The “Immortal Register” of Journey to the West

Last updated: 04-01-2025

Anyone familiar with Journey to the West (Xiyouji, 西遊記, 1592; “JTTW” hereafter) will remember the event in chapter three where Sun Wukong gains another category of immortality by inking out his name (and those of all other primates) from the “register of births and deaths” (shengsi bu, 生死簿) in hell (Wu & Yu, 2012, vol. 1, pp. 140-141). But did you know that there is a corresponding book in heaven? The “immortal register” (xianlu, 仙籙) (fig. 1) records the names of all transcendent beings in the realm above. The term is also used in the novel to note official appointments in heaven, thereby designating officeholders as deities. For example, Monkey’s is a random earth immortal [1] until he is appointed the Bimawen, a sort of god of horses. This gives him power over all equines in the JTTW cosmos (Wu & Yu, 2012, vol. 1, p. 309; vol. 3, p. 77).

In this article, I would like to quote all mentions of the book or appointment in relation to Sun Wukong. I will also show that the concept is mentioned in Daoist texts as far back as the early-4th-century.

Fig. 1 – Perhaps the immortal register would look something like this stack of modern bamboo strip books (larger version). Image found here.

1. Mentions in JTTW

1.1. Chapter Two

Upon returning home from studying under Patriarch Subodhi, Monkey reveals his new name to his children. His future appointment is then foretold in a couplet:

“My surname is Sun,” replied Wukong, “and my religious name is Wukong.” When the monkeys heard this, they all clapped their hands and shouted happily, “If the great king is Elder Sun, then we are all Junior Suns, Suns the Third, small Suns, tiny Suns—the Sun Family, the Sun Nation, and the Sun Cave!” So they all came and honored Elder Sun with large and small bowls of coconut and grape wine, of divine flowers and fruits. It was indeed one big happy family! Lo,

The surname is one, the self’s returned to its source.
This glory awaits—a name recorded in Heaven [xianlu, 仙籙] (emphasis added)! (Wu & Yu, 2012, vol. 1, p. 130)

悟空道:「我今姓孫,法名悟空。」眾猴聞說,鼓掌忻然道:「大王是老孫,我們都是二孫、三孫、細孫、小孫一家孫、一國孫、一窩孫矣!」都來奉承老孫,大盆小碗的椰子酒、葡萄酒、仙花、仙果,真個是合家歡樂。咦!

貫通一姓身歸本,只待榮遷仙籙名。

1.2. Chapter Three

After receiving separate complaints about Monkey’s behavior, Heaven decides to give him a celestial position in order to keep his misadventures in check. A stellar deity is dispatched to invite him to the realm above:

The Gold Star came into the center of the cave and stood still with his face toward the south. “I am the Gold Star of Venus from the West,” he said. “I came down to Earth, bearing the imperial decree of pacification from the Jade Emperor, and invite you to go to Heaven to receive an immortal appointment [xianlu, 仙籙] (emphasis added)” (Wu & Yu, 2012, vol. 1, p. 144)

金星徑入當中,面南立定道:「我是西方太白金星,奉玉帝招安聖旨,下界請你上天,拜受仙籙。」

1.3. Chapter Four

After receiving his summons, Sun’s cloud somersault carries him to heaven faster than the envoy, and when he attempts to enter, his way is blocked by gate guardians. The aged star eventually arrives to resolve the issue, noting that he doesn’t yet have access because his name hasn’t been added to the celestial record.

“Old man,” said Wukong angrily to his face, “why did you deceive me? You told me that I was invited by the Jade Emperor’s decree of pacification. Why then did you get these people to block the Heaven Gate and prevent my entering?” “Let the Great King calm down,” the Gold Star said, laughing. “Since you have never been to the Hall of Heaven before, nor have you been given a name, you are quite unknown to the various heavenly guardians. How can they let you in on their own authority? Once you have seen the Heavenly Deva, received an appointment, and had your name listed in the Immortal Register [shoule xianlu, zhule guanming, 授了仙籙,注了官名] (emphasis added), you can go in and out as you please. Who would then obstruct your way?” (Wu & Yu, 2012, vol. 1, p. 145)

悟空就覿面發狠道:「你這老兒,怎麼哄我?被你說奉玉帝招安旨意來請,卻怎麼教這些人阻住天門,不放老孫進去?」金星笑道:「大王息怒。你自來未曾到此天堂,卻又無名,眾天丁又與你素不相識,他怎肯放你擅入?等如今見了天尊,授了仙籙,注了官名,向後隨你出入,誰復擋也?」

He serves as the keeper of the heavenly horses but rage quits upon learning that his rank is the lowest in heaven. But no one tries to stop him from leaving due to his official position:

When the Monkey King heard this, fire leaped up from his heart. “So that’s the contempt they have for old Monkey!” he cried angrily, gnashing his teeth. “At the Flower-Fruit Mountain I was honored as king and patriarch. How dare they trick me into coming to look after horses for them, if horse tending is such a menial service, reserved only for the young and lowly? Is such treatment worthy of me? I’m quitting! I’m quitting! I’m leaving right now!” With a crash, he kicked over his official desk and took the treasure [the staff] out of his ear. One wave of his hand and it had the thickness of a rice bowl. Delivering blows in all directions, he fought his way out of the imperial stables and went straight to the South Heaven Gate. The various celestial guardians, knowing that he had been officially appointed [xianlu, 仙籙] (emphasis added) a BanHorsePlague, did not dare stop him and allowed him to fight his way out of the Heaven Gate (Wu & Yu, 2012, vol. 1, p. 149).

猴王聞此,不覺心頭火起,咬牙大怒道:「這般藐視老孫!老孫在那花果山稱王稱祖,怎麼哄我來替他養馬?養馬者,乃後生小輩下賤之役,豈是待我的?不做他,不做他,我將去也。」忽喇的一聲,把公案推倒,耳中取出寶貝,幌一幌,碗來粗細,一路解數,直打出御馬監,徑至南天門。眾天丁知他受了仙籙,乃是個弼馬溫,不敢阻當,讓他打出天門去了。

1.4. Chapter Five

Monkey is offered a second appointment as the Great Sage Equaling Heaven following a brief but tense confrontation with the realm above. And while the term xianlu (仙籙) is not used, the narrative does mention him signing his name in the book:

Now we must tell you that the Great Sage, after all, was a monkey monster; in truth, he had no knowledge of his title or rank, nor did he care for the size of his salary. He did nothing but place his name on the Register [zhu ming, 註名] (emphasis added). At his official residence he was cared for night and day by the attending officials of the two departments. His sole concern was to eat three meals a day and to sleep soundly at night. Having neither duties nor worries, he was free and content to tour the mansions and meet friends, to make new acquaintances and form new alliances at his leisure (Wu & Yu, 2012, vol. 1, p. 160).

話表齊天大聖到底是個妖猴,更不知官銜品從,也不較俸祿高低,但只註名便了。那齊天府下二司仙吏,早晚伏侍,只知日食三餐,夜眠一榻,無事牽縈,自由自在。閑時節會友遊宮,交朋結義。

This implies that a transcendent must sign their name each time they take on a new roll.

2. Mentions in Religious Texts

It’s important to note that the immortal register is not the creation of the JTTW author-compiler. It can actually be traced to historical Daoist literature. For instance, the Scripture of the Nine Elixirs (Jiudan jing, 九丹經 , c. 300) describes a deity transferring a mortal’s name from the book of the dead to that of heaven once they ingest the ninth kind of elixir of immortality:

[Following the creation of the elixir…]

At dawn pay obeisance twice toward the sun, and ingest one pill with pure water from a well. It will make your body light, and in one hundred days the hundred diseases will be healed. The Jade Women will become your attendants. The Director of Destinies (Siming) will delete your name from the records of the dead (siji [死籍]) and enter it in the registers of immortality (xianlu [仙錄]).

[Pregadio’s (2006) explanation:] The Director of Destinies is the deity charged with establishing the length of each person’s life on behalf of the Great One (Taiyi). He performs his task by entering the individual’s name in the “records of the dead” or the “registers of immortality.”

You will travel through the air in any direction, and enter and exit the world without interruption. Nobody will be able to hold or restrain you: one moment you will be sitting, and then you will rise up and disappear. Lightly you will ascend riding the clouds, and rise to heaven (Pregadio, 2006, p. 187).

平旦,以井華水,向日再拜,吞一丸,令人身輕,百日百病除愈,玉女來侍,司命消除死籍,名著仙錄,飛行上下,出入無問,不可拘制,坐在立亡,輕舉乘雲,升於天矣。

2.1. Relationship to Sun Wukong

This is really interesting to me because Monkey’s story precisely matches the way the alchemist’s name is switched from one book to the other. His name is removed from the register of births and deaths in chapter three, and then it’s added to the immortal register in chapters four and five. The only difference is that the Great Sage removes his name by force instead of relying on a god to do it for him. Perhaps the author-compiler copied this process in order to lend some authenticity to Sun’s spiritual journey. What do you think?

It would be neat to see the immortal register pop up in fanfiction. Perhaps a fiend sneaks into heaven and steals it (for whatever nefarious reasons). This may seem like an impossible task, but JTTW chapter 63 mentions a spirit covertly infiltrating the realm above and taking celestial medicinal plants (Wu & Yu, 2012, vol. 3, p. 192). If this can be done, I’m sure the register can be pilfered, too.


Update: 04-1-25

A user on discord asked me if the immortal register from JTTW influenced a roster from Investiture of the Gods (Fengshen yanyi封神演義, c. 1620 CE). The “Roll of Investment” (Fengshen bag, 封神榜) is a preordained list of humans, immortals, and demons chosen to be canonized as gods following the great ShangZhou war. My reply—an educated guess—was that both lists were based on the historical register from Daoist literature.

Note:

1) Monkey is one of several types of immortals recognized in JTTW:

Tathagata said, “There are five kinds of immortals in the universe, and they are: the celestial, the earthbound, the divine, the human, and the ghostly” (Wu & Yu, 2012, vol. 3, p. 115).

如來才道:「周天之內有五仙:乃天、地、神、人、鬼。

This comes from the Zhong-Lu (鍾呂) sect of Quanzhen Daoism. See Kohn (2020, pp. 120-124) for more information about these five immortals.

Sources:

Pregadio, F. (2006). Great Clarity: Daoism and Alchemy in Early Medieval China. United States: Stanford University Press.

Kohn, L. (2020). The Zhong-Lü System of Internal Alchemy. Russia: Three Pines Press.

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

Archive #47: The Newly Annotated Journey to the West With Illustrations (Xinshuo Xiyouji (tuxiang), 1749/1888)

I. Original Text

The Newly Annotated Journey to the West (Xinshuo Xiyouji, 新說西遊記, 1749) by Zhang Shushen (張書紳) is one of three popular editions of JTTW that circulated during the Qing Dynasty (1644-1911) and overshadowed the original. [1] It contains a running commentary dispersed throughout the pilgrims’ many adventures. Anthony C. Yu (Wu & Yu, 2012) describes Zhang’s work as having a Confucian bias:

In his unabridged hundred-chapter Xinshuo Xiyouji (The Journey to the West, Newly Interpreted) of 1749, Zhang Shushen declared in the section entitled “Xiyouji zongpi 西游記總批 (Overall Comments on The Journey to the West)” that “the book Xiyou has been designated by the ancients as a book meant to illuminate the Dao [a pointed dig at the 1662 edition titled Xiyou zhengdao shu, with the Daoist-leaning preface attributed to Yu Ji … ], by which it originally means the Dao of the sages, the worthies, and the Confucians (儒 Ru). To consider it an illumination of the Dao of immortals and Buddhism would be a mistake, indeed.” From a point of view clearly unsympathetic to the popular movement of Three-Religions-Joining-As-One (sanjiao heyi 三教合一, a possibly millennium-old notion … ), Zhang defended the story of the quest for Buddhist scriptures as an allegory of the classic Confucian doctrines on the illustration of virtue (mingde 明德) and the rectification of the mind (zhengxin 正心), ignoring the repeated and complex elaborations of zhengxin in Chan Buddhism also for at least a thousand years prior to his time (vol. 1, pp. 51-52).

I’ve decided to archive a scanned copy of this work for posterity.

A digital version of the text (interspersed with other commentaries) can be found here.

Book link

Click to access Journey-to-the-West-Newly-Annotated-by-Zhang-Shushen-Xinshuo-Xiyouji-compressed.pdf

II. Text With Illustrations

I’ve previously archived illustrated versions of JTTW, including the original 1592 edition, (images from) Li Zhuowu’s late-16th-century critique, and a circa 1835 Japanese translation. Here, I’d like to add another, the Newly Annotated Journey to the West With Illustrations (Xinshuo Xiyouji tuxiang, 新說西遊記圖像, 1888). The original text and commentary are the same, but this edition features a preface by Wang Tao (王韜), as well as over 100 woodblock prints.

The prints in the archived book below are admittedly a little fuzzy. This webpage has somewhat clearer versions.

Book link

Click to access Journey-to-the-West-Newly-Annotated-With-Illustrations-1888-compressed.pdf

Prints of Zhu Bajie and Sun Wukong from the opening illustrations (larger version).

Note:

1) The Qing versions are noted for having shoehorned Tripitaka‘s life story (chapter nine) into the original 100 chapters of the 1592 edition.

Journey to the West Fanfiction Writer Spotlight #1: DarkscytheDrake

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 follows me on social media will know that I generally do not like modern adaptations of Journey to the West (Xiyouji西遊記, 1592; “JTTW” hereafter) (see here and here, for example). But thanks to enjoying this book, I’ve learned to temper my negativity. I’ve, therefore, decided to mirror the format of a series of past art-based articles [1] and shine a spotlight on the author of a JTTW-related fanfiction that I actually like. My hope is that such posts will expose their work to a wider audience interested in JTTW, while also documenting modern day perceptions and depictions of the novel and its characters.

Our first writer goes by the online handle DarkscytheDrake (AO3, Fanfiction.net, Spacebattles). They were kind enough to answer some interview questions, as well as allow permission to display some of their work.

I. Q & A

1) Can you tell me a little about yourself?

I’m 24 years old and live in the Middle East. I’m a huge fan of mythologies and old stories. I dabble in many aspects of the art world, and writing has been a hobby of mine since high school. Since I was a kid my dad used to bring me books from abroad to read. I’ve travelled the world thanks to my parents’ business trips and was exposed to many cultures and stories, which made me fall in love with them even more.

2) Are you self-taught or have you taken writing classes?

I’m self-taught, using the example of others. By the time I seriously thought about writing, there weren’t any writing workshops in my area, at least ones that didn’t focus on the genres I wanted to write in. English is my second native language and most books I read are in English.

3) What are your main sources of literary inspiration?

My main inspirations are the Inheritance Cycle, Shogun (book and TV show), The Hobbit (book and movies), and Bone. Manga like Fullmetal Alchemist have also taught me a lot about storytelling and character arcs.

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

I first became fully aware of Journey to the West proper, meaning not expys like Dragon Ball, when I visited China for the first time. I saw a lot of ads and costumes for the Monkey King, and I asked our guide who this character was. I did some research to get acquainted with the story and main players, and I left it alone until Black Myth: Wukong was announced, which revitalized my interest and prompted me to purchase an abridged version of the book, Monkey King. I read the Anthony C. Yu translation online. From there, I also watched some of his spin-off works like Lego Monkie Kid.

5) Who is your favorite character?

Sun Wukong is my favorite character, and while half of that does come from the sheer insanity of his powers and adventures, the other half comes from how much he learns in the journey, and the family he finds within his companions. His moments of innocence, like when he plays in the snow or his more vulnerable moments like in the White Bone Spirit arc. Princess Iron Fan has got to be my second favorite, though. She takes a lot of shit from her husband, suffered the imprisonment of her son and had to deal with Wukong’s antics, but ultimately remains a decent person and one of the few demons on the journey who isn’t wicked or wants to eat Tripitaka.

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

My favorite episode would have to be the fight against Demon Bull King, because of how personal it is to Wukong and the sheer scale of the fights that ensue there, like Wukong and DBK transforming into their giant forms and duking it out. Really, all of the Demon Bull family’s episodes (Iron Fan and Red Boy) are the best.

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

I’m honestly surprised by the sheer depth the novel has for its age. There’s a lot of worldbuilding there which is on par with Tolkien‘s work, and those who grew up in Asian culture are aware of its deeper meanings, so it transcends ‘modern’ worldbuilders in that sense. And when I see just how influential the novel is and how it led to one of the greatest anime of all time…I’m humbled.

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

My current JTTW project is a fanfiction story called “Great Sage, Equal to Heaven and Above Brockton” (AO3, Fanfiction.net, Spacebattles), and it’s a crossover with the webnovel Worm by Wildbow. The world of Worm is filled with superpowered humans called ‘capes’ (fig. 1), but unlike DC and Marvel, many capes use their powers for crime. There are heroes who battle these villains of course, but matters aren’t as clear-cut as they appear. On top of that, giant monsters attack cities every few months and cause untold damage. The main premise of my story is that an untold amount of time after the journey, Sun Wukong wakes up in Worm‘s main setting of Brockton Bay, a coastal city [north of Boston, MA, USA] with a lot of capes, nazis, Asian gangsters and heroes. From there he investigates the modern era, having fun and tries to find out what’s going on with these strange superpowered humans. It’s a classic premise of ‘OP character gets dropped into a lower-ranked world’, but it’s also a study of how a character who found a home suddenly gets dropped into a new one, and how power doesn’t always solve problems. And if it does, what are the potential consequences?

[Jim here: As of this writing, chapters one to 11 are available for free online, but chapters 12 to 13 (and a ch. 14 preview) are still only available on patreon.]

Fig. 1 – Cover for a fake Worm comic book featuring the original story’s main character, who makes an appearance in the Great Sage story (larger version). Illustration by @codetrillogy on Twitter. Used with permission.

II. Writing Sample

The following excerpt comes from an event in chapter six. After befriending a young boy, Sun Wukong jumps in to save his sister from gangsters attempting to take her in lieu of a missed “protection money” payment:

* The boy’s name.
** The boy’s sister.
*** The name of a local gang leader. Monkey comically believes he is a literal dragon.

Note:

1) As of this writing, I’ve made three such art posts here, here, and here.

Why was Sun Wukong Able to Live 342 Years Prior to his Immortality?

Last updated: 10-26-2024

Someone on reddit recently asked why Sun Wukong was able to live just shy of 400 years before even attaining immortality. I thought this was a good question, so I decided to split off related material from an old piece that I never finished and make a quick article. The short answer is tied to Daoist concepts of fate, and the long answer ultimately explains why Monkey strikes his name from the ledger of life and death in hell.

I. Info from the novel

Here, I would like to quote two early sections from Journey to the West (Xiyouji西遊記, 1592) that refer to Sun Wukong’s age. The first appears in chapter one after he becomes monarch of the primates:

The Handsome Monkey King thus led a flock of gibbons, macaques, and horse-monkeys, some of whom were appointed by him as his ministers, aides, and envoys. They toured the Flower-Fruit Mountain in the morning, and they lived in the Water-Curtain Cave by night. Living in concord and sympathy, they did not mingle with bird or beast but enjoyed their independence in perfect happiness. For such were their activities:

In the spring they gathered flowers for food and drink.
In the summer they went in quest of fruits for sustenance.
In the autumn they amassed taros and chestnuts to ward off time.
In the winter they searched for yellow-sperms to live out the year.

The Handsome Monkey King had enjoyed this insouciant existence for three to five hundred years (emphasis added) when one day, while feasting with the rest of the monkeys, he suddenly grew sad and shed a few tears (based on Wu & Yu, 2012, p. 106).

美猴王領一群猿猴、獼猴、馬猴等,分派了君臣佐使。朝遊花果山,暮宿水簾洞,合契同情,不入飛鳥之叢,不從走獸之類,獨自為王,不勝歡樂。是以:

春採百花為飲食,夏尋諸果作生涯。
秋收芋栗延時節,冬覓黃精度歲華。

美猴王享樂天真,何期有三五百載。一日,與群猴喜宴之間,忽然憂惱,墮下淚來。

And the second appears in chapter three after Monkey is dragged to hell. He bullies underworld officials into giving him his ledger of life and death, in which he learns his exact age and fate:

You see, though this monkey resembled a human being [i.e. his body], he was not listed under the names of men; though he resembled the short-haired creatures [i.e. his fur], he did not dwell in their kingdoms; though he resembled other animals, he was not subject to the unicorn; and though he resembled flying creatures [i.e. his beak-like, protruding face], he was not governed by the phoenix. He had, therefore, a separate ledger, which Wukong examined himself. Under the heading “Soul1350” he found the name Sun Wukong recorded, with the description: “Heaven-born Stone Monkey. Age: three hundred and forty-two years. A good end” (emphasis added) (Wu & Yu, 2012, p. 140).

又看到猴屬之類,原來這猴似人相,不入人名;似臝蟲,不居國界;似走獸,不伏麒麟管;似飛禽,不受鳳凰轄。另有個簿子,悟空親自檢閱,直到那「魂」字一千三百五十號上,方注著孫悟空名字,乃「天產石猴,該壽三百四十二歲,善終」

So why then was he able to live so long?

I. Religious background

The answer lies in the concept of “pre-allotted lifespans” (ming, 命; a.k.a. “fate”) (fig. 1), which can be traced to weft texts [1] and Grand Purity (Taiqing, 太清) scriptures of the Han dynasty (3rd-c. BCE to 3rd-c. CE). According to 1st to 3rd-century CE commentators, a person’s lifespan and good or bad fortune in life were determined according to whatever combination of “heavenly pneumas” (tianqi, 天氣) and “astral essences” (xingjing, 星精) that they were born under, meaning one’s fate was not handpicked by heaven (Campany, 2005, pp. 131-134). This allotted lifespan was not set in stone, however, for it was subject to subtractions and additions based on one’s bad or good deeds. The deity in charge of this tally system was called the “Director of Allotted Life Spans” (Siming, 司命), and, unlike the underworld officials who provided Monkey with his ledger, he was said to reside in heaven where he regularly received reports on individual human sins by the tutelary Stove god (Zaoshen, 竈神) on the first, fifteenth, and last day of every month. Additionally, he received reports from the three corpses/worms (sanshi, 三尸) inhabiting a person’s body. [2] The more a person sinned, the more points (time) was subtracted, anywhere from almost a year for major offences to just three days for minor offences. Doing good deeds or cheating the system were the only ways to live out the entirety of the allotted lifespan (Campany & Ge, 2002, pp. 47-52).

Evolution of the character ming () (larger version). Image found here.

Ways of “living off the books” included magically disguising clothing or a sword as a body (fig. 2), ritually bribing the gods of life and death with a golden statue to be used as a substitute body, or inserting a fake death certificate into the coffin of a recently deceased grandfather. These methods essentially tricked heaven into thinking that the person had died (Campany, 2005, pp. 134-138; Campany & Ge, 2002, pp. 60). The use of longevity-bestowing elixirs was considered the only true way of breaking free of the allotted lifespan and achieving immortality. Interestingly, the Han-era Scripture on the Elixirs of the Nine Tripods (Jiuding danjing, 九鼎丹經) describes how taking a fired concoction of cinnabar, vinegar, and lacquer for a thousand days straight would result in the “Director of Allotted Life Spans expung[ing] your name from the registers of death, so that you will end only when Heaven and Earth do” (Campany & Ge, 2002, pp. 52).

Fig. 2 – A type of Chinese jian (劍) sword that might be magically disguised to look like a decoy body (larger version). Image found here.

Therefore, we can see that Wukong’s allotted lifespan was 342 years and his birth fell under fortunate cosmic circumstances, for he was born onto an island paradise, served as the king of monkeys, and was destined to have a “good end” (shan zhong, 善終). Monkey had already achieved immortality via Daoist practices prior to being dragged to hell, so he had no need for cheating the system in order to live out the rest of his allotted lifespan. Nor did he need to take an elixir. He was simply so powerful that he could strike his name from the ledgers by force, thereby freeing himself from heaven’s control.

As for the significance of 342, Irwen Wong over at the Journey to the West Library blog has pointed out to me that the numbers add up to nine (3+4+2 = 9), which is an important digit in religious numerology. However, he also suggests that 342 could just be a random number chosen by the author-compiler.


Update: 10-15-24

I was reminded that the max level in the hit video game Black Myth: Wukong (2024) is 342, an obvious reference to Monkey’s lifespan.


Update: 10-26-24

Someone on reddit disagreed with me regarding allotted lifespans. Instead, they suggested that Sun Wukong somehow naturally performs the Daoist breathing exercises that would eventually lead to his immortality, as in he lengthened his life via cultivation practices just like Monkey deduces the 270-year-old Buddhist abbot, “Elder of the Golden Pool” (Jinchi changlao金池長老), did in chapter 17 (Wu & Yu, 2012, vol. 1, p. 356). But this explanation ignores two elements from the novel. One, as mentioned above, the Great Sage’s allotted lifespan of 342 years is clearly recorded in the ledgers of life and death. This is beyond dispute. And two, the book presents cultivated longevity as a crime against heaven. For example, when Sun achieves immortality, the Patriarch Subodhi gives him a warning:

“What you have learned,” said the Patriarch, “is no ordinary magic: you have stolen the creative powers of Heaven and Earth and invaded the dark mysteries of the sun and moon. Your success in perfecting the elixir is something that the gods and the demons cannot countenance. Though your appearance will be preserved and your age lengthened, [heaven will send the three calamities to destroy you]” (Wu & Yu, 2012, vol. 1, p. 121).

祖師道:「此乃非常之道:奪天地之造化,侵日月之玄機;丹成之後,鬼神難容。雖駐顏益壽,但到了五百年後,天降雷災打你,須要見性明心,預先躲避。躲得過,壽與天齊;躲不過,就此絕命。再五百年後,天降火災燒你。這火不是天火,亦不是凡火,喚做『陰火』。自本身湧泉穴下燒起,直透泥垣宮,五臟成灰,四肢皆朽,把千年苦行,俱為虛幻。再五百年,又降風災吹你。這風不是東南西北風,不是和薰金朔風,亦不是花柳松竹風,喚做『贔風』。自顖門中吹入六腑,過丹田,穿九竅,骨肉消疏,其身自解。所以都要躲過。」

The aforementioned calamities are elemental attacks of divine lightening, fire, and wind that are respectively sent every 500 years to kill cultivators for defying their fated age and attaining immortality (Wu & Yu, 2012, vol. 1, pp. 121-122).

This negative view of immortality also extends to the cultivation practices that produce it. Campany (1985) explains that demons are evil in the novel because they try to bypass the natural cosmic hierarchy by using spiritual practices to encapsulate the universe within themselves, while the pilgrims follow the “correct” path by submitting to Buddhism and building Buddhist merit in place of the selfish quest for immortality (pp. 112-113). This is perfectly summed up by the Great Sage’s story trajectory. He was considered a monster until he reformed and became Tripitaka’s disciple.

Having said that, I would like to return to the Golden Pool Elder. It’s important to remember that he learned his life-prolonging techniques from a nearby spirit, and that he was, as Monkey puts it, also a member of the fiend’s “monster’s gang” (yaojing jiedang, 妖精結黨) (Wu & Yu, 2012, vol. 1, p. 356). And when you take into account his willingness to set his own monastery on fire just to murder Tripitaka and attain the monk’s heaven-sent robe (Wu & Yu, 2012, vol. 1, p. 340), the abbot is just as much of a devil as those he congregated with. Therefore, his cultivation falls into the same category as demons, making him an ill-suited example to use.

Notes:

1) The term “Weft texts” draws on a weaving analogy to refer to side texts that compliment or complete existing material.

2) The ancient Chinese believed that the body was inhabited by upwards of ten souls, namely three hun (魂) and seven po (魄) souls. In addition, the body was inhabited by three demonic parasites, the three corpses/worms (sanshi, 三尸), who wanted nothing more than to be rid of their mortal confinement so they’d be free to wander and eat sacrificial offerings left for ghosts. Therefore, they would report the sins of their human vessel to heaven in order to hasten their demise (Campany & Ge, 2002, p. 49, for example).

Monkey’s own three corpses/worms are referenced in chapter 32 when a demon magically calls forth a mountain that crushes our hero:

Exerting his spirit even more, he [the monster] recited another spell and sent up the Tai Mountain to press down on Pilgrim’s head. With this magic of the Tai Mountain Pressing the Head, the Great Sage was overpowered as his strength ebbed and his tendons turned numb; the weight was so great that the spirits of the Three Worms inside his body exploded and blood spouted from his seven apertures [i.e. his eyes, ears, nostrils, and mouth] (Wu & Yu, 2012, vol. 2, pp. 108-109).

又整性情,把真言念動,將一座泰山遣在空中,劈頭壓住行者。那大聖力軟觔麻,遭逢他這泰山下頂之法,只壓得三尸神咋,七竅噴紅。

Sources:

Campany, R. F. (1985). Demons, Gods, and Pilgrims: The Demonology of the Hsi-yu ChiChinese Literature: Essays, Articles, Reviews (CLEAR), 7(1/2), 95-115. doi:10.2307/495195

Campany, R. F., & Ge, H. (2002). To Live as Long as Heaven and Earth: A Translation and Study of Ge Hong’s Traditions of Divine Transcendents. Berkeley: University of California Press.

Campany, R. F. (2005). Living off the Books: Fifty Ways to Dodge Ming in Early Medieval China. In C. Lupke (Ed.), The Magnitude of Ming: Command, Allotment, and Fate in Chinese Culture (pp. 129-150), University of Hawaii Press.

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

Journey to the West Artist Spotlight #3: NingadudeXx

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 no doubt realize that I am an avid fan of researching the history and influences of Journey to the West (Xiyouji西遊記, 1592). 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 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 third artist goes by the username NingadudeXx on Tumblr and  They were kind enough to answer some interview questions, as well as allow permission to display a few of their pieces.

The previous artist spotlight entries can be seen here and here.

I. Q & A

1) Can you tell me a little about yourself?

Hello, I go by DSG! I currently have an art blog called NingadudeXx on Tumblr that I use as a personal portfolio for my artwork. I also have a YouTube channel under the same name, where I post my animations and animatics! My username originates from when I was very young playing Minecraft and didn’t know how to spell, so I ended up with a wonky spelling of my current username. I’ve been using this username out of habit over the past decade and found that my misspelling helps people separate my username from the other dozen Ninja Dude’s out there!

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

I graduated from a high school that had an arts program, which specialized in animation, film, sound-design, and gaming. Funnily enough, my animation teacher wasn’t much of an artist himself, but the assignments he gave us over the years helped me to improve my skills! Aside from that, I would say that I am mostly a self-taught artist who’s been drawing since I could hold a pencil. Currently, I go to college and I’m working towards getting a degree in the arts, more specifically animation. I work at my school as a digital media tutor, where I help students with graphic design projects involving Adobe programs.

3) What are your main sources of artistic inspiration?

Some big inspirations of mine are Bill Watterson, Charles Schultz, and Craig McCracken. My dad introduced me to comic books when I was young, so I began reading Calvin and Hobbes and Peanuts books at a young age. I also grew up watching Cartoon Network shows, more specifically all of Craig McCracken’s cartoons. Growing up with the early style of 2000s/2010s cartoons has significantly influenced my style over the years. My biggest animation inspiration would have to be Flying Bark Studios, who have created beautiful cartoons such as Lego Monkie Kid and Rise of the Teenage Mutant Ninja Turtles!

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

I learned about Journey to the West over 3 years ago now from watching Lego Monkie Kid! I’ve been captivated by the show and Journey to the West since. I love to research and watch any new media I can find that’s inspired by the novel!

5) Who is your favorite character?

My favorite character is Sun Wukong, who I find endlessly fascinating to draw and think about. I think he’s an incredible character that goes through many changes throughout his lifetime, as he ultimately becomes a better person despite the odds against him!

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

That’s a tough question. I really love everything about the novel! But if I had to choose a favorite section in general, I would have to say the beginning chapters of the novel, where we get to see how Wukong earns his various titles and gains all his abilities. Sun Wukong’s beginnings are an important aspect of his character, especially when compared to how he changes and grows during his journey to the west.

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

This novel is a huge source of inspiration and strength for me. When times are tough, I often try to put myself in the mindset of my favorite characters and think about how they’d react/confront the problem at hand. While I didn’t grow up with the story when I was younger, I’m grateful to be reading and learning about this wonderful novel now!

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

I hope to make JTTW comics in the future depicting my favorite chapters and scenes from the novel! Until then, I’m always drawing Monkey King whenever I get a sliver of free time, which I usually post on my Tumblr or YouTube page.

II. Art and Thought Process

Note: Click each image to enlarge it.

1. For this piece, I wanted to draw Sun Wukong enjoying himself surrounded by his favorite stone fruits! Some of my favorite types of backgrounds to draw are the ones that involve twisty trees and grassy fields.

2. In this work, I wanted to capture the scene where Wukong breaks out of the Trigram Furnace after 49 long days and goes on a rampage in Heaven. I like to use strong shapes to emphasize emotion, so I made Wukong’s hair sharp and spiky to show his anger.

3. In this piece, I took clothing inspiration from the amazing painting The Great Sage Equaling Heaven by the talented Yang Ruifen. I try my best to include a lot of star/sun motifs in my Sun Wukong artwork, whether it be through the shape of his hair or by putting stars in his eyes. Or in this case, by putting a literal sun behind him!

4. A lot of my artwork is based on spur of the moment ideas, or is inspired by small things that happen in my life! In this case, I happened to eat some colorful and sweet gummies, which inspired the ‘gummy’ monkeys in this piece. It’s fun to find inspiration in small things that are otherwise considered mundane. Wukong is a very reactive and intense character, so I like to think that he has a lot on his mind. This piece was my way of showing that!

5. These two pieces I included together as a diptych! I was studying the attire and textures of the Beijing Opera Monkey King, and the 1996 Journey to the West version of Sun Wukong. I love contrasting warm oranges and yellows against a nice sky-blue color. I ended up entering this diptych into an arts competition at my college and won the illustration category!

6. For this animation, I focused more specifically on Monkie Kid’s version of Sun Wukong, mixed with my own idea of his character! I wanted to capture the feeling that Wukong is a very old being who has inspired many generations, having been in novels, cartoons, films, operas, etc. I wonder if the older Wukong gets, the more his identity gets muddled with other people’s perception of him? Maybe he feels like he must put on a mask of sorts around those who don’t know him personally.