Zhong Kui （钟馗）
The Legendary Demon Slayer of Chinese Taoism
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Introduction
Zhong Kui is a Taoist folk deity who specializes in demon slaying and evil exorcism. He is also known as the "God of Ten Thousand Responses," "Yisheng Thunder and Lightning Demon-Expelling Evil-Banishing House-Protecting Fortune-Granting Emperor," and "Fortune-Granting House-Protecting Sacred Lord." He is revered in Chinese folk culture as a deity who drives away ghosts and evil spirits.
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Throughout history, the legendary tale of "Zhong Kui Catching Ghosts" has been passed down, and Chinese people commonly hang Zhong Kui portraits to ward off evil and dispel disasters. His image is typically portrayed as a military official with a leopard-like head, bulging eyes, a dark face with a curly beard, wearing a red robe, black boots, and wielding a sharp sword while glaring fiercely at demons and evil spirits.
The "Taishang Dongyuan Shenzhou Jing · Zhan Gui Chapter 7" is one of the earliest documents containing records of "Zhong Kui," where he plays the role of a "ghost slayer." However, the origins of Zhong Kui remain subject to various theories, including the plant "Zhongkui" theory, the ritual instrument "Zhongkui" theory, and the shaman Zhong Wei theory.
Origins of Zhong Kui
The Ritual Instrument Theory
"Zhongkui" is the reverse pronunciation of "zhui," which was an ancient striking tool. It had a large head with a sharp top and a handle below, and when fitted with a long handle, it became a weapon. Ancient people believed that illness and sudden death were caused by evil spirits, gradually forming "ghost-hunting teams" that used "zhongkui" to drive away ghosts and epidemics.
The Plant Theory
In traditional Chinese medicine, "zhongkui" and "zhongkui" are names of two medicinal fungi recorded in "Erya · Shi Cao." These plants were named after their hammer-like shapes. Li Shizhen believed that the Zhong Kui legend originated from the "Zhong Kui fungus," recording in the "Compendium of Materia Medica" that this fungus could be used medicinally to treat difficult labor and malaria.
The Scholar from Mount Zhongnan
"Tang Yi Shi" is one of the earliest books to mention the name "Zhong Kui." According to records, Emperor Xuanzong of Tang dreamed of a great ghost in blue robes who captured a small thief-ghost and declared himself to be Zhong Kui, a scholar who took the military examination and became the king of ghosts after death, vowing to eliminate all evil spirits in the world.
Physical Appearance
Zhong Kui's image is typically that of a military official with a leopard-like head, bulging eyes, a dark face with a curly beard, a hooked nose, bell-like ears, wearing a red robe, a black gauze cap, black boots, and wielding a sharp sword while glaring fiercely at demons and evil spirits.
Historical Artistic Depictions
Tang Dynasty: Wu Daozi's Zhong Kui had dense sideburns, wore a blue shirt, one foot in leather boots, one eye closed, with a court tablet at his waist, disheveled hair, grabbing a small ghost with his left hand while his right index finger gouged out the ghost's eyes.
Song-Yuan Period: Zhong Kui's image gradually transformed to resemble ordinary people, with more realistic human-like eyes, often including his younger sister and attendants in paintings, showing a trend toward humanization.
Modern Era: Artists have created various body types for Zhong Kui, including tall, short, fat, and thin versions, such as Li Keran's short and plump Zhong Kui, and Ren Yi's "Red Zhong Kui."
Folk Beliefs and Divine Roles
Evolution of Divine Duties
During Emperor Xuanzong's reign, Zhong Kui portraits were hung in homes for exorcism, making him one of China's traditional door gods. By the late Tang and Song dynasties, Zhong Kui had developed into a widespread folk belief, symbolizing the expulsion of evil and disease.
Taoism honored him as "Yisheng Thunder and Lightning Demon-Expelling Evil-Banishing House-Protecting Fortune-Granting Emperor," ranking alongside Guan Gong and Zhenwu Great Emperor as one of the "Three Great Demon-Subduing Emperors."
Timeline of Zhong Kui's Roles
- Early Period: Ghost slayer in Taoist scriptures
- Tang Dynasty: Door god for household protection
- Song Dynasty: Universal folk deity for exorcism
- Yuan Dynasty: Judge working alongside other officials
- Ming Dynasty: Officially appointed as judge over all demons
- Qing Dynasty: Great exorcism deity traveling the world
Cultural Customs and Practices
Hanging Zhong Kui Portraits
Initially, the imperial court gave Zhong Kui paintings to ministers as auspicious objects for welcoming the new year. This custom became established during Emperor Xuanzong's reign and gradually spread to the common people. By the Song Dynasty, hanging Zhong Kui portraits became an important New Year's Eve activity.
Zhong Kui Dance
Zhong Kui dance originated from Nuo dance, an ancient ritual for expelling plagues. During the Tang Dynasty, folk "Nuo" activities evolved into "beating night foxes," where beggars dressed as Zhong Kui and small ghosts to collect money along the streets. This later developed into "Zhong Kui dance" in the Jiangnan region.
Regional Variations
Mount Zhongnan Region: Features both grand community ceremonies and small household rituals, including elaborate processions with dragon and lion dances.
Huizhou Region: During Dragon Boat Festival, performers spray flames while dancing to the rhythm of gongs and drums, driving away the five ghosts.
Ethnic Minorities: Various ethnic groups in Southwest China have incorporated Zhong Kui into their local Nuo ceremonies, creating unique regional variations of the tradition.
Cultural Significance and Symbolism
Zhong Kui's legendary stories have undergone a transformation from faith to literature, encompassing rich cultural connotations including folk beliefs, marriage customs, official selection systems, and royal authority. Through changes in Zhong Kui's image and identity transformations, the diversity and multiple developmental possibilities of Zhong Kui culture are fully demonstrated.
Core Values Represented
- Integrity: Unwavering spirit that refuses to bow to the powerful
- Dedication: Conscientious attitude of serving the people wholeheartedly
- Justice: Upright and impartial character traits
- Social Ideals: Embodying people's simple demands for fairness and justice
Marriage and Social Commentary
The story of "Zhong Kui Marrying Off His Sister" reflects the lack of women's autonomy in marriage during feudal times and the suppression of women's free will under feudal ritual systems. The evolution of this story mirrors the development of Chinese marriage customs and reflects the struggle between ritual and custom in feudal society.
Modern Influence and Heritage
Contemporary Artistic Works
In modern times, new artistic works featuring Zhong Kui have emerged, including Beijing Opera "Nao Zhong Kui," films, and television dramas such as "The Legend of Zhong Kui." These works continue the transformation of Zhong Kui's legendary stories from faith to literature.
Intangible Cultural Heritage Recognition
- 2007: Traditional dance "Zhong Kui Playing with Bats" recognized as Jiangsu Province's first batch of intangible cultural heritage
- 2011: "Mount Zhongnan Zhong Kui Folk Beliefs" recognized as Shaanxi Province's third batch of intangible cultural heritage
- 2011: Traditional dance "Zhong Kui Dance" recognized as Anhui Province's third batch of provincial intangible cultural heritage
- 1915: Zhong Kui paintings won gold award at Panama World Expo, now collected in the Palace Museum
International Impact
Zhong Kui in Japan
During the Tang Dynasty, Zhong Kui crossed the seas to Japan through cultural exchange. By the late Heian period, exorcism paintings featuring Zhong Kui had already appeared. In Japanese folk belief, Zhong Kui holds an important position.
Japanese customs include hanging Zhong Kui flags during the Dragon Boat Festival and worshipping Zhong Kui during epidemics. In Japanese folk belief, smallpox and measles are caused by disease gods, making Zhong Kui the deity who drives away these epidemic spirits.
Japanese Zhong Kui Temples
Japanese people have built temples to worship Zhong Kui. In 2013, a shrine dedicated to Zhong Kui was established within Wakamiya Hachiman Shrine in Kyoto's Higashiyama District. In Matsuyama City, Ehime Prefecture, there is a Zhong Kui Temple (formerly Anyo Temple) that holds annual Zhong Kui festivals on July 11-12, considered one of Matsuyama's three major summer festivals.
In rural areas of Japan's Tohoku region, including Akita, Yamagata, and Fukushima prefectures, people create straw Zhong Kui figures at village entrances to ward off demons and evil spirits, showing the widespread faith in Zhong Kui as a village guardian deity.
Zhong Kui continues to embody the eternal human struggle against evil and the pursuit of justice, remaining a powerful symbol in both traditional and modern Chinese culture.
