- Compare de Groot, “Buddhist Masses for the Dead at Amoy,” pp. 94–96;
and Dean, “Lei Yu-sheng” (“Thunder Is Noisy”), pp. 54–57, 63–64. - Wang Qiao, who was the heir apparent to the Zhou dynasty king Ling, was re-
puted to ride a white crane. I have substituted “staffs” for “staves” in Mather’s “The
Mystical Ascent of the T’ient’ai Mountains,” p. 242; the original is “You Tiantai shan
fu” (“Poetic essay on roaming the Tiantai Mountains”), in Wen xuan, 11.499. - See respectively, Du Fu, in Quan Tang shi, 232.2565; and Liu Zongyuan, in
Quan Tang shi, 352.3938. - Daocheng, Shishi yaolan, T, no. 2127, 54:298b.
- Zanning, Song Gaoseng zhuan, T, no. 2061, 50:847a. See also the same leg-
end in Daoyuan, Jingde chuandeng lu (1004), T, no. 2076, 51:259b–c. - Da Tang Sanzang fashi qu jing shihua, pp. 14, 24, 27, 31, 86 –87, 96. In one in-
stance, after subduing nine dragons with his magic ring staff, the monkey employs
an “iron bang” (tiebang) to beat them up. Whereas the ring staff serves him for fight-
ing, the “iron bang” is used to execute punishment (p. 32). - Sun Wukong’s weapon is referred to in the Ming period zaju play Journey to the
West as “golden gun” as well as “iron bang” (tiebang); see Zaju Xiyou ji, 11.48 and 19.87 re-
spectively. (On the play’s dating, see Dudbridge, Hsi-yu chi, pp. 76 –80). Sun Wukong’s
elder brother, Tongtian Dasheng, is armed with an “iron bang” (tiebang) in the Ming
period zaju play Erlang Shen suo Qitian Dasheng, 29:9b, 10b. - Wu Cheng’en, Xiyou ji, 3.28; and Yu, The Journey to the West, 1:105.
- On the composite figure of Vaišravaÿa and Mahâbrahmâ, see Dudbridge,
Hsi-yu chi, pp. 32–35. - Dudbridge, Hsi-yu chi, p. 35; the original is Da Tang Sanzang fashi qu jing shi-
hua, p. 27 (compare also pp. 31, 86–87).
7 3. See the sixteenth-century legend of monk Lianfeng, who transformed his
ring staff into a purple dragon, Huaicheng ye yu, p. 304. - Exodus 7:8–12. I have substituted “staff ” for “rod” in The New Oxford Anno-
tated Bible With the Apocrypha, pp. 74–75. - Hand Combat
- Tang Shunzhi, “Emei daoren quan ge,” in Tang Shunzhi, Jingchuan xiansheng
wenji, 2.8b. - Tang Shunzhi, Wu bian, qianji, 5.37a–5.39b.
- Wang Shixing alludes to the Shaolin Monkey style of fighting; see his “Song
you ji” (A journey to Mt. Song), in Wang Shixing, Wuyue you cao, 1.2b–3a. See also
Gongnai, “Shaolin guan seng bishi ge” (“Watching the Shaolin monks compete”);
Wen Xiangfeng, “You Shaolin ji” (“A Journey to Shaolin”), in Shaolin si zhi, 7.2a a nd
3.23a respectively; and Yuan Hongdao, “Songyou di yi” (“First account of a journey to
Mt. Song”), in Yuan Hongdao, Yuan Hongdao ji jian jiao, 51.1475. - Cheng Zongyou, Shaolin gunfa, 3.7b.
- See Quan jing, Quan fa beiyao, preface 1a–2a, 1.1, and 1.7, where Cao explains
that Zhang Kongzhao’s manual has been transmitted in his family for more than a
century. Compare Xuanji mishou, preface 1a and 1.14a. Two other martial artists who
Notes to Pages 106 –115 223