Zhong Kui – The God Specialized in Catching Ghosts in Chinese Folk Legend
Zhong Kui, styled Zhengnan, is a deity in Chinese folk legend who can subdue ghosts and expel evil spirits. In ancient China, people often hung portraits of Zhong Kui to ward off evil and disasters. He is revered as the "Saint Lord of Blessing and Protecting the Household, Bestowed by the Tang Dynasty" in traditional Chinese culture.
According to ancient records, Zhong Kui was a native of Zhongnan in Chang'an during the early Tang Dynasty. (Based on ancient texts and research by experts and scholars, Zhong Kui was from Zhongnan Village, Zhongnan Town, Zhouzhi County, located at the foot of the Zhongnan Mountains in the middle section of the Qinling Mountains, Xi'an, Shaanxi Province today. The ancestral temple of Zhong Kui in Zhongnan still exists.) He had a swarthy complexion, curly sideburns, and an unusual appearance. Nevertheless, he was an extremely talented and erudite scholar—well-versed in classics and endowed with exceptional literary ability. He was upright and impartial by nature, and treated others with integrity.
Life Story of Zhong Kui
Zhong Kui is one of the most famous folk deities in China and was later incorporated into the immortal system of Taoism. His main duty is to catch ghosts.
Legend has it that during the Tang Dynasty (618-907 AD) of China, Emperor Xuanzong of Tang suddenly fell seriously ill after a tour. Despite trying many remedies, his condition did not improve, and the emperor grew anxious. One night, he dreamed that a small ghost in red clothes stole his treasures. The emperor angrily rebuked the little ghost, when suddenly a tall ghost wearing a tattered hat appeared, captured the little ghost, and swallowed it. The emperor asked the tall ghost who he was, and the ghost replied: "Your Majesty, I was once a Jinshi (successful candidate in the highest imperial examination) from Zhongnan Mountain, named Zhong Kui. Because Your Majesty disliked my ugly appearance and decided not to admit me [to officialdom], I was so enraged that I crashed my head against the palace steps and died. After death, I took up the task of catching ghosts."
Emperor Xuanzong recovered from his illness as soon as he woke up from the dream. He then ordered Wu Daozi, the most renowned painter of that time, to depict Zhong Kui as he had seen him in the dream. As the emperor himself was a devout Taoist believer, with his strong support, Zhong Kui's status as the god of catching ghosts was gradually established thereafter.
Beyond catching ghosts, there are many other stories about Zhong Kui, such as "Zhong Kui Marrying His Younger Sister" and "Failing the Imperial Examination". Among the people, his image is crafted into various works of art, placed in homes or at doorways, in the hope of driving away evil and ensuring safety. Additionally, countless literary and artistic works about him have been created, including operas and novels.
Therefore, Zhong Kui was born and lived in Zhongnan Mountain, Zhouzhi, Xi'an, Shaanxi Province, and his ancestral home is Zhongnan Village, Zhongnan Town, Zhouzhi County. In Zhouzhi, the traditions of "inviting Zhong Kui", "dancing Zhong Kui", and "rousing Zhong Kui" have a long history. There are more than 100 painters specializing in Zhong Kui portraits in Zhongnan Mountain. Louguantai in Zhouzhi is the birthplace of Taoism and is honored as the "Ancestral Court of Taoism" (the ancient stele of Zhong Kui's Majestic Image by Wu Daozi, the "Saint of Painting", preserved in Chongyang Palace, is a first-class cultural relic under national key protection). The "folk custom of worshipping Zhong Kui in Zhongnan Mountain" has a long history and wide spread. It has been listed as a provincial-level intangible cultural heritage item in Shaanxi and is being applied for national-level intangible cultural heritage status.
Why Can Zhong Kui Catch Ghosts?
According to historical legends, there are mainly the following reasons why Zhong Kui can catch ghosts:
1. Zhong Kui's Origin is Linked to a Ghost-Dispelling Tool – the Mace
Zhong Kui is a fictional character derived from the homophone "Zhongkui" in ancient times. "Zhongkui" originally referred to a household utensil used in ancient times, what we now call a "mace". It was also an ancient surname, which is extremely rare today. The origin of this surname is also closely related to large wooden clubs: the Zhongkui clan specialized in making wooden clubs and maces.
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From this, we can infer: A long time ago, the leader of the Nuo dance (a traditional Chinese ritual dance to exorcise evil spirits) was a shaman wielding a large club. The club in his hand was called "Zhongkui", also known as "chui" (a mallet). The shaman frequently used the Zhongkui to beat and expel ghosts. Over time, people believed that the club had magical powers, and further regarded the name "Zhongkui" as an auspicious symbol—some even named their children "Zhongkui".
Legend has it that in ancient times, when a family member fell ill, people thought it was caused by ghosts. They would pick up a mace ("Zhongkui") to drive away the ghosts. Since "Zhongkui" was widely recognized as having the effect of dispelling ghosts and warding off evil, many people began naming their children "Zhongkui" starting from the Six Dynasties (222-589 AD). For example: Yang Zhongkui, a general during the reign of Emperor Xianwen of Northern Wei; Li Zhongkui, Prince of Dunqiu during the reign of Emperor Xiaowen of Northern Wei; Zhongkui, a eunuch during the reign of Emperor Wucheng of Northern Qi; and Qiao Zhongkui during the Sui Dynasty. All these names were chosen to pray for warding off evil spirits and ensuring safety.
2. Zhong Kui's Role as a Ghost-Catcher Was "Appointed by the Emperor", Endowing Him with Authority and Legitimacy
Before the Tang Dynasty, the image of Zhong Kui was not widely spread. However, after the legend of Emperor Xuanzong of Tang dreaming about Zhong Kui catching ghosts spread, Zhong Kui became popular across the country.
It is said that during the Kaiyuan era of the Tang Dynasty, Emperor Xuanzong contracted a severe malaria and remained ill for over a month. One night, he dreamed of a small ghost stealing the purple sachet and small jade flute of his concubine Yang Yuhuan (also known as Taizhen). Soon after, a tall ghost arrived and ate the small ghost. When Emperor Xuanzong asked who he was, the tall ghost replied: "I am Zhong Kui, a Jinshi from Zhongnan Mountain. I failed the martial imperial examination and killed myself by crashing into the palace steps. I swore to help Your Majesty eliminate all evil spirits in the world."
Emperor Xuanzong recovered immediately after waking up. He then ordered Wu Daozi to paint a portrait of Zhong Kui, and printed multiple copies of "Zhong Kui Catching Ghosts" to distribute to his ministers. He instructed them to hang the portraits on their gates on New Year's Eve to exorcise evil spirits. Later, this custom spread to the people, and Zhong Kui became the guardian deity of every household.
3. Wu Daozi, a Famous Tang Dynasty Painter, Created a Vivid Image of Zhong Kui Catching Ghosts, Fixing His Image with Intuitiveness and Perceptibility
Records show that Wu Daozi, the "Saint of Painting" in the Tang Dynasty, was the first master skilled in painting Zhong Kui. Although his original paintings of Zhong Kui have been lost, some people in the Northern Song Dynasty (960-1127 AD) still saw his authentic works in the imperial palace.
Guo Ruoxu, an art connoisseur of the Northern Song Dynasty, provided a detailed description of Wu Daozi's authentic portrait of Zhong Kui in Tuhua Jianwen Zhi (Records of Paintings Seen and Heard), Volume 6, "Recent Events": "In the past, Wu Daozi painted Zhong Kui wearing a tattered blue robe, with one foot in a leather boot, one eye blind, a tablet (hu) tucked in his waist, a scarf on his head, and disheveled hair. He held a ghost with his left hand and gouged out the ghost's eye with his right hand. The brushstrokes were forceful and vigorous—truly a masterpiece of painting."
Here, the "blue (lan)" in "tattered blue robe" is synonymous with "lan" in "lanlv" (tattered), meaning worn-out. "A tablet tucked in his waist" refers to a wooden ceremonial tablet (hu) that officials held in their hands when attending court, tucked into his belt. "A scarf on his head and disheveled hair" describes his identity as a scholar and his down-and-out appearance.
From Guo Ruoxu's description of Wu Daozi's Zhong Kui painting, Zhong Kui was indeed portrayed as an ugly-looking scholar from a poor background. His fierce aura while catching ghosts leaps off the page, leaving a deep impression on viewers and exerting a strong influence on later painters. Thus, Wu Daozi pioneered the tradition of painters, writers, and dramatists depicting, writing about, and performing stories of Zhong Kui.
4. Zhong Kui Has a Direct Connection to the Nuo Dance (for Exorcising Evil and Ghosts), Strengthening the Historical Basis and Influence of His Role as a Ghost-Catcher
Zhou Li·Xia Guan·Sima (Rites of Zhou·Summer Office·Minister of War) records: "The Fangxiangshi (official in charge of exorcism rituals) wore a bear skin, a mask on his face, and four eyes made of gold attached to the mask." In the Nuo ritual system, the Fangxiangshi wore a mask, which also contained totemic elements. The ferocious appearance of the Fangxiangshi was based on the ancient belief that wearing a ghost mask could scare away ghosts—a practice of "overcoming evil with evil" or "countering ferocity with ferocity", achieving the effect of "scaring ghosts with ghosts".
Zhong Kui's ugly appearance may have evolved from the Fangxiangshi wearing a terrifying mask; the common trait between Zhong Kui and the Fangxiangshi is their "ugliness". Zhong Kui's Nuo Exorcism Text, unearthed in Dunhuang, is the earliest record of Zhong Kui appearing in the Nuo ritual.
Meng Yuanlao of the Song Dynasty recorded in Dongjing Meng Hua Lu (Dreams of Splendor of the Eastern Capital) that Zhong Kui also appeared in the grand Nuo rituals held in the imperial palace. Zhong Kui was the most active role in the Nuo dance. Due to his frequent appearances and status as the absolute protagonist, people sometimes directly referred to the Nuo dance as "Dancing Zhong Kui".
Different from the Nuo rituals of the Tang Dynasty, Zhong Kui in these later rituals no longer wore leopard skin but was dressed as a military officer, and his "100,000 monster subordinates" were simplified to four assistant generals. However, his role in the ritual remained unchanged—he still caught ghosts.
5. Zhong Kui is "Neither Fully Human nor Fully Divine", Transcending the Yin (Underworld) and Yang (Mortal World) Realms, Possessing Supernatural Powers and a Ferocious Appearance That Intimidates Ghosts, Making Him the Ideal Choice for Catching Ghosts
Primitive beliefs held that diseases and disasters were caused by evil spirits or ghosts, which, like venomous snakes and ferocious beasts, could be driven away. The ancients used the method of "countering strangeness with strangeness", believing that people with unusual appearances often had magical qualities and extraordinary abilities. Therefore, the door gods in folk culture always have wide eyes, ferocious looks, and hold various traditional weapons, ready to fight against any ghosts that dare to approach.
Zhong Kui's way of catching ghosts—digging out their eyes first and then swallowing them—was decisive and ruthless. Moreover, he had lofty aspirations and publicly declared that he would eliminate all evil spirits in the world, sparking a "thousand-year ghost-catching campaign".
Zhong Kui had the face of a chivalrous hero—ferocious and intimidating. Behind his fiery and unyielding character, however, he had a kind heart that hated evil as much as an enemy. This striking contrast makes him a classic artistic image.
Folk painters either carved their works on stone or made woodblock prints of Zhong Kui, using them as auspicious paintings to ward off evil, dispel misfortune, and attract blessings during the New Year. These paintings were pasted on doors or hung in halls to welcome good fortune. The Zhong Kui portraits from Lingbi County (Anhui Province) depict him as brave and fierce, with a terrifying appearance and an invincible aura. In terms of modeling, they gradually formed unique local characteristics: sword-like eyebrows and tiger-like eyes, a broad forehead and curly sideburns, rugged and powerful, imposing and awe-inspiring—blending roughness with charm, heroism with elegance, boldness with tenderness, and strength with kindness.
6. Zhong Kui's Unyielding Character Made Him an Impartial "Judge", Endowing Him with the Position and Ability to Catch Ghosts
Let us first look at the early deities specialized in catching ghosts. On the stone carvings of the Western Han Dynasty (202 BC-8 AD), the "ghost-catching experts" were Shen Tu and Yu Lei. In Han Dynasty myths, they were brothers, renowned for their bravery. Their images often appeared on stone carvings during the Western and Eastern Han Dynasties, making them the earliest "ghost-catching experts" in Chinese culture.
Another figure was Chi Guo, a more unconventional "ghost terminator". Shenyi Jing·Southeast Huang Jing (Classic of Marvels·Classic of the Southeast Wilderness) records that Chi Guo caught ghosts out of instinct—to fill his stomach. Legend has it that he would swallow 3,000 ghosts for breakfast and another 300 for supper.
Before the Tang Dynasty, these figures were all powerful ghost-catchers. However, Zhong Kui's emergence overshadowed them all. Zhong Kui is a typical representative of impoverished intellectual scholars in ancient China.
In the year Emperor Xuanzong ascended the throne (the 4th day of the 8th lunar month in the 1st year of the Xiantian era of the Tang Dynasty, i.e., September 9, 712 AD), Zhong Kui went to Chang'an to take the imperial examination. He wrote five essays titled Waiting for the Feast in Yingzhou, which were praised as "works of extraordinary talent" by the chief examiners, and he was ranked first among the successful candidates (Gongshi). However, during the palace examination, the treacherous prime minister Lu Qi judged Zhong Kui by his appearance and repeatedly slandered him, leading to Zhong Kui's failure to be selected as the top scholar (Zhuangyuan). Enraged, Zhong Kui crashed his head against a palace pillar and died, shocking the entire court. The emperor ordered that Zhong Kui be buried with the honors of a top scholar.
In the story, Zhong Kui was only one step away from his dream, but he lost his promising official career due to the emperor's personal preference. His unjust experience undoubtedly resonated with scholars of all dynasties. Since the Song Dynasty, almost all versions of Zhong Kui's story have included this strikingly similar plot.
Since the Northern Song Dynasty, folk stories have successfully portrayed Zhong Kui as an impoverished scholar, and this realistic depiction won him public recognition. His unyielding character made him an impartial "judge", and his integration with the image of Bao Zheng (an upright and incorruptible official in Chinese history) finally made him the most trustworthy deity for catching ghosts.
This is also Zhong Kui's uniqueness as a god: Although his image appeared frequently in various paintings throughout the dynasties, and there are countless legends about him, he has no historical basis or classical records to support his existence. Additionally, his ugly and ghost-like appearance meant that no emperor of any dynasty ever bestowed a title on him, nor is there any record of the central government taking the lead in building a temple for him. However, it was precisely because of this that the people had greater freedom to shape Zhong Kui, endowing him with a unique secular character.
Zhong Kui's unjust death moved the supreme ruler of the divine world—the Jade Emperor. Originally, like all mortals, Zhong Kui would have to go to the Underworld (Yin Cao Difu) after death to suffer torment and be governed by King Yan (the ruler of the Underworld). However, when the Jade Emperor heard about Zhong Kui's injustice, he felt great sympathy and showed mercy. He immediately sent envoys to inform the Underworld to let Zhong Kui pass unimpeded without any obstruction. The Jade Emperor seemed to highly appreciate Zhong Kui's unyielding character and even intended to entrust him with an important post. On Zhong Kui's way to the Underworld, he received an appointment letter from the Jade Emperor, appointing him as a judge who presides over both the Yin (Underworld) and Yang (Mortal) realms.
Since the Northern Song Dynasty, folk stories have successfully portrayed Zhong Kui as an impoverished scholar, winning public recognition with its realistic significance. His unyielding character made him an impartial judge, and his integration with the image of Bao Zheng, an upright official in the mortal world, finally made him the most trustworthy deity for catching ghosts.
7. Portraits of Zhong Kui Catching Ghosts Were Widely Posted Among the People, Becoming a Common Ritual for Warding Off Evil and Praying for Blessings in Daily Life
Zhong Kui's portraits provided people with a strong psychological hint and comfort. Lingbi County in Anhui Province has long been famous for its Zhong Kui paintings—streets there are lined with calligraphy and painting shops specializing in this art form. Every year, nearly 10,000 Zhong Kui portraits flow from here to all parts of the country and even to foreign lands.
According to the Lingbi County Chronicle compiled in the early Qing Dynasty (1636-1912 AD), during the Ming and Qing dynasties, this number was even three times higher, reaching tens of thousands. In other New Year painting production areas, portraits of Zhong Kui were also one of the most popular varieties. This clearly shows that people truly trusted Zhong Kui's divine power to catch ghosts.
