lyon-77

[lyon-77]

Erlang Shen Master Post

Cr.: 氿氿明

Long Posts

Introduction

Erlang Shen — A Playful Free Spirit Pt. 1

Erlang Shen — A Playful Free Spirit Pt. 2

Erlang Shen — An Unbound Youth Pt. 3: Cultural Significance

Erlang Shen As A Warrior God

Erlang Shen — Unpacking the Complex Layers of a Timeless God Pt. 1

Unpacking the Complex Layers of Erlang Pt. 2: Multiethnic Origin on the Borderland

The Many Faces of Erlang Shen: The Third Eye Pt. 1

The Many Faces of Erlang Shen: The Prince of Golden Flower (金花太子)?

Erlang Shen in Traditional Chinese Painting Pt. 1

Erlang Shen in Chinese Literary Tradition Pt. 1: The Investiture of the Gods and Bond with Nezha

Black Myth: Wukong Miscellaneous

Original plan of Xiaotian's appearance

Creative Work Reposts

Black Myth: Wukong (2024) - Kongjian/Jiankong video edit (cr.: 黑暗淡影)

New Gods: Yang Jian (2022) video edit (cr.: 多希兰红茶w)

[joshua-beeking]

Another Jiankong art request completed for @Onniblackheart this time with an Elden Ring vibes to it! Enjoy!

Art requests available on my Patreon!

[lyon-77]

Uploading some GIFs from New Gods: Yang Jian

Also, I've been wanting to clarify that Erlang Shen, as a warrior god rooted in the Chinese intellectual tradition, doesn't align with modern Western notions of warrior heroes as either glory seekers or guilt-ridden pacifists.

Erlang Shen is traditionally portrayed as an unwavering and ruthless warrior, but his actions are not driven by a quest for honor or personal glory. Instead, his role in war stems from a sense of duty to protect and to restore lasting peace. There is a tragic awareness of the cost of war—not guilt for those he defeats, but sorrow for the disruption it brings to the world and the suffering it inflicts on individuals, families, and humanity as a whole.

I really appreciate it when modern animation stays true to Erlang's fierce resolve and deep compassion, depicting them with subtlety consistent with the traditional view that war, while sometimes an unfortunate necessity, is always a solemn and regrettable means to achieve harmony

[lyon-77]

Hiii, first of all I love all your posts about Erlang, since the game came out I've taken a huge interest in him and I love to read your posts, they are extremely interesting and helpful as someone who loves to learn new things! So thanks a lot for that <3

Anyway I wanted to ask, is there any record of Erlang having a wife or something like that? I've read somewhere before that he was supposedly betrothed to a dragon princess?? (Something like that I don't really remember when or where I read it) And also, in the movie "New Gods: Yang Jian" when Yang Jian is at the casino ambushed by the three monkeys, the little monkey mentioned something like he had abandoned his wife or something similar to that? (I might be wrong here since the site where I watched the movie didn't have the best subtitles available, only good enough to understand the plot).

So I was wondering if you know something about that perhaps? (Btw I'm sorry if there are any grammar mistakes, English is not my first language <3)

Thank you! I’m so glad you’ve enjoyed my ramblings 😊

To answer your question, no, Erlang Shen does not have a wife or a partner in Chinese mythology. The only source linking him with a dragon princess is The Lotus Lantern TV series, which is more or less a fantasy romcom. Personally, I always feel that assigning every deity a love story is unnecessary and out of character. In New Gods: Yang Jian, the monkeys were referencing the rumor that Erlang Shen abandoned his sister beneath Mount Hua 12 years ago. Erlang didn’t bother explaining himself to them, perhaps because he didn't care about being misunderstood by those who didn’t matter to him. It might also reflect Erlang's self-imposed exile, driven by the guilt over his inability to save his sister when she chose to sacrifice herself for the mortal world.

If we were to make up a partner for Erlang, the dragon princess would still be a poor choice. Erlang Shen’s lore is closely associated with the flood myth, water taming, and, by extension, dragon slaying or subduing. On that note, there’s actually a tale in which Erlang Shen disguises himself as a beautiful woman betrothed to an evil dragon prince. He kills the dragon prince at their wedding banquet, saving the nearby villages from recurring floods.

One unexpected yet fitting adaptation appears in The Legend of Nezha, where a romantic subplot is added between Yang Jian and the mountain spirit (山鬼), a mythological figure tied to a legendary mountain near Sichuan. Following the plot of The Investiture of the Gods, the series concludes with Yang Jian declining the offer to serve in the new court and returning to the mountains, where he and the mountain spirit transform into birds and disappear into the woods. From a characterization standpoint, it is in character for Erlang Shen to step away from power hierarchies and be drawn instead to the untamed world.

Ultimately, Erlang Shen is never depicted with a partner in canonical lore. This might be because he is already a powerful figure with extensive stories of his own, making the addition of a complementary character unnecessary for enriching his narrative. He’s also canonically a young adult, with an apparent age ranging from 16 to 26. This places him forever at the cusp of adulthood—old enough to possess strength and independence, yet unbound by familial or societal responsibilities. It’s a phase of life defined by exploration and self-discovery, free from the constraints of a prescribed role in the worldly system.

I think there's a collective desire among humans to envision certain deities, like Erlang Shen, as unbound young adults, for they embody the idealized traits we often associate with youth—carefree, open-minded, daring, idealistic, hopeful, and full of aspiration. Please indulge me as I end with excerpts from The Song for the Divine Lord (《神君歌》) by Lu You (陆游，1174 C.E.), a tribute poem for Erlang Shen that captures this sentiment:

Great Mount Tai could serve as a whetstone, The Eastern Sea could turn to dust over time. Only the brave one's unyielding will Strives forth through life and death. 泰山可为砺 东海可扬尘 惟有壮士志 死生要一伸 I dream of the Divine Lord descending from the celestial realm, So majestic, too sublime to fully capture. Flying loongs pull his chariot, with no steeds needed. Ghosts and spirits attend him, before and behind his stride. 我梦神君自天下 威仪奕奕难具陈 飞龙驾车不用马 诃前殿后皆鬼神 ... The mortal world is constrained, steeped in sorrow and pain, Yet the Divine Lord rejoices across endless springs. O to live uncrowned and die unhonored—what of it? True ones must not bear their aspirations in silence! 世间局促常悲辛 神君欢乐千万春 呜呼生不封侯死庙食 丈夫岂得抱志长默默

Of note, this poem was written at a temple honoring men who died defending against the Jin invasion. The sorrow and pain in Lu You’s verse reflect the turmoil of his era, marked by war and loss. His resilience and lifelong aspiration to reclaim lost lands draw from the idealism embodied by Erlang Shen.

[lyon-77]

Do you know why Erlang Shen is also called 金花太子? It seems like such cutesy name to call him

Sorry for my recent absence due to work-related burnout!

This is a fascinating topic I've been investigating for some time, but there's surprisingly little documentation available. The only historical text I could locate is a Qing dynasty oral tradition from the Beijing area, known as Taiping lyrics (太平歌词), a form of storytelling that blended folklore, religious motifs, and moral teachings. Its recent, non-mainstream roots likely explain the scarcity of records.

金花太子 (Jinhua Taizi - Prince of Golden Flower) most likely came from 金华太子 (Jinhua Taizi - Prince of Golden Radiance). As you can see, the two have very similar pronunciations and only tonal differences of the character "hua." The idea of the Prince of Golden Radiance likely came from the Ming dynasty classic novel Water Margin (《水浒传》) and it evolved into worship that spread along the Sichuan-Tibet Tea-Horse Road (川藏茶马古道) during the Qing dynasty. It was initially practiced by the Green Standard Army (绿营军), local Han Chinese recruited by the Qing government, tasked to protect the trade along the Tea-Horse Road.

Like many Chinese folk gods, the Prince of Golden Radiance was gradually absorbed into Daoist practices and could have developed syncretic ties with local traditions. Notably, the core region of his worship overlapped with that of Erlang Shen in western Sichuan, with both deities associated with military protection and integrity. The title "Prince" implies a youthful noble figure, also aligning closely with Erlang Shen's traditional imagery.

The transformation from the Prince of Golden Radiance to the Prince of Golden Flower likely occurred in the past century. After the fall of the Qing dynasty, the worship community of Jinhua Taizi transitioned from being primarily composed of soldiers to being dominated by women, drawn to the deity for protection and healing. As women took on a central role in ritual practices, the deity’s image softened, evolving into one that emphasized relatability and compassion—much like the transformation seen earlier with the bodhisattva. Now often depicted as female-presenting, this shift in Jinhua Taizi’s image is mirrored in the shift in their name.

In our time, I've only seen informal use of the Prince of Golden Flower when referencing Erlang Shen, and the internet certainly facilitates the spread of such associations. While Erlang Shen is not thought to be female-presenting, he is known to be a pretty young man who enjoys transforming into a beautiful woman when it suits him. I imagine those traits, combined with his modern association with the Jade Emperor, have contributed to the plausibility of linking him to the genderfluid Prince of Golden Flower.

The above remains speculative. I wonder, for instance, why the only historical record of this usage was found in an oral tradition around Beijing rather than in Sichuan, and whether the timelines of these two folk developments actually aligned with each other. This may be an interesting question for humanities scholars to explore

[joshua-beeking]

This illustration of the moment from the book at Emerald lake by Zhao zai (赵载) is gonna forever live in my head, rent free.

They are holding hands!

[nisaraaagh1]

Playing with Erlang ✨

[lyon-77]

Erlang Shen in Chinese Literary Tradition Pt. 1: The Investiture of the Gods and Bond with Nezha

I was just reminded of the iconic event of Yang Jian (Erlang) transforming into a magic ferret in The Investiture of the Gods.

For those unfamiliar with this 16th-century historical fantasy, the story is set during the war marking the transition between the Shang and Zhou dynasties around 1046 BCE. In the novel, Yang Jian, not yet the sacred divinity or Erlang Shen, is a young Daoist who just came down from the mountain to gain experience in the mortal world. He joins the Zhou camp and serves as the quartermaster, alongside Nezha who with his temper leads as the vanguard. Despite the humble introduction and minimal backstory, Yang Jian shows extraordinary abilities from the start. It could be that the audience of the period all knew something about Erlang Shen, thus there was no need to be explicit and go into the specifics. I'll just use "Erlang" going forward for simplicity.

The Legend and the Hero (《封神榜之凤鸣岐山》; 2007): Left to right as Yang Jian (Erlang Shen), Nezha, and Huang Tianhua (黄天化).

Erlang's first appearance in The Investiture of the Gods is when he arrives at the Zhou camp with military provisions amid a prolonged struggle against the four Mo brothers (the book's adaptation of the Four Heavenly Kings) on the Shang's side. Mo Lishou (the Heavenly King of the West), commands a magic ferret that has already devoured and killed many people. Erlang volunteers to confront them directly to break the stalemate and to gather some new information. He goes to the battlefield, allows himself to be devoured by the ferret, kills it from within that night, and takes on its form to infiltrate the ranks of the Heavenly Kings. Meanwhile, Nezha and Jiang Ziya, the grand strategist on the Zhou's side, believe Erlang is already dead and have been mourning his death until Erlang sneaks back to the camp and loops them in on his plan. Erlang plays a pivotal role in the defeat and death of the Four Heavenly Kings.

New Gods: Yang Jian (《新神榜：杨戬》； 2022)

At the end of the book, all magical beings died in the war were resurrected and made gods—hence the Investiture of the Gods. This history, however, would explain why, in New Gods: Yang Jian, the four Mo brothers, especially Mo Lishou and his ferret, still seem to harbor some bitterness toward Erlang.

In The Legend of Nezha's adaptation, Erlang saves Nezha from the Shang camp while being undercover. This animated series was actually my first introduction to Erlang Shen.

The Legend of Nezha (《哪吒传奇》; 2003): This goofball is captured by his own camp when sneaking back and needs Xiaotian to help prove his identity.

Upon revisiting my childhood anime, I got curious about the inspiration behind Erlang's golden hoops there (not that I mind them at all). With the second of the Creation (Investiture) of the Gods trilogy set to release on the first day of the 2025 lunar new year, I've been wondering if it could be partially canon for Erlang Shen to actually wear a metal hoop on his left side, especially when he appears as the god of hunting. This style is a traditional custom for men in several ethnic groups in Sichuan that have historically revered Erlang Shen (including the Yi and some Hmong subgroups). The actor who plays him in the trilogy happens to be of Yi ethnicity and always wears a one-sided earring off-set. Just a vision...

Creation of the Gods (《封神》) Actors for Nezha and Yang Jian (Erlang Shen) from 2018 to 2023.

[mstrchu]

based on this :')

[lyon-77]

Time to bring this back!

[lyon-77]

Erlang Shen in Traditional Chinese Painting Pt. 1

Searching the Mountains (搜山图) for yaoguais is a classic theme in Chinese traditional painting starting in Southern Song Dynasty. It exists in several versions featuring different commanders, and a major category is Erlang Searching the Mountains. One of its best preserved copies is by Lu Zhi (陆治), dated to the 16th century during the Ming Dynasty and currently owned by the Museum of Fine Arts in Boston. The painting is on a silk scroll with a dimension of 61 x 806 cm (24 x 317 inches). As it's impossible to fit the entire painting in one frame here, below are the sections with Erlang (Fig. 1) and his hound, Xiaotian Quan (Fig. 2).

Fig. 1. Toward the beginning (the far right side) of the scroll.

Here is one classic representation of Erlang Shen in traditional art, where he wears a three-peaked hat (三山帽), holds an unsheathed sword, and strikes a distinctive pose, now known as the Erlang pose (二郎腿).

The three-peaked hat signals authority and wisdom, given its broad associations with nobility, Daoism, and scholar-officialdom. This is an interesting and intentional substitution for the helmet, as Erlang Shen is otherwise in a full suit of armor here.

The sword has become a staple in Erlang's image since his absorption into Daoism, where swords signal character and status, serving a more ritualistic than pragmatic purpose.

"Erlang pose" is commonly used in everyday speech to refer to any crossed-leg postures with only one foot on the ground, and it carries a connotation of casual confidence. Many native Chinese speakers are not consciously aware of its origin, just as native French speakers might not know that numbers like 86 (quatre-vingt-six) are remnants of the vigesimal (base-20) system.

The page on Erlang's right-hand side holds his hunting bow, and the guard to the page's right holds Erlang's spear. Other non-human-looking figures surrounding Erlang are part of his troop.

It is worth noting that Erlang's troop is called Grassroots Gods (草头神) because they are not formally enlisted in the Celestial Court but are recognized by Erlang. One could say that they, including Xiaotian, might've been considered yaoguais if not for Erlang. This might be why in Black Myth: Wukong, the game maker combined different lores to have Erlang's sworn brothers mentioned in JTTW be the yaoguais he previously subdued in Investiture of the Gods. As such, in the portrait section of the BMW journal, their names appear under Characters rather than Yaoguais.

This detail may open up many interpretations. For one, it shows Erlang's attitude toward yaoguais isn't simply antagonistic and the boundaries between yaoguais, humans, immortals, and gods are more fluid. Looking beyond Black Myth: Wukong's framing, the very concept of grassroots gods suggests that Erlang Shen believes in true merits—yaoguais who harm humans need to be subdued, while those who do good or are willing to redeem themselves can ascend to godhood. This is quite different from viewing yaoguais as inherently evil and untrustworthy, and is consistent with Erlang's traditional depiction as unconventional and charismatic.

Fig. 2. Toward the end (the far left side) of the scroll.

Xiaotian Quan is depicted as a white sighthound in this painting (Fig. 2). The beautiful women in the foreground are yaoguais, and their paws are showing under their gowns. This reflects another subtle rule in Chinese lore: yaoguais who look just like humans are more likely to be evil as they rely on disguises, while yaoguai-looking characters are more likely to be positive and even immortals or gods as they have nothing to hide with their true forms. It's a curious theory when you consider Sun Wukong's evolution in Chinese lore. His earliest depiction is as a lewd ape yao who often shows up as a white-robed scholar, but by the time of JTTW, he appears as a monkey throughout the story without needing or wanting to pretend to be a human.

[lyon-77]

Fun fact about Black Myth: Wukong. The character design for the Third Prince was initially created for the human form of Erlang's hound, Xiaotian Quan (哮天犬).

cr.: Artstation huan gugu

Due to time and resource constraints, Game Science had to cut a significant portion of their original plan and repurpose some of their draft work. The extracted game folder for the Third Prince is still labeled "SZLC_xiaotianquan," and it even contains quite a few lines designed for Xiaotian, where you could tell he was originally intended to be the chapter's end boss guiding the destined one to Erlang:

You scruffy rascal, as rough and clumsy as ever. 你这毛鬼，还是如此毛手毛脚 Don’t be so quick to anger. If you've got the skill to break out of here, there'll surely be benefits waiting for you. 别急着恼，若有本事闯出去，定有你的好处 Let me see—which fearless soul dares to challenge [him]? 让我瞧瞧，哪个不怕死的，来此挑战？ Warriers, hear this: Langjun (our lord) values true talent. Should any of you best him, you will be handsomely rewarded! 众将听令，郎君爱才，你们若有人打服了他，重重有赏！ Destiny, it seems, amounts to little indeed. 天命，也不过如此。 Alas, my hopes were misplaced on you. Such mediocre skills—truly shameful. 哎呀，枉费我一场悬望，就这点手段，当真羞煞人。 Interesting, interesting. If Langjun knew your predicament, he might just come to rescue you. We shall meet again. 有趣有趣，郎君若知晓你这般境况，保不齐要来救你一番，我们来日再会。

As mentioned in a previous post, Erlang Shen is also known as Langjun Shen, with "Langjun" being a respectful term when addressing young lords. I love how sassy Xiaotian sounds here, as well as his subtle mention of Erlang. Since we encountered Erlang's five Mt. Mei brothers in the first five chapters, it would be fitting for Xiaotian to appear as the last one and fulfill a similar role in the sixth chapter. And I suppose with Xiaotian's company, Mt. Mei might feel a bit less cold.

It is quite a shame that this didn't get fleshed out in the released version of the game, though I agree with the sentiment that completion is better than perfection for such an ambitious project. This storyline remains in the creative realm, and I hope it can be realized in some way in the DLC.

[lyon-77]

I’ve been curious as to why Erlang Shen, who was once depicted as a heroic lord with strong ties to the mortal realm, was turned into this cold-hearted "hound of heaven" figure. I get that his influence had waned, and you've said that it was an unconscious effort to revive key themes from his lore. That might make sense during a decline in his worship. But why did they have to lean into a more negative interpretation of his character? Sorry for the example, but it reminds me of how characters who were originally portrayed as good and fair sometimes get flipped into their opposite, and that darker version sticks. It’s kind of the reverse of the trope where villains become heroes. Take Sun Wukong, for example: he originally wasn’t some oppressed freedom fighter for the yaoguais (like he only cares about his children, which isn't bad but yeah). He was a warlord whose pride got wounded, and he threw a massive tantrum because he wasn’t getting the position he thought he deserved. Black Myth: Wukong shows him as a misunderstood revolutionary. But with Erlang Shen, it's the opposite—he started as a popular hero and deity, and yet he’s been reduced to a villainous enforcer. From what I’ve heard about his original stories and your and many others posts, he was a good person and a hero, not the oppressive figure he's been turned into over the years. It’s strange to see him constantly depicted in such a terrible light when his lore is so much more complex and positive.

Yeah, it can get frustrating, but I’d say the tide has turned since the early 2000s. Erlang is almost always portrayed as charismatic and dependable in Investiture of the Gods adaptations. In JTTW-inspired works, he's meant to be a positive figure as well, though some adaptations that focus solely on the main hero can end up oversimplifying or even discrediting complex supporting characters. To me, it always feels like such a waste of the rich source material.

In the past two decades though, the trends has leaned towards depicting Erlang Shen as a misunderstood hero. When the Black Myth: Wukong intro first came out, many people were disappointed, though not entirely surprised, to see Erlang cast as the antagonist again. So when it was later revealed he was more complex than he first appeared and had been our ally all along, the Chinese audience were both relieved and greatly satisfied.

I do think part of the reason Erlang wasn’t more fully developed in modern media previously might be precisely because he’s a righteous god—a character archetype that doesn’t always translate well in eras that celebrate antiheroes, individualism, and self-made rebels. Figures like Wukong and Nezha, who actively defy traditional values, fit the idea of a hero as someone who challenges the status quo. Meanwhile, the classic hero archetype can get pedantic and lose its emotional impact. Erlang Shen is a classic hero but is also more than that: his nuances bridge the old and the new and can resonate well with the audience today. Yet, his complexity isn't always easy to convey in the short-form messaging more typical of today's media.

In the end, all canonized characters need to adapt to remain relevant, and new audiences need a bit of patience and curiosity to get to know them. I think it just took Erlang some time to find his place in our era, but for a folk god with millennia of history, that's not too bad at all 😉

[lyon-77]

Hello! Big fan of your Erlang Shen posts 😍 Gimme more. I’m curious—what’s the deal with his third eye? Not gonna lie, as beautiful as he is in the game, it was his third eye that really drew me in. I’ve heard it’s called the “Eye of Heaven,” so is it a rare ability? Is that what makes him so powerful, like more powerful than the other deities? What's the history behind it? What can it do exactly?

Thank you! Really glad you're enjoying the read 😊

That's a fantastic question, and, as always with Erlang, the answer is more complicated than it seems 😂 In short, Erlang didn't actually have a third eye until the Qing Dynasty (1644-1912), so he's without the "eye of heaven" in both JTTW and Investiture of the Gods. Quite counterintuitive, right? It feels like he uses associated powers in both stories—and that impression isn't wrong.

Erlang Shen has always been famed for his instinctual ability to see through illusions and trickery. In JTTW, this perceptive power is on full display during the OG duel between him and Sun Wukong. Besides being a skilled shapeshifter himself, Erlang's sharp perception allows him to consistently see through Wukong's transformation, giving him an upper hand as he adapts his tactics in response to Wukong's. Only Guanyin, the bodhisattva, possesses a similar "wisdom eye" with the aid of her vase and lotus. It's pretty cool that Black Myth: Wukong pays homage to this legendary detail, having Erlang counter the Destined One's transformation and provide specific comments on each transformation choice.

In Investiture of the Gods, Erlang’s perceptive ability is depicted as an extraordinary capacity to see through complex illusions and schemes. Unlike many other characters who rely on magical artifacts or spells, Erlang’s vision appears to be an innate “divine insight” (or just him being a smart ass) that allows him to detect hidden truths and reveal the true forms of both enemies and allies alike. Even without a third eye, Erlang’s perceptive prowess aligns him with selected higher-ranking immortals, giving him a tactical edge that reflects his reputation as a discerning and formidable deity in Chinese mythology.

These stories frame Erlang's special vision through the lens of Buddhism and Daoism, both of which contributed to the semi-canonization of his third eye in later centuries. However, Erlang's perceptive prowess predates those interpretations and can be seen in oral traditions and folk operas. This ability of his likely originated from the eye-worship traditions in Sichuan's folk belief system, a theme evident in Bronze Age artifacts and chorography records dating back to the 4th century. In Sichuan's local traditions, special eyes are associated with omniscience and authority, qualities fitting for Erlang as the chief god of the region.

How Erlang gained an actual third "eye of heaven" is another multi-layered story. It involves Daoism, Buddhism, Hinduism, the rise of three-eyed Dharma protectors during the Ming Dynasty, and the geo-temporal overlap of ritual practices linking Erlang to one such deity. Since Erlang already possessed extraordinary perceptiveness, adding a third eye to his visual representation seemed to make perfect sense and thus became a permanent feature in popular imagery over the last century or two.

I could expand the last two paragraphs into separate posts for more depth, but I hope this covers most of your questions without going too far down the rabbit hole!

[lyon-77]

cr.: 多希兰红茶w (Original Link)

I mentioned in a previous post that the animated film New Gods: Yang Jian (2022) explores how to better integrate the lotus lantern lore into Erlang Shen's story in a character-consistent way. I thought the movie was beautifully made, and its portrayal of Erlang offers a lore-consistent yet fresh interpretation from what non-Chinese audiences might be more familiar with.

This is a fantastic fanvid of the movie. Just a few things to note about this film’s unique setup: 

Erlang injured his third eye during the past tragedy, so he's at half of his original power and a wandering immortal in this movie.

Chenxiang, as Erlang's nephew, is 12 years old and dressed in dark green here. The editor intentionally played with the symbolic parallel (and differences) between Erlang and Chenxiang.

The film features some mythic punk elements.

[lyon-77]

Unpacking the Complex Layers of Erlang Pt. 2: Multiethnic Origin on the Borderland

It is generally agreed that Erlang has two primary origins: one from the Di people (氐人) in northwest Sichuan sometime between 770 - 221 BCE, and the other from the Qin official and hydraulic engineer Li Bing, who constructed the Dujiangyan irrigation system in Guankou (灌口), Sichuan between 276 - 251 BCE.

The Di people, although primarily agricultural, were closely related to the nomadic Qiang people (羌人), known for their sheepherding. Due to regional instability caused by war, the Di migrated from northwest China and settled in the Sichuan Basin, where they adopted the local agricultural practices and some cultural norms. It is believed that the Di were either Qiang people who had assimilated with the agricultural Chinese (who would later formed the Han identity as the ethnic majority of China) or an independent ethnic group heavily influenced by both.

These two origins define Erlang's dual divine roles: a powerful (possibly ruthless) hunting mountain god and a god who tames floods and promotes agriculture. At first glance, these roles may seem unrelated, but they make a lot of sense when you look at a map of the Sichuan Basin (the bottom left of the 5th century BCE map below). This is a fertile river basin surrounded by mountains and traversed by a rich network of rivers that facilitated transportation and communication both within the region and with the outside world. And what a complex outside world! To the northwest lay the nomadic grasslands, to the west the Tibetan Plateau, and to the northeast the heartland of the powerful Qin kingdom, which in 221 BCE became China's first unified empire, famous for the Terracotta Army. In this unique landscape, a god with multiethnic roots and a complex interplay between the borderland and the central heartland rose to prominence.

For the first few centuries of his emergence, this god was not yet called "Erlang." Due to the geographic proximity and cross-cultural interactions, the god of Mount Yulei (玉垒山神) and Guankou Shen (灌口神) were often worshipped together in shared temples and gradually merged into a single deity. Estimated to be before or during early Tang dynasty (618-907 C.E.), Guankou Erlang Shen (灌口二郎神) came into form as the chief god of the region, also called 川主 ("the Chief of [Si]Chuan"). His power was closely tied to his role as the protector of the region and its agricultural prosperity, making him a deity to whom people prayed for all aspects of life, both great and small.

Note. Erlang Temple in Jiajiang (夹江), Sichuan.

This is also why it can be misleading to interpret Erlang's character primarily through his later association as the Jade Emperor's nephew. Erlang had existed for over a thousand year before that connection was ever made, and his power and legitimacy did not come from the celestial palace. Instead, this later connection reflects the necessity on the part of the celestial court and the cultural trend as Erlang was already an established figure in China's pantheon.

Similar to how a secular emperor might grant a powerful feudal lord the title of king and seek to marry him into the royal family, Erlang was officially given the title of king by the secular emperor in 1103 C.E. as part of his political canonization during the Song dynasty. Such recognitions (as a king specifically) occurred eight more times until 1879 C.E., with one additional instance by a regional regime in the 10th century. Since Erlang clearly came from a different lineage and established popular deities don’t suddenly become married, Erlang wouldn't fit as the Jade Emperor's son or son-in-law. Perhaps to resolve the cognitive dissonance surrounding such a powerful and beloved deity's place in the pantheon, his literary version (under the surname Yang) was eventually made the nephew of the Jade Emperor around the time of JTTW. Even the author of JTTW had to admit:

With lofty heart, he claims no kin to the emperor above, In his pride, he returns to live as the god by Guankou.  心高不认天家眷， 性傲归神住灌江。

Note. Erlang and Li Bing's shared temple in Guankou (Dujiangyan), Sichuan.

The first line is directly referenced in Black Myth: Wukong. It is super cool that, despite Sichuan being well integrated into Greater China through history and Erlang long recognized as a quintessential Chinese folk god, his strong regional identity continues to shine in his cultural representation. In storytelling, depending on the context, Erlang Shen can be interpreted as rebellious, autonomous, or as someone who never forgets their root regardless of their achievements on a bigger stage. This characteristic versatility makes Erlang a compelling figure for modern retellings while staying grounded in his origins.

[lyon-77]

gently grabs you i love your acc sm because yay Erlang discussions okay byeeee

Thank you! I really appreciate any comments and feedback 😊

[lyon-77]

Erlang Shen — Unpacking the Complex Layers of a Timeless God Pt. 1

Erlang is unique in Chinese mythology as an ancient god who remains vibrant and active in the 21st century. Unlike other ancient folk gods, whose vitality has long been lost, or newer heroes like Sun Wukong, emerged in the early modern period and resonate strongly with contemporary audiences, Erlang Shen's enduring presence in cultural life is a rare exception to the general trend. Writing about the origin of Erlang Shen is challenging because of his complexities. I hope I do justice to his cultural significance while keeping it engaging and accessible.

Originally a regional chief god and hero-god, Erlang’s influence expanded and peaked during the Song (960 to 1279 CE) and Yuan (1271-1368 CE) dynasties. During the Ming dynasty (1368-1644 CE), as popular folklore and dramas became formalized in influential works like JTTW and Investiture of the Gods, Erlang appeared alongside new heroes, who were often written to match or challenge the abilities of established deities like Erlang, both as a tribute and to lend legitimacy to the fresh characters. This dynamic placed Erlang as a benchmark against which rising figures were measured. During the Qing dynasty (1644-1912 CE), Erlang’s influence had stagnated, prompting unconscious efforts to revive key motifs in his lore. His legendary mountain-splitting feat was reimagined to center around a different character Chenxiang. Over time, Chenxiang's tale was attached to Erlang's mythos, with Chenxiang portrayed as his nephew. This revision introduced inconsistencies that distorted Erlang’s character, transforming him from a heroic young lord into an cold-hearted oppressor. Such a drastic re-telling was only possible during a period of decline in Erlang’s worship, and it further contributed to a more negative interpretation of Erlang. A god truly dies when no one remembers their name. By the 19th and 20th centuries, Erlang’s lore was on the brink of ossification and his original character nearly submerged to history. 

However, Erlang has survived, in part because many of his stories were preserved in written and oral traditions. Those enduring records prompted contemporary audiences to rediscover him and trace back his origin and development, revealing a complex, inspiring character ought not be forgotten.

In New Gods: Yang Jian

Certainly, Erlang carries far more “baggage” than new heroes. His mythos, shaped by layers of history and storytelling, can be confusing and at times contradictory. A prominent example is again the story of Chenxiang, which many argue doesn’t align with Erlang’s established character. As such, many people reject Chenxiang’s story as part of Erlang’s canon, while others try to reconcile the inconsistency by introducing new storylines that re-establish Erlang as a misunderstood hero. Both the TV series Lotus Lantern (2005) and the animated film New Gods: Yang Jiang (2022) took this latter approach, whereas the film Creation of The God: Kingdom of Storms (2023) and Black Myth: Wukong (2024) followed the traditional narrative, with no mention of any siblings (let alone nephew).

In Creation of The God: Kingdom of Storms

The deeper and more insidious “baggage” in Erlang Shen’s lore, however, lies in its historical and cultural nuances. Erlang’s image is shaped by multiethnic folk mythology, Daoist canonization, and political canonization. Venerated by the Han, Baima (historically Di), Amdo Tibetan, Tu (Monguor), and other ethnic groups in and north of the Shu region (modern-day Sichuan), Erlang embodies the rich cross-cultural exchanges that occurred in southwest China. His character also reflects the historical tension and balance between the borderland and the central government, echoing contemporary debates about whether Erlang is the people's god or a dutiful servant of the celestial court. Beneath all these, there’s another layer of tension between humanity’s awe of natural forces and its desire to tame nature. 

For me, Erlang Shen is fascinating precisely because of these “baggages.” His complexities make him susceptible to misunderstanding but also offer rich potential for new interpretations, as seen in modern adaptations including Black Myth: Wukong. For those interested in history and culture, Erlang’s layered mythos provides a lens through which we can connect with the past while gaining fresh insights into the present.

In future posts, I will unpack each of those nuanced tensions with you.