I’m proud to present a PDF of the original edition of Journey to the West anonymously published in 1592 by the Shidetang (世德堂, “Hall of Generational Virtue”) publishing house of Jinling (金陵, “Gold Hill,” a.ka. Nanjing). Titled Newly Printed, Illustrated, Deluxe and Large Character, Journey to the West (Xinke chuxiang guanban dazi Xiyou ji, 新刻出像官板大字西遊記), it features 20 scrolls and 100 chapters (minus the current chapter nine). It contains many charming woodblock prints depicting the events described in the story. For example, this print shows the battle between Monkey and Nezha in their three-headed and six-armed forms.
One doctoral thesis shows that this version is based on an earlier edition of the story titled Newly printed, Completely Illustrated, Chronicle of Deliverances in Sanzang of the Tang’s Journey to the West (Xinqie quanxiang Tang Sanzang Xiyou shi ni (e) zhuan, 新鍥全像唐三藏西遊释尼(厄)傳) in ten scrolls (with three to ten chapters each) by Zhu Dingchen (朱鼎臣) of Yangcheng (羊城, i.e. Guangzhou).
The PDF is quite large at 1.5 gigs, so it will take time to download. I’ve provided two options.
Sun Wukong faces his evil double, the Six-Eared Macaque, in chapters 56 to 58 of Journey to the West (Xiyouji, 西遊記, 1592, JTTW hereafter). After the twin Mind Monkeys battle their way to the Western Paradise, the Buddha reveals the doppelganger’s true identity, noting that he and Monkey are two of four celestial primates (hunshi sihou, 混世四猴, lit: “four monkeys of havoc”) with amazing abilities:
“The first,” said Tathagata, “is the Stone Monkey of Numinous Wisdom,  who
Knows transformations, Recognizes the seasons, Discerns the advantages of earth, And is able to alter the course of planets and stars.
The second is the Red-Buttocked Horse Monkey, who
Has knowledge of yin and yang, Understands human affairs, Is adept in its daily life And able to avoid death and lengthen its life.
A sensitive ear, Discernment of fundamental principles, Knowledge of past and future, And comprehension of all things.
These four kinds of monkeys are not classified in the ten categories [of life], nor are they contained in the names between Heaven and Earth. As I see the matter, that specious Wukong must be a six-eared macaque, for even if this monkey stands in one place, he can possess the knowledge of events a thousand miles away and whatever a man may say in that distance” (Wu & Yu, 2012, vol. 3, p. 115).
In this article, I would like to explore all mentions of these magical creatures in the novel. I will focus more on the second and third primates as I’ve already written extensively about the first and fourth kind.
1. Stone Monkey
There isn’t much to write about the “Stone Monkey of Numinous Wisdom” (Lingming shihou, 靈明石猴) (fig. 1) as it’s clearly Sun Wukong. The term lingming (靈明) can also be translated as “Numinous Luminosity”. Both refer to spiritual wisdom. This explains why Sun Wukong attains so much power after only three years of spiritual cultivation.
Fig. 1 – A poster of the Stone Monkey of Luminous Wisdom from the film “Four Monkeys”. The name has since been changed. See update 02-20-22 below.
2. Horse Monkey and Gibbon
I’m grouping these two together because they share a close association in JTTW. The Chinese term for “Red-Buttocked Horse Monkey” (Chikao mahou, 赤尻馬猴) (fig. 2) appears three times in the novel, while “Horse Monkey” (馬猴, mahou) only appears once (see here).  The term “Tongbei Gibbon” (Tongbei yuanhou, 通背猿猴) appears three times, while the interchangeable term “Tongbi Gibbon” (Tongbi yuanhou, 通臂猿猴) appears once (see here and here) (fig. 3).  The term “ape” or “gibbon” (yuanhou, 猿猴) appears 16 times (see here), and it’s even used to refer to Monkey. For example, a poem in chapter seven calls him “The Great Sage, Equal to Heaven, a monstrous ape” (Qitian dasheng yuanhou guai, 齊天大聖猿猴怪) (Wu & Yu, 2012, vol. 1, p. 191). The horse monkey and gibbon are surprisingly listed among the Monkey King’s retinue:
The Handsome Monkey King thus led a flock of gibbons [猿猴], macaques, and horse monkeys [馬猴], some of whom were appointed by him as his officers and ministers (Wu & Yu, 2012, vol. 1, p. 106).
It’s actually the gibbon who reveals the truth of spiritual beings escaping the hand of death, setting Monkey on his quest for immortality:
From among the ranks a tongbei gibbon [通背猿猴] suddenly leaped forth and cried aloud, “If the Great King is so farsighted, it may well indicate the sprouting of his religious inclination. There are, among the five major divisions of all living creatures, only three species that are not subject to Yama, King of the Underworld.” The Monkey King said, “Do you know who they are?” The monkey said, “They are the Buddhas, the immortals, and the holy sages; these three alone can avoid the Wheel of Transmigration as well as the process of birth and destruction, and live as long as Heaven and Earth, the mountains and the streams.” “Where do they live?” asked the Monkey King. The monkey said, “They do not live beyond the world of the Jambudvipa, for they dwell within ancient caves on immortal mountains.” When the Monkey King heard this, he was filled with delight, saying, “Tomorrow I shall take leave of you all and go down the mountain. Even if I have to wander with the clouds to the comers of the sea or journey to the distant edges of Heaven, I intend to find these three kinds of people. I will learn from them how to be young forever and escape the calamity inflicted by King Yama.” (Wu & Yu, 2012, vol. 1, p. 131).
Apart from this, chapter two casts both the gibbon and horse monkey as knowledgeable elders:
As they were speaking, four older monkeys came forward, two horse monkeys with red buttocks [赤尻馬猴] and tongbei gibbons [通背猿猴]. Coming to the front, they said, “Great King, to be furnished with sharp-edged weapons is a very simple matter:’ “How is it simple?” asked Wukong. The four monkeys replied, “East of our mountain, across two hundred miles of water, is the boundary of the Aolai Country. In that country there is a king who has numberless men and soldiers in his city, and there are bound to be all kinds of gold, silver, copper, and iron works there. If the great king goes there, he can either buy weapons or have them made (Wu & Yu, 2012, vol. 1, p. 131).
Later in the chapter, they are appointed officers:
The Monkey King made the four old monkeys mighty commanders of his troops by appointing the two horse monkeys with red buttocks [赤尻馬猴] as marshals Ma [馬] and Liu [流], and the two tongbei gibbons as generals Beng [崩] and Ba [芭] (Wu & Yu, 2012, vol. 1, p. 138).
These primates are mentioned in a few other chapters (see here and here).
Fig. 2 & 3 – “Four Monkeys” posters of the Red-Buttocked Horse Monkey and the Tongbi Gibbon.
2.1. True Identity?
Anthony C. Yu (Wu & Yu, 2012) calls the horse monkey a “baboon” (vol. 3, p. 115, for example), likely based on the common image of the primate having a red bottom. And while searching “馬猴” does pull up images and articles about the Mandrill, a large, colorful cousin of the baboon (example), I can’t find any reliable historical sources linking the animal with the term. Having said that, this book associates it with the ancient Chinese practice of putting monkeys in horse stables (majiu husun, 馬廄猢猻) to ward off equine sicknesses, making it a “horse’s monkey”. This naturally has connections to Sun Wukong’s time as the Bimawen, or keeper of the heavenly horses. This is the most convincing explanation for the horse monkey that I’ve seen, but I’ll make sure to update the article if any other plausible reasons arise. As for the red bottom, this is likely the sexual swelling of females. I’ll spare you a picture; just imagine a bright pink pumpkin that’s about to explode.
I’ve already written an article exploring the literary and religious origins of the “Six-Eared Macaque” (Liu’er mihou, 六耳獼猴). One scholar suggests that his true identity is Monkey’s sworn brother, the Macaque King (Mihou wang, 獼猴王) (Lam, 2005, p. 168). It’s important to note that this character cavorts with Sun on the Mountain of Flowers and Fruit (Wu & Yu, 2012, vol. 1, pp. 156-157, for example).
Fig. 4 – A “Four Monkeys” poster of the Six-Eared Macaque. This version wields swords unlike his staff-brandishing literary counterpart.
4. Home of the Four Primates?
The above information shows that, at one time or another, all four of the celestial primates are present on the Mountain of Flowers and Fruit. The Stone Monkey of Numinous Wisdom (a.k.a. Sun Wukong) is born and lives as a king on the mountain. The Red-Buttocked Horse Monkey and the Tongbei/bi Gibbon serve as his advisors and officers. And the Six-Eared Macaque becomes his sworn brother and often visits him there. This might suggest that the Mountain of Flowers and Fruit is the home or even birthplace of all four primates. If one magic primate can be born there, then all of them can.
Here’s a four minute preview for the upcoming film King of Havoc: Rise of the Great Sage (Hunshi zhi wang: Dasheng jueqi, 混世之王：大圣崛起, 2022). The Six-Eared Macaque appears in figure four wielding swords. This same character takes part in the trailer but is called the Macaque King, thereby referencing the aforementioned theory that he is Six Ears.
One thing I forgot to mention is that one passage suggest ALL four celestial primates are present on the Mountain of Flowers and Fruit in Sun’s youth:
The Handsome Monkey King thus led a flock of gibbons [yuanhou, 猿猴], macaques [mihou, 獼猴], and horse monkeys [mahou, 馬猴], some of whom were appointed by him as his officers and ministers (Wu & Yu, 2012, vol. 1, p. 106).
There’s the Monkey King (Stone), gibbons (Tongbi/bei), macaques (Six Ears), and horse monkeys (Red-Buttocked).
Also, user Phantom86d left an astute comment suggesting that the four magical primates are not part of the 10 categories of life—as stated by the Buddha in the introduction—”[b]ecause Wukong erased their names from the book of Life and Death”. This refers to chapter three when Sun inks out his name and those of all other primates when his immortal soul is mistakenly summoned to hell. It’s important to remember that he had his own, separate book (Wu & Yu, 2012, vol. 1, p. 140), so the other magical primates likely had theirs.
Thanks to this dictionary, I learned that one late-Qing source, New Dialect (Xinfangyan, 新方言, early-20th-c.), associates “horse monkey” (mahou, 馬猴) with various iterations of Chinese terms for macaque monkeys:
“Bathing monkey” (muhou): “mother monkey” (muhou); mother monkey (muhou): “full monkey” (mihou) – these are called “horse monkey” (mahou), the sound of each one changing [in turn].
The monkey likes to wipe its face as if bathing (mu), so it is called a “bathing (monkey)”. Later generations mistook this mu for “mother”, and then mother for “full” (mi). The meaning is lost as errors compound.
It then directly connects muhou (母猴) to stable monkeys:
The Shuowen says: The characters (for macaque) look like “mother monkey” (muhou), but it’s a “bathing monkey” (muhou, i.e. macaque), not a female. Since a macaque resembles a hu-barbarian, he is also called hu-sun “grandson of a barbarian”. The Zhuangzi calls him ju. People who raise horses keep a macaque in the stables, which will ward off horse-diseases. The Hu barbarians call a macaque ma–liu, in Sanskrit books he is called Mo–si–zha (makaṭa). 
The section later explains how macaques (muhou, 母猴) help the horses:
The Classic of Horses states: Domesticated macaques (muhou) used in horse stables help avoid horse diseases [lit: bimawen]. Their monthly menstruation runs onto the grass, and once the horses eat it, they will never be sick.
1) I will be altering Yu’s (Wu & Yu, 2012) translation from this point forward to make it more accurate.
2) Ctext shows the term “Great Horse Monkey” (Da mahou, 大馬猴) pops up in chapter 28 of Dream of the Red Chamber(18th-century). It’s used to symbolize something worse than an immoral husband that would ravage a young maiden:
Next came Xue Pan. “Is it for me to speak now?” Xue Pan asked.
“A maiden is sad…”
But a long time elapsed after these words were uttered and yet nothing further was heard.
“Sad for what?” Feng Ziying laughingly asked.
“Go on and tell us at once!”
Xue Pan was much perplexed. His eyes rolled about like a bell.
“A girl is sad…” he hastily repeated. But here again he coughed twice before he proceeded.
“A girl is sad,” he said:
“When she marries a spouse who is a libertine.”
This sentence so tickled the fancy of the company that they burst out into a loud fit of laughter.
“What amuses you so?” shouted Xue Pan, “is it likely that what I say is not correct? If a girl marries a man, who chooses to forget all virtue, how can she not feel sore at heart?”
But so heartily did they all laugh that their bodies were bent in two.
“What you say is quite right,” they eagerly replied. “So proceed at once with the rest.”
Xue Pan thereupon stared with vacant gaze.
“A girl is grieved…” he added.
But after these few words he once more could find nothing to say.
“What is she grieved about?” they asked.
“When a huge horse monkey [大馬猴] finds its way into the inner room,” Xue Pan retorted (Cao & Joly, 1892, p. 62).
3) These are hard to translate terms referring to the belief that the long, agile arms of the gibbon were somehow connected (i.e. tongbi, 通臂), possibly passing through the back (i.e. tongbei, 通背) (Gulik, 1967, p. 92-93). It’s interesting to note that each are associated with a style of ape-based Chinese boxing.
Cao, X., & Joly, H. B. (1892). Hung Lou Meng: Or, The Dream of the Red Chamber; a Chinese Novel – Book 2. Hongkong: Kelly & Walsh.
Gulik, R. H. (1967). The Gibbon in China: An Essay in Chinese Animal Lore. Leiden: E.J. Brill.
Lam, H. L. (2005). Cannibalizing the Heart: The Politics of Allegory and The Journey to the West. In E. Ziolkowski (Ed.). Literature, Religion, and East/West Comparison (pp. 162-178). Newark: University of Delaware Press.
Wu, C., & Yu, A. C. (2012). The Journey to the West: Vol. 1-4. Chicago, Illinois: University of Chicago Press.
The world famous Liaozhai zhiyi (聊齋志異, 1740; a.k.a. “Strange Tales from a Chinese Studio”) is a collection of over 400 narratives serving as a snapshot of late-Ming and early-Qing-era popular stories and culture. This is why story no. 4 of scroll 11, “The Great Sage Equaling Heaven” (Qitian dasheng, 齊天大聖), is important to the study of the Monkey King’s religion as it shows his cult was active in 17th and 18th-century Fujian. It also preserves the condescension that the scholarly class held for certain gods. For example, as Meir Shahar (1996) points out, the author Pu Songling was likely speaking through the main character Xu Sheng (許盛), a young merchant from Shandong, when he states: “Sun Wukong is nothing but a parable invented by [the novelist] Old Qiu [老丘]” (pp. 194).  Here, Xu chastises the people of Fujian for worshiping what he considers to be a fictional god. In addition, the story associates the Great Sage with a heavenly sword as opposed to his famous magic staff. I believe this is related to a 13th-century stone relief carving from Quanzhou.
Below, I have archived the only complete English translation of the tale that I’m aware of. It comes from volume six of Sidney L. Sondergard’s (Pu & Sondergard, 2014) Strange Tales from Liaozhai (pp. 2078-2085). I don’t currently have access to the physical book, so I have isolated the tale from an ebook and converted it into a PDF.
This has been posted for educational purposes. No malicious copyright infringement is intended. If you liked the digital version, please support the official release.
1) This refers to Qiu Chuji (丘處機, 1148-1227), the founder of the Dragon Gate sect of Daoism during the Song Dynasty. Qiu is associated with a travel journal also named Journey to the West, which Pu Songling confused with the novel of the same name (Pu & Sondergard, 2014, p. 2080 n. 1).
Shahar, M. (1996). Vernacular Fiction and the Transmission of Gods’ Cults in Later Imperial China. In Shahar, M., & Weller, R. P. (1996). Unruly Gods: Divinity and Society in China (pp. 184-211). Honolulu: University of Hawaiʻi Press.
Pu, S., & Sondergard, S. L. (2014). Strange Tales from Liaozhai: Vol. 6. Fremont, Calif: Jain Pub.
I consider one of my greatest accomplishments on this blog to be discovering the origin of Sun Wukong’s golden headband. This would not have been possible without reading about the Hevajra Tantra (8th-century) in Robert Nelson Linrothe’s (1999) Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. This amazing study analyzes Esoteric Buddhist statues and texts to trace the evolution of these guardians from mere dwarf attendants to mighty warrior gods endowed with the power of the Five Wisdom Buddhas. This is a great resource for anyone researching religious art involving wrathful guardians in Buddhism, Daoism, and of course Chinese folk religion, for the iconography of these divine warriors spread far and wide.
I am sharing a PDF of the book found on libgen for the benefit of other scholars. The black and white portions of the book appear to be based on a xeroxed copy. However, there are full color plates in the back.
Buddhists believe that the wrathful spirits represent inherent qualities of our own, and that meditating on them can transmute the otherwise malevolent sides of our own natures into positive qualities and actions. The wrathful deities also provide precious clues as to the early development of esoteric Buddhism in India, about which few early texts survive. Through careful examination of a large body of images as well as Sanskrit, Tibetan, and Indic texts, this lavishly illustrated volume traces the evolution of the forms and the unfolding significance of the wrathful deity in esoteric Buddhist sculpture.
I’ve written many articles on the origins of the Monkey King’s staff over the years. Therefore, I’ve decided to combine all of the information in one location for the benefit of people wishing to learn more about the weapon and its history. This will no doubt be interesting to fans of Journey to the West (Xiyouji, 西遊記, 1592; JTTW hereafter), as well as those of modern franchises like Dragon Ball and Lego Monkie Kid (fig. 1). Citations can be found in the articles linked below.
Fig. 1 – The Lego Monkie Kid character “MK” wielding the Monkey King’s magic staff (larger version). Copyright Lego.
1. The Literary Weapon
1.1. Staff Background
The staff first appears in chapter three of the original novel when the Monkey King goes to the underwater kingdom of Ao Guang (敖廣), the Dragon King of the Eastern Sea, looking for a magic weapon to match his supernatural strength and martial skill. When all of the traditional weapons offered to him fail to meet his standards, the dragon queen suggests to her husband that they give Sun Wukong “that piece of rare magic iron” taking up space in their treasury. She claims the ancient shaft had started producing heavenly light days prior and proposes that the monkey is fated to own it. The weapon is said to be a “divine treasure iron” originally used to set the depths of the Heavenly River (Tianhe ding di de shenzhen tie, 天河定底的神珍鐵) by Yu the Great (Dayu, 大禹), a mythic Chinese emperor and demigod.
The staff is initially described as a pillar of black iron or bin steel more than 20 feet in height and as wide as a barrel. It is only when Monkey lifts it and suggests a smaller size would be more manageable that the staff complies with his wishes and shrinks. This is when Sun notices that the weapon is decorated with a golden ring on each end, as well as an inscription along the body reading: “The ‘As-You-Will’ Gold-Banded Cudgel. Weight: Thirteen Thousand Five Hundred Catties” (Ruyi jingu bang zhong yiwan sanqian wubai jin, 如意金箍棒重一萬三千五百斤). The inscription indicates that the staff is immensely heavy, weighing 17,560 lbs. (7,965 kg).
Apart from the above information, a poem in chapter 75 (see section 2.3 here) highlights another name, “Rod of Numinous Yang” (Lingyang bang, 靈陽棒). In addition, the poem describes the staff being covered in “tracks of planets and stars” (i.e. astronomical charts) and esoteric “dragon and phoenix scripts” (longwen yu fengzhuan, 龍紋與鳳篆).
The novel provides two contradictory origins for the staff. The chapter 75 poem notes that it “[w]as forged in the stove by Laozi himself”. Laozi is of course the high god of Daoism. Chapter 88 instead states that it was “forged at Creation’s dawn / By Yu the Great himself, the god-man of old”.
Contrary to popular images of the Monkey King holding a regular-sized staff, his literary counterpart wields a massive weapon in battle. It is said to be 20 feet long (likely an error for 12),  with the width of a bowl (erzhang changduan, wankou cuxi, 二丈長短，碗口粗細) (fig. 2). I did a cursory search of bowls during the Ming (when the standard edition of JTTW was published) and found that they have a radius of between 4 to 6 inches (10.16 to 15.25 cm).
Size manipulation – This is the weapon’s most well-known ability, growing as big or as small as Monkey wishes.
Controlling the oceans – The aforementioned poem from chapter 88 writes: “The depths of all oceans, rivers, and lakes / Were fathomed and fixed by this very rod. / Having bored through mountains and conquered floods, / It stayed in East Ocean and ruled the seas…”
Astral entanglement – Monkey’s soul is able to use the staff in Hell despite the physical weapon being with his body in the world of the living.
Multiplication – He can multiply his staff in the hundreds of thousands.
Lock-Picking – He can open any door just by pointing it at the lock.
Transformation – He can change it into tools like a straight razor or a drill.
Sentience – The weapon glows in anticipation of Monkey’s arrival (fig. 3), responds to his touch, and follows his commands, denoting a certain level of sentience.
The staff found in the standard Ming edition of JTTW is actually based on two weapons from a 17-chapter storytelling prompt called The Story of How Tripitaka of the Great Tang Procured the Scriptures (Da Tang Sanzang qujing shihua, 大唐三藏取經詩話, c. late 13th-century). Sun Wukong’s precursor, an ageless immortal called the “Monkey Pilgrim” (Hou xingzhe, 猴行者), magically transports Tripitaka and his entourage to heaven. There, the supreme god, the Mahābrahmā Devarāja (Dafan tianwang, 大梵天王; i.e. Vaiśravana), gives the monk a cap of invisibility, a khakkhara (ringed monk’s staff) (fig. 4), and a begging bowl. Tripitaka and the Monkey Pilgrim take turns using these items throughout the journey. The staff is shown capable of shooting destructive beams of light, as well as transforming into magical creatures like an iron dragon or a giant, club-wielding Yaksha. Later, the Monkey Pilgrim also borrows an iron staff from heaven to fight a dragon.
The two staves from this tale were eventually combined by later storytellers. The rings from the first weapon were added to the ends of the second.
Fig. 4 – A beautiful, modern monk’s staff with six rings (larger version).
2.2. Influence from Religion
The Monkey Pilgrim’s magic ringed staff and begging bowl were directly influenced by the Buddhist Saint Mulian (目連; Sk: Maudgalyayana), a disciple of the historical Buddha. One particular 9th to 10th-century story notes that the Saint uses the staff to unlock the gates of hell in order to save his mother (fig. 5). This is where Sun Wukong’s weapon from JTTW gets the power to open locks.
Fig. 5 – A scroll or mural depicting Mulian rescuing his mother from the underworld (larger version). Originally found here.
The ringed and metal staves used by the Monkey Pilgrim are based on those historically carried by Buddhist monks in ancient China. The aforementioned ringed variety, called “tin staves” (xizhang, 錫杖) where used by religious monks and decorated with six to twelve metal rings (see fig. 4). These rings were designed to make a clanging noise to not only scare away animals on the road but also to alert possible donors to the monk’s presence.
Martial monks charged with protecting monasteries or deployed by the Chinese government against pirates wielded wooden or iron staves (fig. 6). The former were chosen for their diminished capacity for fatal injuries, while the latter were explicitly used for killing during times of war. Sun Wukong wielding the iron variety makes sense as he’s a martial monk charged with protecting Tripitaka from monsters and spirits.
Fig. 6 – A martial monk practicing a drunken staff-fighting form (larger version).
The term “As-you-will” (ruyi, 如意) from Monkey’s staff (mentioned above) is connected with a scepter used in ancient China as a symbol of religious debate and authority and, to a lesser extent, as a weapon. While it can be traced to a Hindo-Buddhist tradition in India, the scepter came to be associated with the highest gods of Daoism thanks to being decorated with a “numinous mushroom” (lingzhi, 靈芝), a real world fungi believed to bestow immortality. This mushroom scepter was at some point associated with the Buddhist Cintamani (Ruyi zhu, 如意珠), or “As-you-will jewel”. This was believed to grant any wish that one might desire. This explains why Monkey’s As-you-will staff grows or shrinks according to his commands. It’s interesting to note that some religious images of the scepter depict it with a syncretic mix of the Daoist mushroom and the Buddhist jewel (fig. 7).
The weapon’s portrayal in JTTW as an iron pillar kept in the dragon kingdom comes from old stories about the immortal Xu Xun (許遜), a historical Daoist master and minor government official from Jiangsu province. Popular tales describe him as a Chinese St. Patrick who traveled southern China ridding the land of flood dragons. One 17th-century version titled “An Iron Tree at Jingyang Palace Drives Away Evil” (Jingyang gong tieshu zhenyao, 旌陽宮鐵樹鎮妖) describes how he chained the flood dragon patriarch to an iron tree (tieshu, 鐵樹) and submerged it in a well, thus preventing the serpent’s children from leaving their subterranean aquatic realm and causing trouble. Pre-JTTW versions of this tale depict the tree as an actual iron pillar (fig. 8). Chinese Five Elements Theory dictates that metal produces water, and as its creator, holds dominion over it. Therefore, an iron pillar would be the perfect item to ward off creatures entrenched in the aquatic environment.
Fig. 8 – A Ming Dynasty woodblock print depicting the immortal Xu overseeing the creation of the iron pillar in a furnace (right) and it’s placement the well (left). Dated 1444-1445 (larger version).
As previously noted, the staff weighs 17,560 lbs. (7,965 kg). This is likely based on an episode from chapter 27 of the Chinese novel Water Margin (Shuihu zhuan, 水滸傳, c. 1400). It involves the bandit Wu Song lifting a heavy stone block said to weigh 300 to 500 catties (san wu bai jin, 三五百斤; 390-650 lbs./177-295 kg) (fig. 9). This scene and the one from JTTW where Monkey lifts the iron pillar are quite similar. Both involve a hero (Wu Song vs. Sun Wukong) asking someone (Shi En vs. Ao Guang) to show them a heavy object that cannot be moved (stone block vs. iron pillar). Both heroes then adjust their clothing before easily lifting the object with both hands. Most importantly, the Chinese characters for the weight of each object (三五百斤 vs. 一萬三千五百斤) are similar. The only difference is the addition of “10,000” (yiwan, 一萬) and “1,000” (qian, 千), respectively. And given the close historical and cultural ties between the two heroes, I believe the author-compiler of JTTW embellished the Water Margin episode to portray Sun as a hero like no other, a divine immortal that can lift weights far beyond even Wu Song himself.
1) Irwen Wong of the Journey to the West Library blog has suggested that the length is likely an error for 12 feet (zhanger, 丈二) since the staff was already near 20 feet when Monkey first acquired it, and he later asked it to shrink to a more manageable size.