11-26-21 update for a PDF.

Fig. 1 – A 2014 stamp featuring a scene from the classic 1960s animation Havoc in Heaven in which Sun Wukong serves as the keeper of the heavenly horses (larger version). Image found here. Fig. 2 – A photo of the famous circa 2nd-century BCE Flying Horse of Gansu (larger version). Image found here.

I. The Heavenly Horses of Ferghana

Individuals are not happy in proportion to the amount of space their persons occupy. Yet certain nations, at certain periods of their history, seem to take it for granted that the wider they spread themselves the happier they will be. China is a case in point. Why did this enormous country in the second century BC, in the first century AD and again at various later periods ruin itself by gratuitous westward expansion? Were her aims commercial or strategic? Was she defending her silk trade, or guarding against possible wars on two fronts? What part was played by the individual ambition of Emperors or generals, or by mere restlessness and love of adventure?

To answer these questions we should have to take the campaigns one by one. In doing so we should not be reduced to mere guesses. In Imperial edicts and addresses about military campaigns certain traditional pretences are, of course, kept up: ‘everything under Heaven’ belongs by right to the Chinese Emperor, and any peoples who do not think so must be chastised. Concrete and material motives for war are not always mentioned in these regal utterances, any more than an Address from the Throne (or its equivalent) in modern countries usually mentions petrol or rubber. But statesmen and officials were often quite frank about material motives for conquest: more so, I think, than is the case with us today. Thus, as justifying a proposal to secure from the Huns a strip of territory that projected into the Kansu corridor in north-western China the following reasons are given by a statesman in 8 BC: first, that it was a good source of supply for the sort of wood and feathers used in making arrows; secondly, that it would mean a large increase of Chinese territory, and lastly that it would give the general in command of the campaign a chance to win a big reputation. It is interesting to find that extension of territory is here regarded as an end in itself. Possibly supporters of the proposal might, if pressed, have pointed out as an afterthought that Chinese farmers could be settled in the new territory and that the taxes they paid would be a help to the exchequer.

The tendency of modern historians, and not only in Marxist countries, is to stress material and particularly economic motives for war, and to regard the profession of other motives as mere propaganda. In dealing with early Chinese history I do not think this view would generally lead us far astray, so long as we bear in mind the additional factor of personal ambition and the almost axiomatic belief that extension of territory was an end in itself. But I am going to deal with a case that seems to me to be exceptional. Oddly enough the early Chinese military adventure that modern scholars have most unanimously explained solely on materialist lines, seems, on closer examination, to have been to a large extent a religious quest

In 102. BC the Chinese Emperor Wu sent a huge military expedition (there had been a small and abortive one two years before) to Ta Yüan, corresponding roughly to the modern Ferghana in Russian Turkestan, to capture Heavenly Horses. Modern scholars, both Far Eastern and European, have usually assumed that the real object of the expedition was a purely practical one; namely, to secure a better type of cavalry horse. It is certain that by the middle of the second century AD the Chinese did possess two kinds of horse: a steppe-pony, with a large clumsy head, and a western type of horse, similar to that shown on Greek coins of the fourth to the second century BC, with small graceful head. It may well be that one of the results of the Ferghana expedition was the introduction of a western type of horse into China; and in the eyes of the generals and the horse-experts who accompanied them this may have been the main object as well as the result of the expeditions. But modern historians, intent on the very interesting material aspects of the episode, have tended to overlook its place (amply attested by contemporary texts) in the history of Chinese religion. Incidentally, by examining these texts more closely, I think one gets fresh light on what concretely and zoologically (as opposed to mythologically) the Heavenly Horses really were. I should mention that as a result of the expedition thirty or so ‘superior horses’ and 3,000 horses and mares of ‘middling or lower quality’ were handed over to the Chinese. How many of these survived the journey of 2,500 miles back to the Chinese capital we do not know. A few years later the king of Ferghana agreed to send two Heavenly Horses to China every year. I shall here be concerned only with the thirty ‘superior’ Or ‘Heavenly’ horses. There is no reason to suppose that the 3,000 inferior horses were of a type different from the usual Chinese horse. They may merely have been needed as remounts.

In studying what was said about the horses in contemporary Chinese literature the best point of departure is the hymn made in 101 B.C. when the horses were about to arrive at the Chinese capital :

The Heavenly Horses are coming,
Coming from the Far West.
They crossed the Flowing sands,
For the barbarians are conquered.
The Heavenly Horses are coming
That issued from the waters of a pool.
Two of them have tiger backs.
They can transform themselves like spirits.
The Heavenly Horses are coming
Across the pastureless wilds
A thousand leagues at a stretch,
Following the eastern road.
The Heavenly horses are coming.
Jupiter is in the Dragon.
Should they choose to soar aloft,
Who could keep pace with them?
The Heavenly Horses are coming;
Open the gates while there is time.
They will draw me up and carry me
To the Holy Mountain of K’un-lun.
The Heavenly Horses have come
And the Dragon will follow in their wake
I shall reach the Gates of Heaven,
I shall see the Palace of God.

This song has often been spoken of by western historians as though it were a purely secular literary poem. It is in reality one of a series of hymns written (possibly by the Emperor Wu himself, but the authorship is very uncertain) for use at the sacrifices to Heaven and Earth-sacred rituals performed by the Emperor in person. One or two of the phrases in it obviously need further explanation. Whether the people of Ferghana believed that their sacred horses ‘issued from a pool’ we do not know. But there are, apart from other instances of this belief elsewhere in Central Asia, many Chinese stories of horses coming up out of the water, the implication being that they are dragon-horses, that is to say, water-dragons who have changed themselves into horses, often retaining their dragon wings. As we shall see, the Emperor had been on the look-out for a water-born horse for some time. What is meant by ‘the Dragon will follow in their wake,’ more literally ‘they will be introducers of the Dragon’ ? The idea underlying these words is best illustrated by the following story, dating perhaps from some forty years earlier than the hymn: Recently a man who lived on the frontier lost his horse which ran away into the land of the barbarians. He was very much upset, and everyone condoled with him, except his father who remarked cheerfully, ‘This may be a blessing in disguise.’ And sure enough the lost horse came back bringing with it a ‘fine horse,’ that is to say, a horse of superior value and breed. The Emperor in this hymn hopes that the Ferghana horses would one day bring along a Dragon, a being even more magical than a Heavenly Horse.

The general implication of the hymn therefore is that the Heavenly Horses will carry the Emperor to the abode of the Immortals on the magical mountain K’un-lun. He imagines himself, I think, driving in a chariot drawn by horses rather than riding on horseback. Riding did not become common in China till the fourth century BC and was in the second century still felt ‘to be a utilitarian, unlegendary form of transport. More than this, the Ferghana horses being, as another hymn in the series says, ‘friends of the Dragon ‘ who is master of the clouds, will eventually carry him to Heaven, to the Abode of God-on-High-(Shang Ti).

The preceding hymn (No. 9 in the series), which is about the fleeting and uncertain nature of man’s life, ends with the words, ‘Why does not Tzu-huang come down to me?’ Tzu-huang was the horse with dragonwings that carried up the mythical Yellow Emperor to Heaven. There are many Chinese stories of legendary monarchs being carried up to Heaven by magic steeds; but it would be difficult to prove that any of them is older than the fourth century BC. It is interesting to compare these Chinese myths with Indian ideas about the relation of monarchs to magic steeds. In Indian legends the magic horse Valaha (‘Cloud’), is one of the ‘seven treasures’ of a great monarch. Valaha came up out of the sea, just as the Ferghana horse and others in which the Chinese were interested came up out of the water, and carried Simhala, the legendary founder of the Kingdom of Ceylon, back to India when he was on the verge of being eaten by female cannibals.

The Emperor Wu had, as I have mentioned, for some time past been on the look-out for a magic horse, ‘born from’ a stream. In 121 BC someone thought it worthwhile to report to the Court that a horse had come up out of a river to the north of the Ordos, the great square-shaped northern bend of the Yellow River. We have no details about this horse ; but in 113 BC another strange horse was not only seen but captured and sent to Court. A Chinese who in consequence of some misdemeanour had been sent to do service at the military colony near Tun-huang, on the northwest frontier, frequently saw a horse of strange appearance drinking in the river along with a number of wild horses. He tamed the strange horse by putting at the water-side a dummy figure of a man whose hands were bridle and halter. When the horse was used to this sight he substituted himself for the dummy, captured the horse and sent it to Court. In order to prove that the horse was ‘divine’ he pretended that it had come up from under the water. His story was evidently believed at the time, for this horse, too (like the Ferghana horses twelve years later), was made the subject of a hymn to be used in the Imperial sacrifices :

The Heavenly Horse comes down
A present from the Grand Unity,
Bedewed with red sweat
That foams in an ochre stream
Impatient of all restraint
And of abounding energy.
He treads the fleeting clouds,
Dim in his upward flight;
With smooth and easy gait
Covers a thousand leagues.

Historians of religion, particularly those of the Vienna school, regard as ‘the beginning of religion’ the belief in a supreme celestial deity who later becomes merely a vague memory and ultimately fades away or becomes merged in other, more concrete cults. The ‘Grand Unity‘ (or ‘Great Unique,” as one might also translate it) of this hymn has therefore particular interest as a religious phenomenon, being a supreme celestial deity whose origin (at any rate as a national cult), whose heydey and disappearance all take place before our eyes within a limited historical period. So far from belonging to a remote, ‘archaic’ past he begins, officially at any rate, in 133 B.C. Up till then the Grand Unity was a philosophic conception denoting the primal unity out of which grew the plurality of the universe as we know it. Sometimes the phrase is a synonym of Tao, the underlying principle of the Universe in Taoist philosophy. But in the second century BC a cult sprang up in which the Grand Unity figures not as a philosophic conception but as a personal divinity, the highest of all gods, worshipped with an elaborate ritual. About 133 BC a member of the Grand Unity sect prevailed on the Emperor Wu to make the whole Imperial cult centre round this deity. The Grand Unity maintained this position during several reigns and the cult was only brought to an end (along with many other religious innovations of Wu’s reign) in 32 BC.

I will leave aside for the moment the other points of interest in the Heavenly Horse hymn of 113 BC and note here that the Emperor’s search for immortality did not begin with his interest in divine horses. He had, as is well known, for long past been pursuing this quest on other lines. He had sent numerous and costly expeditions to the East in the hope of discovering islands inhabited by Immortals who might be persuaded to yield their secrets to him. He had dabbled in alchemy, in the belief that if he ate out of vessels made of alchemic gold he would live forever, or at any rate for a prodigiously long time. The expedition to fetch magic horses from the West was, it seems to me, merely a continuation of his earlier quests in the East. ‘The Emperor Wu,’ says Wen Ying in about AD 200, ‘had set his heart on immortality. He was always hoping that a Heavenly Horse would come and carry him to K’un-lun,’ the western Abode of the Immortals. At last when all his guests in the East had failed and when the Horse did not come of its own accord (as it had come to legendary Emperors in the past, both in India and in China) he determined, having known for long that the king of Ferghana had such horses, to wrest some from him by diplomacy or, if need be, by force.

We have seen, then, how the horses were regarded by the Chinese Emperor. Other people, less obsessed by magico-religious ideas, may have viewed them differently; but there is nothing in the Chinese sources to suggest that they were needed or used for military purposes. Naturally, the normal political excuses were made for the expedition. In a public proclamation the Emperor accused Ferghana of having killed two Chinese envoys on their way to the west and an Indian envoy who was on his way to China. The excuse has a familiar ring. One is reminded, for example, of the German seizure of Tsingtao in 1897, alleged to be a reprisal for the murder of the German missionaries Nies and Henle.

Another question clearly arises. How were the Heavenly Horses regarded by the king of Ferghana and what role did they play at his Court? It is generally assumed that they were battle-chargers. But I wonder whether their function was not perhaps something like that of the ten Nesaean horses ‘most gorgeously caparisoned,’ who in the procession of the Persian king Xerxes, as described in the seventh book of Herodotus, walked immediately in front of the sacred chariot of ‘Zeus’ ? ‘And it occurs to one that to this same category of ceremonial horse may very well belong the ten yellow mares of the Pazaryk grave mound, in the eastern Altai, preserved in a solid ice block. They form part of the burial gear of a semi-nomad chieftain who lived perhaps somewhere about the 5th century B.C. ‘They are,’ says the Swedish archaeologist Karl Jettmar, ‘certainly of the noblest breed. They resemble the best strains of Turkmenistan or Ferghana.’ Two of them have masks. One mask represents a deer or reindeer; the other, a composite mythological creature. They may well have been special horses used by a ruler for ritual purposes, and perhaps (as Jettmar suggests) they took part in the funeral procession, which like the Scythian funeral processions described’ by Herodotus may have travelled an immense way. Their mythological function may well have been to carry the dead Khan to Immortality, just as the horse Tzu-huang carried the legendary Chinese Yellow Emperor and as in historic times the Emperor Wu hoped to be carried by the Ferghana horses. One is reminded, again, of the ‘treasure-horses,’ blue-grey in colouring and with black heads (that is to say, descendants of the magic horse Valaha) and gorgeously caparisoned, who took part in the procession that brought the infant Buddha back from Lumbini to his father’s palace. If the function of the Heavenly Horses at the Ferghana Court was a ritual rather than a practical one it would well explain why the king was so anxious not to part with them and at one point even threatened to kill them all rather than let them fall into the hands of the Chinese.

Though the main subject of this essay is the relation between the Ferghana expeditions and the religious pre-occupations of the Chinesr Emperor, the texts we have studied do also tell us something about the physical characteristics of the Ferghana horses, and it may be worth while to close with a few remarks on this subject. The first of the two hymns mentions that two Heavenly Horses had stripy backs. Lydekker in The Horse and Its Relatives says : ‘It has been noticed that dun-coloured domesticated horses frequently show a tendency to develop … one or two transverse dark stripes across the shoulder, and another along the middle line.’ Such presumably were the two Ferghana horses, and the Chinese regarded them as ‘marked’ by heaven and consequently particularly sacred. The other physical characteristic commonly attributed to Ferghana horses is that they ‘sweated blood.’ This, as we have seen, was also said of the horse sent from near Tun-huang in 113 BC. Professor Dubs, in his valuable translation of the Han History, has suggested that the flow of blood was caused by lesions inflicted on the horses by a parasite with the intimidating name Parafilaria multipapillosa. There is in any case no question of this characteristic being merely legendary. In AD 78 the Emperor Chang gave one of his uncles ‘a Ferghana horse which bled from a small hole above its front upper leg.’ In the letter that accompanied this gift he said, ‘I had often heard the line in Emperor Wu’s song about the Heavenly Horse in which it is said that it is ‘ bedewed with red sweat,’ and I have now seen with my own eyes that this is actually the case.’ Presumably the ‘hole’ looked more like a pore in the skin than a wound, and therefore what came out of it was regarded as sweat rather than blood.

Nowhere, I think, is it said that they were larger than Chinese horses, though this has constantly been assumed by Western writers. The only horses that the Chinese at this period call big (ta) were to be found not in Ferghana but in Parthia. ‘They have the big horse and the big bird (ostrich),’ says the Han History. But there is no record of those huge Parthian steeds (no doubt the Parthikoi of Strabo, which he says were of the same build as the huge Nesaean horses) being brought to China.

To sum up: the accepted idea about the Ferghana expeditions is that the Emperor Wu sent them in order to obtain ‘horses larger and fleeter than the small steppe breed.” It is assumed that in this he was successful and that the ‘western’ type of horse seen in some of the second century A.D. grave-reliefs corresponds to the type of horse brought back from Ferghana in 101 BC. I would re-formulate this view as follows: The Emperor sent the expeditions in order to secure Heavenly Horses which would carry him to Heaven. There is no evidence that Heavenly Horses were used in battle either in Ferghana or China: If they had been they would hardly have remained long, as it were, ‘on the secret list.’ I’m inclined, to think that their function was a ritual one, both in Central Asia and in China. About the breed of the horses that the Emperor secured we know nothing. But it is reasonable to suppose that the existence of the ‘Western’ horse in China, in the second century AD was due to Chinese intercourse with the West from the second century BC onwards and that the Ferghana expedition, as an episode in this intercourse, may well have played its part in what was perhaps a gradual process. There is no justification for saying as Tam does that ‘the origin of the Ferghana horses must have been one of the great Parthian war-horses’ or that the Ferghana horses were ‘of the great Nesaean-Parthian breed.’.

Thus though my main object was to show that this episode cannot be properly understood without taking into account more than has hitherto been done its magico-religious aspects, my conclusions about its secular, concrete aspects are also somewhat different from those of my predecessors (Waley, 1955).

Updated: 11-26-21

I posted Waley (1955) because I wanted to highlight the origin of heavenly horses and their historical connection to dragons. But for the sake of balance, I’m posting Creel (1982) because he successfully refutes the former’s claim that the horses were procured for only religious reasons:

Waley, “Heavenly Horses of Ferghana,” 102, takes the position that the horses of Fergana were sought by the Han Emperor Wu “in order to secure Heavenly Horses which would carry him to Heaven.” He says that “there is no evidence that Heavenly Horses were used in battle either in Ferghana or in China.” (Ibid., 102.) But in fact, as we have seen, the use of Fergana horses in fighting is mentioned in Hou-Han-shu, 110A.4b. By speaking here of “Heavenly Horses” Waley is evading the real question: were horses obtained from Fergana used in battle in Han times? The answer is that they were. Waley also says: “Nowhere, I think, is it said that they [i.e., “Heavenly Horses”] were larger than Chinese horses, though this has constantly been assumed by Western writers.” (Ibid.) The evidence cited above certainly indicates that the Fergana horses were extremely large and that there is every reason to feel assured that they were much larger than most of the horses in China both in Han times and later. Further evidence against Waley’s view is the nature of the titles of the two men sent by the Emperor to Fergana “to select good horses.” (Shih-chi, 123.37.) These would appear to be ordinary official titles and refer to “managing horses” and “driving horses.” If the purpose had been primarily to select horses having special religious virtues, why did the Emperor not send men with religious qualifications? Certainly there was some religious aspect to this curious affair, and Waley has performed a service by emphasizing it. But in doing so he has given undue attention to a part of the evidence and neglected other parts of it entirely (p. 176 n. 66).

Please see the PDF below for the entire chapter.

Archive link

Click to access Herrlee-G.-Creel-What-Is-Taoism_-and-Other-Studies-in-Chinese-Cultural-History-1970-Ch.-8-on-Horses.pdf


This has been uploaded for educational purposes. No malicious copyright infringement is intended. Please support the official release.


1) This is a homophonous pun on Bimawen (避馬瘟, lit: “avoid the horse plague”), 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).


Creel, H. G. (1982). What is Taoism?: And other Studies in Chinese Cultural History. Chicago (Ill.): University of Chicago Press.

Eberhard, W. (1969). The Local Cultures of South and East China. Leiden: E.J. Brill.

Waley, A. (1955, February). The Heavenly Horses of Ferghana. History Today, 5, 95-103.

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

Journey to the West Artist Spotlight #1: Dario Virga

From time to time I like to post a fun blog not directly related to (though sometimes informed by) my research. Regular articles will resume after this entry.

Anyone who has read my blog will know that I’m an avid fan of researching the history and influences of Journey to the West. But as an artist, I am also a fan of JTTW-related artwork. There are so many talented people in the world who post their traditional and original designs and comics online, so I’ve decided to feature some of them on my blog. My hope is that such posts will expose this art to a wider audience interested in JTTW, while also documenting modern day perceptions and depictions of the novel and its characters.

Our first artist is Dario Virga, who goes by Onibotokemaru on Instagram. They were kind enough to answer some interview questions, as well as allow permission to display a few of their pieces.

I. Q & A

1) Can you tell me a little about yourself?

Real name Dario Virga, from Italy (Piedmont). Interest in eastern culture and literature, mostly from Japan and China.

2) Are you self-taught or did you go to art school?

Self-taught, though I had some help from someone who went to art school.

3) What are your main sources of artistic inspiration?

Usually animals and characters/elements taken from mythology and literature.

4) How did you learn about Journey to the West?

My very first contact with Journey to the West was back when I was younger, in a book about Chinese myths. Later I found an integral translation done by Serafino Balduzzi (translated from a French one).

5) Who is your favorite character?

Tough question, but I like most of the characters. If forced to choose, I’d say Pigsy for the good guys and the Bull Demon King for the villains.

6) Do you have a favorite episode from the novel?

Probably the whole Gold Horn & Silver Horn arc.

7) Does the novel have a special meaning to you?

Not a special meaning per se, but it was a novel I really enjoyed, both for the setting, the narration, the characters within and watching them grow.

8) Can you tell me about your ongoing JTTW-related projects?

Plan to make a gallery of, if not all, at least a huge amount of the novel’s characters.

II. Art and Thought Process

1. As the opening drawing of the Xiyouji-themed Inktober set, I’ve decided to focus not on Sun Wukong himself but rather on Tripitaka, the monk, as Guanyin Pusa appears before him to assign him the quest for the sutras. Guanyin’s reference are commonly-found icons and statues. Between the two of them float the items Tripitaka receives (the cossack, nine-ringed staff and hat).

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2. This is the first time I depict Sun Wukong in the series, and I did it based his design on an article written on this very blog, trying to stick as much as possible to his literary description, especially regarding the clothing (monk’s shirt and tiger pelt kilt held by a rope), short stature, simian face and bald spot on the top of the head (converted to Buddhism). I gave him long spike-like hair in the back because otherwise his head felt too small. The Ruyijingubang has a rather simple design, as I never liked its depictions with pommels on both ends. I also tried to make the inscriptions on the shaft, but ultimately gave up, admittedly.

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3. This picture has Sun Wukong fighting against the Iron Fan Princess, who sends him flying away with her Banana Leaf Fan. Once again, I wanted to show how small Monkey is (in comparison to nearly everyone else, though I’m not always 100% consistent) and remind that the Ruyijingubang can increase in both length and width, as seen here where he tries to use it as a shield to block the wind, unsuccessfully. Also of note, the massive stone pillar on which the “address” of the Iron Fan Princess is written.

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4. This one isn’t based on any specific event, but it’s here to bring out two topics: the first is the size of the party members, which I always tried to keep consistent (and tried is the keyword). The idea is that Sun Wukong is the smallest of the group (4 feet), then we have Tripitaka, the “normal” one, and the Dragon (horse-sized): Pigsy (here depicted with a hint of boar) is the second tallest but also the fattest, while Sandy is the tallest of the party (and definitively not a Kappa). The second one is Sha Wujing’s weapon: while it’s usually depicted as a Monk Spade, the actual name is the “Demon-Subduing Treasure Cane” (降魔宝杖, Xiangmobaozhang), making it a stick/staff. However, it’s also worth a mention that the Monk Spade is sometimes called “Zen Cane” (禪杖, Chanzhang), a term which also refers to the ringed staff used by monks. Admittedly, I liked the spade version the most, though I plan to depict this weapon as a staff when Sandy is in his celestial marshal/arhat forms, implying that the staff changed into a spade when he fell from Heaven.

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5. The big battle between Sun Wukong and the Lion Demons working for the Great Sage Nine Spirits (seen in the background, in his giant nine-headed form): this was mostly done because it was one of the rare parts of the book where Sandy actually fights the monsters alongside Sun Wukong (as Pigsy was captured), as well as an attempt to make a big battle scene.

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6. The only god who actually beat Monkey, Erlang Shen. Since the Inktober was focused on the journey itself, I’ve decided to depict their battle as a bad dream. This time, Monkey wears his old, stylish outfit he got from the Dragon Kings, while Erlang is in full battle regalia, including his “Sanjiang Lianrendao” (三尖两刃刀 Three-pointed, Double Edged Glaive) and his Heavenly Roar Dog.

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7. The clash between the three pilgrims and the three Demon Kings of Lion Camel Mountain, from top to bottom: the Blue-Haired Lion vs Sha Wujing, the Yellow-Tusked White Elephant vs Zhu Bajie and the Golden-Wings Peng King vs Sun Wukong. The design of the three kings was based on a series of pictures I loved very much. Once again, a reminder that Wukong’s staff can widen as well.

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8. Sun Wukong fights the three Rhino Kings, who’re kidnapping Tripitaka. This time I wanted to depict Monkey twirling his staff as he fights. Like with the Demon Kings above, the design of the three Rhinos was based on the same set of pictures, even though I remember that in the novel they’re described as “bull-like” in appearence. Particularly like the dust cloud to the right.

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9. Sun Wukong is poisoned by the Scorpion Spirit. Aside from the scenery, I like the scorpioness. I’ve noticed in several arts (even old ones) that she sports a relatively skimpy outfit. As of her weapon, mentioned to be a “fork/trident” in the book, I’ve seen plenty of depictions with both the single trident version and the smaller, dual trident version.

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10. As a bookend, I’ve depicted a scene from the end of the book, the moment where Tripitaka drowns and ascends to buddhahood, so that he can obtain the sutras properly. This is also to represent one of the things I liked the most from the novel, the gradual growth of the pilgrims and the attachment to Tripitaka as a father figure. [Note: Tripitaka sheds his mortal form as he and his disciples are ferried across a body of water to the Buddha’s paradise. See the paragraph above image one and the material between images two and three in this article.]

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

Type “Zhu Bajie” (豬八戒) into Google images and you will generally see a cute or friendly-looking pig-man with pink skin, big ears, a short snout, and a large stomach, and he will inevitably be holding some form of metal rake. Most iterations will likely be based on the character’s iconic look from the classic 1986 TV show, which portrays him wearing a Ji Gong-style Buddhist hat (Ji Gong mao, 濟公帽) with a golden fillet (à la Sun Wukong), a handkerchief tied around his neck and a sash at his waist, and black monk’s robes open at the chest (fig. 1). You might even see a few images depicting Zhu as a hulking warrior, but rarely will you see him portrayed with dark skin. So how do these representations compare to his depiction in the novel, and who has produced the most authentic look? In this article I present Zhu’s literary description, along with ancient depictions that predate the novel. My hope is that the information will be both interesting and useful, especially for artists and cosplayers looking to make a more authentic design.

I should note that this is not meant to be an exhaustive survey, just a general overview.

Zhu Bajie In-Flames Action Figure- small

Fig. 1 – A modern action figure of Zhu Bajie from the 1986 TV show (larger version).

1. Ancient Depictions

Zhu’s earliest depictions hail from the 14th-century as he is a latecomer to the story cycle, postdating the appearance of Sun Wukong and Sha Wujing by centuries. He is featured on a ceramic pillow and an incense burner from late Yuan China, as well as a series of carvings on a stone pagoda from late Goryeo Korea. Each piece draws on the same motif, depicting Zhu as a pig-headed monk taking large strides as he shoulders his rake and/or leads the horse. Even in instances where the weapon and equine are not present, he’s depicted in the same general posture (fig. 2-4).

Korean Pagoda paper - Pigsy iconography comparison

Fig. 2 – Detail of Zhu from a Cizhou ware ceramic pillow. See here for the full image. Fig. 3 – Detail from the incense burner. See here for the full image. Fig. 4 – Detail from panel two of the Korean pagoda. Note the figure’s matching posture. See here for the full line drawing.

2. What the novel says

2.1. Physical appearance

A poem in chapter 8 contains the earliest reference to Zhu’s appearance:

Lips curled and twisted like dried lotus leaves;
Ears like rush-leaf fans [pushan, 蒲扇] and hard, gleaming eyes;
Gaping teeth as sharp as a fine steel file’s;
A long mouth wide open like a fire pot [huopen, 火盆].
[…] (Wu & Yu, 2012, vol. 1, p. 211).

Chapter 18 provides more detail about his bristly neck and dark skin:

“Well,” said old Mr. Gao, “when he first came, he was a stout, swarthy [hei, 黑; lit: “black”] fellow, but afterwards he turned into an idiot with huge ears and a long snout, with a great tuft of bristles [zongmao, 鬃毛; lit: “mane”] behind his head. His body became horribly coarse and hulking. In short, his whole appearance was that of a hog!” (Wu & Yu, 2012, vol. 1, p. 372).

When the violent gust of wind had gone by, there appeared in midair a monster who was ugly indeed. With his black face [hei lian, 黑臉] covered with short, stubby hair, his long snout and huge ears, he wore a cotton shirt that was neither quite green nor quite blue. A sort of spotted cotton handkerchief was tied round his head (Wu & Yu 2012, vol. 1, p. 375).

The mane on the back of Zhu’s head is such a prominent feature that he took it as his personal name: “[M]y surname is based on my appearance. Hence I am called Zhu ([豬] Hog), and my official name is Ganglie ([剛鬣] Stiff Bristles)” (Wu & Yu 2012, vol. 1, p. 376).

Chapter 19 shows he has hands and feet like a man:

The monster did indeed raise his rake high and bring it down with all his might; with a loud bang, the rake made sparks as it bounced back up. But the blow did not make so much as a scratch on Pilgrim’s head. The monster was so astounded that his hands [shou, 手] turned numb and his feet [jiao, 腳] grew weak (Wu & Yu 2012, vol. 1, pp. 383-384).

Compare this to the mention of hooves (ti, 蹄) when he transforms into a giant boar in chapter 67 (see section 2.2 below).

Chapter 29 gives the fullest description:

My elder disciple has the surname of Zhu, and his given names are Wuneng [悟能] and Eight Rules [Bajie, 八戒]. He has a long snout and fanglike teeth, tough bristles on the back of his head, and huge, fanlike ears. He is coarse and husky, and he causes even the wind to rise when he walks (Wu & Yu 2012, vol. 2, p. 51).

Chapter 85 reveals the shocking size of his snout:

A snout, pestlelike, over three Chinese feet long [san chi, 三尺, 3.15 feet/96 cm] [1]
And teeth protruding like silver prongs.
Bright like lightning a pair of eyeballs round,
Two ears that whip the wind in hu-hu [唿唿] sound.
Arrowlike hairs behind his head are seen;
His whole body’s skin is both coarse and black [qing, 青]. [2]
[…] (Wu & Yu 2012, vol. 4, p. 149).

Chapter 90 notes Zhu has a tail: “Seizing him by the bristles and the tail [wei, 尾], the two spirits hauled Eight Rules away to show him to the nine-headed lion, saying, “Grandmaster, we’ve caught one” (Wu & Yu 2012, vol. 4, p. 219).

We can see from these quotes several features that appear again and again. These include a bristly mane on the back of his head, fan-like ears, a big mouth with protruding fangs, an overly long snout, and a hulking body with black, furry skin. He is also said to have human hands and feet and a pig tail. This grotesque description greatly differs from his cutesy appearance in modern media. It’s important to note that, just like Sun Wukong, Zhu was modeled on a real life animal. In this case, he shares many of his monstrous qualities with the wild boar (yezhu, 野豬) (fig. 5 & 6).

While the novel doesn’t give an exact height for our hero, the cited attributes do provide clues as to his general size. First and foremost is Tripitaka‘s statement: “[H]e causes even the wind to rise when he walks” (Wu & Yu 2012, vol. 2, p. 51). Obviously something capable of stirring the wind just from moving is going to be really big. Then there is Zhu’s 3.15 foot (96 cm) snout, which is over half the height of an average person. This suggests he’s several feet taller than a human. Furthermore, the novel states Sha Wujing is a whopping twelve Chinese feet (zhang er, 丈二; 12.6 feet / 3.84 m) tall (Wu & Yu 2012, vol. 2, p. 51). [3] Zhu is likely shorter than Sha as the latter’s height is specifically mentioned. So I would guess that he is at least 10 feet (roughly 3 m) tall. Zhu’s size is highlighted in some lovely online art (fig. 7 & 8).

Fig. 5 – A pack of running Visayan warty pigs (larger version). Image found here. Fig. 6 – An Indian boar (larger version). Check out that cool hair!!! Fig. 7 – The relative sizes of the pilgrims (larger version). As noted, I believe Zhu is probably shorter than Sha. Fig. 8 – The disciples on patrol (larger version). This is my favorite. Images found here. Artwork by @真·迪绝人.

2.2. Original form?

Zhu provides two contradictory origins for himself, which have implications for what his true form may be and why he looks the way he does in the novel. [5] A biographical poem in chapter 19 explains he was once a wayward, lazy youth who took up Daoist cultivation and later rose on clouds to receive celestial rank in heaven. But his immortal spirit was eventually exiled for drunkenly forcing himself on the moon goddess and mistakenly regained corporeal form in the womb of a sow, becoming the pig spirit that we know today (Wu & Yu 2012, vol. 1, pp. 378-379). [6] However, a poem in chapter 85 implies he was already a powerful pig monster who was given celestial rank but later exiled for drunkenly mocking the moon goddess, destroying Laozi‘s palace, and eating the Queen Mother‘s magic herbs (Wu & Yu 2012, vol. 4, p. 149). The latter origin might be represented in chapter 67 when Zhu transforms into a gigantic boar (fig. 9):

A long snout and short hair—all rather plump.
He fed on herbs of the mountain since his youth.
A black face with round eyes like the sun and moon;
A round head with huge ears like plantain leaves.
His bones were made lasting as Heaven’s age;
Tougher than iron was his thick skin refined.
In deep nasal tones he made his oink-oink cry.
What gutteral grunts when he puffed and huffed!
Four white hoofs [ti, 蹄] standing a thousand feet tall;
Swordlike bristles topped a thousand-foot frame. [7]
Mankind had long seen fatted pigs and swine,
But never till today this old hog elf [lao zhu xiao, 老豬魈].
The Tang Monk and the people all gave praise;
At such high magic pow’r they were amazed (Wu & Yu 2012, vol. 3, p. 253).

Fig. 9 – Zhu’s giant boar form from the manhua Journey to the West (Xiyouji, 西遊記) (larger version).

2.3. Clothing

Zhu is not associated in popular culture with any specialized clothing or adornments like Sun Wukong, who’s very name brings to mind the golden fillet, a tiger skin kilt, and golden armor with a feather cap. But several later chapters do mention our pig hero wearing a “black brocade zhiduo robe” (zao jin zhiduo, 皂錦直裰) (ch. 55, 61, 72, & 86) or just a “black zhiduo robe” (zao zhiduo, 皂直裰) (ch. 63, 67, & 84). [4] The zhiduo robe is known colloquially in English as “Buddhist monk” or “Taoist monk” robes. Also called haiqing (海青), such garments reach almost to the ground and have long, broad sleeves. The robe is closed by a tie on the right side of the torso (fig. 10; also refer back to fig. 7).

Fig. 10 – A zhiduo/haiqing robe (larger version). Image found here. Imagine this robe with black cloth.

2.4. The rake

Zhu’s signature weapon is first mentioned in chapter 8. A line from his introductory poem reads: “He holds a rake—a dragon’s outstretched claws” (Wu & Yu, 2012, vol. 1, p. 211). The most detailed description appears in chapter 19:

This is divine bin steel greatly refined, [8]
Polished so highly that it glows and shines.
Laozi wielded the large hammer and tong;
Mars himself added charcoals piece by piece.
Five Kings of Five Quarters applied their schemes;
The Six Ding and Six Jia Spirits expended all their skills. [9]
They made nine prongs like dangling teeth of jade,
And double rings were cast with dropping gold leaves.
Decked with Five Stars and Six Celestial Bodies, [10]
Its frame conformed to eight spans and four climes.
Its whole length set to match the cosmic scheme
Accorded with yin yang, with the sun and moon:
Hexagram Spirit Generals etched as Heaven ruled;
Eight-Trigram Stars stood in ranks and files.
They named this the High Treasure Golden Rake, [Shang bao qin jin pa, 上寶沁金鈀]
[…] (Wu & Yu, 2012, vol. 1, p. 382).

So we see the rake has nine jade-like teeth and a bin steel body decorated with two golden rings and inscriptions of the sun, moon, and planets, as well as hexagram and eight-trigram symbols. The exact position of the rings is not specified, but one online drawing shows them at each end of the rake head (refer back to fig. 8). This might be a reference to the rings capping the ends of Sun’s weapon. While the weight is not listed on the rake like the Monkey King’s staff, chapter 88 states it is 5,048 catties (wuqian ling sishiba jin, 五千零四十八斤; 6,566 lbs. / 2,978.28 kg), [11] or the weight of the Buddhist canon (Wu & Yu, 2012, vol. 4, p. 200). [12]

Since the rake’s literary description is more vague than that of Wukong’s staff, my normally strict views on the accuracy of the disciples’ weapons in various media don’t really apply in this case. This is especially true as even historical depictions are all over the place (fig. 11 & 12). I think the monstrous pig face on the rake from the 1986 TV show-inspired action figure is really neat (refer back to fig. 1). Another favorite of mine is the spiky rake from the ongoing manhua The Westward (Xixingji, 西行記, 2015-present) (fig. 13).

Fig. 11 – A print of Zhu vs Sha Wujing from the Shide tang edition (1592) of the novel (larger version). The weapon is portrayed as a war rake used by the Chinese military. Fig. 12 – His rake is depicted as a wolftooth club in Mr. Li Zhuowu’s Criticism (late-16th/early-17th-century) (larger version). Fig. 13 – Zhu (top) wields the rake against his evil brother (bottom) in The Westward (larger version). This brother is not a character in the original novel.

The following two sections include a small sampling of what I consider to be the least and most accurate portrayals in past and modern media. These are presented in no particular order.

3.1. The least accurate

1) Journey to the West (1996/1998) – It’s like the show’s creators purposely went in the opposite direction. Instead of big, black, and scary, they went with small, pink, and cute (fig. 14).

Fig. 14 – Wayne Lai as the adorable pig spirit (larger version).

2) The Monkey King 2 & 3 (2016/2018) – It’s the same as before but minus the hair (fig. 15).

Fig. 15 – Xiaoshenyang as the fake hero (larger version).

3) The Precious Lotus Lantern (Baolian deng, 寶蓮燈, 2005) – And then there’s this mess… (fig. 16).

Fig. 16 – Xie Ning (谢宁) as “Spaghetti Head” Zhu (larger version).

3.2. The most accurate

1) The Westward (Xixingji, 西行記, 2015-present) – This is perhaps the closest to his literary description (but his body and hair should be darker) (fig. 17). Admittedly, this is not the character’s original form. The manhua portrays Zhu as a small, pink pig-man who needs to absorb energy from the surrounding environment in order to achieve this monstrous transformation.

Fig. 17 – Zhu’s ultimate form (larger version).

2) Journey to the West (2011) – This is how Zhu is portrayed when he’s still a monster (fig. 18). He has the dark skin, fangs, and mane. But he later changes to a friendly, pink pig-man once subjugated.

Fig. 18 – Zang Jinsheng as the armored pig monster (larger version).

3) The Cave of the Silken Web (1927) – While missing his bristly mane, Zhu is portrayed with a long snout, big ears, and, most importantly, black skin (fig. 19). He is also wearing a black zhiduo robe. Thanks to Irwen Wong for suggesting this entry.

Fig. 19 – Zhou Hongquan (周鴻泉) as Zhu in The Cave of the Silken Web (1927) (larger version).

4. Conclusion

While modern media often depicts Zhu as a friendly-looking, pink pig-man, the novel describes him as a giant pig monster with a bristly mane on the back of his head, fan-like ears, a big mouth with protruding fangs, a three-foot-long snout, and a hulking body with black, furry skin, human hands and feet, and a pig tail. He wears a black zhiduo robe. His 3.28 ton bin steel rake has nine jade-like teeth, two golden rings (possibly adorning the ends of the head), and a body inscribed with the sun, moon, and planets and hexagram and eight-trigram symbols. Needless to say, the literary Zhu is far more imposing than his modern, family friendly persona.


1) The Chinese foot (chi, 尺) was slightly longer than the modern western foot (12 in/30.48 cm). The Board of Works (Yingzao, 營造) of the Ming and Qing standardized the measurement at 32 cm (12.59 in), though it varied at the local level and at different times (Ruitenbeek, 1996, Chinese Dynasties and Chinese Measurements section). I’m basing the length given in the novel on that from the Board of Works as the novel was published during the Ming dynasty.

2) The original English translation says “green” (Wu & Yu 2012, vol. 4, p. 149). However, there are times when it refers to black. For example, the phrase “The black ox goes west” (qing niu xi qu, 青牛西去) references Laozi and the Daodejing (Ma & van Brakel, 2016, p. 328 n. 71). In addition, the novel previously refers to Zhu having a “black face” (hei lian, 黑臉) (Wu & Yu 2012, vol. 1, p. 375).

3) This recalls the origin of the immortal Iron Crutch Li (Li tieguai, 李鐵拐), whose body was prematurely burnt by a disciple while his celestial spirit traveled to heaven. Upon his return, Li was forced to take corporeal form in the body of a recently deceased cripple.

4) Yu (Wu & Yu, 2012) translates the garment as “black cloth shirt” (Wu & Yu 2012, vol. 3, p. 253, for example).

5) Thank you to Irwen Wong and Anthony “Antz” Chong for bringing this to my attention.

6) See note #1 for how this measurement is calculated.

7) The original English translation says “hundred-yard” (Wu & Yu 2012, vol. 3, p. 253). However, the Chinese states 百丈 (bai zhang), or 100 x 10 Chinese feet, which of course equals 1,000 feet.

8) The original English translation/Chinese text states “divine ice steel” (shen bing tie, 神冰鐵) (Wu & Yu, 2012, vol. 1, p. 382). However, this is likely an error for “divine bin steel” (shen bin tie, 神鑌鐵) as bing (冰) and bin (鑌) sound similar. Bin steel (bin tie, 鑌鐵) was a high quality metal originally imported from Persia before the secret of its manufacture reached China in the 12th-century. It is mentioned a few times in the novel, including being associated with Monkey’s staff in one instance (Wu & Yu, 2012, vol. 3, p. 375).

I’ve made several changes to the translation from this point forward to better accord with the original Chinese.

9) The “Six Ding and Six Jia” (六丁六甲, Liuding liujia) are protector spirits of Daoism (Mugitani, 2008).

10) The “Five Stars” (wuxing, 五星) refer to Mercury (shuixing, 水星), Venus (jinxing, 金星), Jupiter (muxing, 木星), Mars (huoxing, 火星), and Saturn (tuxing, 土星). The Six Celestial Bodies (liuyao, 六曜) refer to the sun (taiyang/ri, 太陽/日) and moon (taiyin/yue, 太陰/月) and the four hidden pseudo-planets Yuebei (月孛), Ziqi (紫氣), Luohou (羅睺), and Jidu (計都). Combined, they are called the “Eleven Luminaries” (shiyi yao, 十一 曜), and these are sometimes broken into the “Seven Governors and Four Hidden Luminaries” (qizheng siyu, 七政四余) (Wang, 2020, pp. 169-170; Hart, 2010, p. 145 n. 43).

11) The original English translation says “five thousand and forty-eight pounds” (Wu & Yu, 2012, vol. 4, p. 200). However, the Chinese version uses jin (斤), known in English as “catty“. The catty and pound are two different measures of weight, the former being heavier than the latter. Therefore, the English text has been altered to show this. The catty during the Ming Dynasty when the novel was compiled equaled 590 grams (Elvin, 2004, p. 491 n. 133), so 5,048 catties would equal 6,566 lbs. or 2,978.28 kg.

12) Yu (Wu & Yu, 2012) notes popular belief held that the Buddhist canon was comprised of 5,048 scrolls (vol. 4, p. 396 n. 7). I’m not sure if the rake’s weight was purely based on the number of scrolls, or if each scroll was believed to weigh one catty.


Hart, R. (2010). The Chinese Roots of Linear Algebra. United States: Johns Hopkins University Press.

Ma, L., & van Brakel, J. (2016). Fundamentals of Comparative and Intercultural Philosophy. United States: State University of New York Press.

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

Ruitenbeek, K. (1996). Carpentry and Building in Late Imperial China: A Study of the Fifteenth-century Carpenter’s Manual, Lu Ban Jing. Germany: E.J. Brill.

Wang, X. (2020). Physiognomy in Ming China: Fortune and the Body. Netherlands: Brill.

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