Muzha

By the banks of the Flowing-Sand River, beneath a clear sky, demonic waves surged and churned.

The Bodhisattva's lotus pedestal rested among the clouds, her gaze calmly fixed upon the rushing waters of the Weak Water. Suddenly, the surface exploded. A demon with a green face and protruding fangs leaped forth, clutching a precious staff, lunging straight at Guanyin—without warning, without hesitation, charging with ferocious intensity.

Before the Bodhisattva could utter a word, a solid iron staff shot across the sky, interposing itself between the demon's staff and the Bodhisattva.

"Halt!"

The shout came from Muzha—the most inconspicuous figure by Guanyin Bodhisattva's side, yet the first to step forward at the most critical moment.

This is the eighth chapter: a sacred first battle fought on the shores of the Weak Water, and one of the most underrated moments in the entire project of the pilgrimage. Future historians will remember Sun Wukong's Somersault Cloud, remember Zhu Bajie's Nine-Toothed Rake, and remember the long, arduous road of Tang Sanzang's journey to the West; yet almost no one remembers that before it all began, a young general wielding a thousand-pound iron staff stood alone to halt the first wave of peril at the Flowing-Sand River.

His name is Muzha, also known as Huian Walker.

The Second Son of the Li Clan: A Destiny Caught in the Middle

In Journey to the West, there is a family of fathers, sons, and brothers whose destinies diverge wildly, yet remain tightly interwoven within the narrative warp and weft of the book. The father of this clan is Li Jing, Pagoda-Bearing Heavenly King, who wields the Exquisite Pagoda and inspires awe across the Northern Heavens. His three sons are Jinzha, Muzha, and the Third Prince, Nezha, whose rebirth from a lotus flower made him famous throughout the world.

Within this family, Muzha is the hardest to define.

As the eldest, Jinzha carries the responsibility and weight of the firstborn. He later followed Manjushri Bodhisattva to become the Dharma-Protector Jinzha Walker; he appears occasionally in Journey to the West, always steady and taciturn. The third son, Nezha, possesses the most dramatic destiny—Investiture of the Gods devotes vast space to the rupture between him and his father, Li Jing: the harrowing ordeal of "carving out the bone and returning the flesh," and the nirvanic rebirth with a lotus for a skeleton. These events cast Nezha as the most striking rebel and reborn figure in the history of Chinese mythology. Treading upon Wind-Fire Wheels and wielding the Universe Ring, Nezha's name exists in the minds of readers as a flash of lightning.

And then there is Muzha, the one caught between the two.

He possesses neither the solemnity of the eldest son, Jinzha, nor the earth-shaking legends of Nezha. He appears in the eighth chapter with only a brief introduction: "Then Huian Walker was summoned to accompany her. That Huian used a solid iron staff, weighing a thousand catties, serving as a powerful vajra for the subjugation of demons by the Bodhisattva's side." (Chapter 8)

A few dozen words. No grand entrance, no heroic declaration, no independent character sketch. He simply appears, accompanying the Bodhisattva, as if that were exactly where he was meant to be.

This narrative understatement is the fundamental literary characteristic of Muzha, and the starting point for any deep analysis of his character.

Why was it Muzha who came to Guanyin's side? Wu Cheng'en provides no answer. He does not write of how Muzha entered Guanyin's service, nor how the family of Lord Li felt when they saw their second son depart, nor what Muzha thought before his first journey with the Bodhisattva. All of this is obscured by that simple phrase, "Then Huian Walker was summoned to accompany her"—a summons, a response, and then he set forth toward the three thousand leagues of Weak Water, toward the first trial of his career as a protector.

For literary analysis, such narrative voids are often more worthy of questioning than the written word. We glimpse a person's choices and destiny through those gaps more profoundly than we do through the text itself.

The Thousand-Pound Solid Iron Staff: A Narrative Philosophy of Weaponry

In the limited descriptions of the eighth chapter, Wu Cheng'en uses two sets of words to describe Muzha's weapon: "solid iron staff" and "weighing a thousand catties."

These eight words constitute the most complete explanation of Muzha's military capability in the entire book.

Let us make a horizontal comparison. Sun Wukong's Ruyi Jingu Bang is the Sea-Settling Pillar of the East Sea Dragon Palace, weighing thirteen thousand five hundred catties; it has a name, a history, and a legend. Zhu Bajie's Nine-Toothed Rake was once a celestial farming tool, now a treasure in his hands capable of shaking mountains. Sha Wujing's demon-subduing staff was a gift from the Jade Emperor, a heavy instrument of the Heavenly Court. Even Nezha's Universe Ring, Red Armlet, and Wind-Fire Wheels each have a sacred origin.

In contrast, Muzha's solid iron staff is simply an iron staff—plain, pure, nameless, without legend, and without a miraculous origin.

Yet, this "nameless" staff forms a meaningful correspondence with its master. Muzha is not the center of the story, so his weapon requires no world-shaking title. However, the phrase "weighing a thousand catties" allows this staff to demonstrate its true value in the battle by the Flowing-Sand River—relying on this iron staff, Muzha fought to a dead heat against the experienced Sha Wujing, who had long dwelt by the Weak Water.

More importantly, the iron staff holds a special place in the weapon culture of traditional Chinese mythology: it is a rustic, practical weapon, devoid of flashy magical enhancements. It relies on the user's own strength and skill rather than the supernatural functions of a magical treasure. In a mythological world teeming with divine weapons and esoteric treasures, a simple iron staff represents a "down-to-earth" style—this is one of the deepest impressions Muzha leaves on the reader.

Some critics have noted a subtle inheritance and divergence between Muzha's staff and the weapon culture of the Li family. Li Jing holds the Exquisite Pagoda, a mysterious treasure and symbol of power and authority. Nezha's weaponry belongs to a highly "ritualized" system—the Universe Ring, Red Armlet, and Wind-Fire Wheels are each exquisite, ornate, and imbued with strong individual heroism. Muzha's solid iron staff sits somewhere between the two: it is heavier and more substantial than the weapons of ordinary heavenly soldiers, yet far plainer than Nezha's sophisticated array of treasures. This "in-between" style of weaponry faintly reflects Muzha's position on the coordinates of the Li family's destiny: he is not the commander like his father, nor the dramatically tragic hero like his brother; he is the second son, standing steadily in the middle, understated and resolute.

In the battle against Sha Wujing in the eighth chapter, the efficacy of this iron staff is described poetically: "Muzha's solid iron staff, the protector's divine power revealed; the monster's demon-subduing staff, the hero's strength displayed. Two silver pythons dance by the river's side, a pair of divine monks charge upon the shore... that demon-subduing staff is like a white tiger emerging from the mountains; this solid iron staff is like a yellow dragon reclining by the road." (Chapter 8)

A yellow dragon reclining by the road—this metaphor perfectly captures Muzha's temperament. He is not a flying dragon riding the clouds, nor a rampaging beast, but a yellow dragon lying low by the wayside: steady, heavy, seemingly still, yet possessing the power to overturn mountains and seas once he strikes.

This nameless iron staff guarded the most important mission in the Three Realms. That was enough.

The First Battle by the Flowing-Sands River: The First Merit of a Protector's Career

For Muzha, the battle by the Flowing-Sands River in Chapter Eight was more than just a fight; it was the true starting point of his career as a Dharma Protector.

The original text uses the phrase "this first merit upon leaving Lingshan," clearly marking the special significance of this battle for Muzha. This was his first time accompanying Guanyin into the world and his first time assuming the role of a protector general in actual combat. Facing a former Curtain-Rolling General of the Heavenly Palace who had been stationed in the Weak Water for countless years, this novice protector did not flinch or seek instructions; he simply charged forward with his staff.

The opponent's strength was by no means ordinary. Sha Wujing had previously been the Curtain-Rolling General of the Heavenly Palace, serving as a personal guard to the Jade Emperor for many years, a pedigree that proved he was among the elite of Heaven. The long years of exile in the Flowing-Sands River had further refined his mastery of aquatic warfare to a level of absolute perfection. The original line, "none were as fierce as he, who had long dwelt in the Weak Water," highlights his absolute home-field advantage on this battlefield. Under such conditions, the fact that Muzha, newly departed from Lingshan, could fight to a stalemate—"exchanging dozens of blows without a victor"—is a powerful testament to his own combat prowess.

However, the most brilliant turning point of this battle lay not in the clash of arms, but in the revelation of identity.

As the two fought in a deadlock, Sha Wujing finally asked: "Who is this monk, that he dares oppose me?" (Chapter Eight)

Muzha's reply was concise and direct: "I am Muzha, the Second Prince of the Pagoda-Bearing Heavenly King and the Huian Walker. I now escort my Master toward the Eastern Land to seek the scripture-seekers. What monster are you, that you dare boldly block the way?" (Chapter Eight)

This single sentence changed the entire course of the battle.

Sha Wujing "suddenly awakened," immediately "withdrew his precious staff," bypassed Muzha, and prostrated himself before Guanyin.

This moment reveals a crucial narrative structure: while Muzha's iron staff provided the martial backup, his dual identity—as the "son of the Pagoda-Bearing Heavenly King" and the "disciple of Guanyin Bodhisattva"—was the fundamental force that compelled the opponent to lay down his arms. Within an authority system recognized across the Three Realms, Muzha simultaneously held the authority of Heavenly military lineage and Buddhist protector lineage. The deterrent power of this combination far exceeded mere physical strength.

This battle was the most critical step in the prelude to the entire pilgrimage project, and Muzha was the one who completed it.

Recruiting Wujing by Decree: The Full Operation of Chapter Twenty-Two

If Chapter Eight was the first encounter between Muzha and Sha Wujing, then Chapter Twenty-Two was the final completion of this karmic bond. In a book of one hundred chapters, it is extremely rare for a chapter title to be named after a non-protagonist; yet the title of Chapter Twenty-Two is "Bajie Battles the Flowing-Sands River, Muzha Recruits Wujing by Decree." Muzha's name appears prominently in the title.

The background of the story is as follows: Sun Wukong and Zhu Bajie fought several rounds against the Flowing-Sands River demon (Sha Wujing) but could not completely subdue him, nor could they carry Tang Sanzang, who possessed a mortal body, across the Weak Water. In desperation, Wukong traveled to Mount Putuo in the South Sea to seek the Bodhisattva's aid.

After hearing the situation, Guanyin took immediate action: "She summoned Huian, took a red gourd from her sleeve, and instructed: 'Take this gourd and go with Sun Wukong to the surface of the Flowing-Sands River. Simply call Wujing, and he shall emerge. First, lead him to seek refuge with Tang Sanzang. Then, take those nine skulls and string them together, arranged according to the Nine Palaces, and place this gourd in the center. This shall be a Dharma Boat, capable of ferrying Tang Sanzang across the boundary of the Flowing-Sands River.'" (Chapter Twenty-Two)

These instructions from the Bodhisattva contained a meticulously precise arrangement: the number of skulls (nine), the arrangement (Nine Palaces), and the central placement (the red gourd). This was not merely a construction guide for a boat, but a magical structure with profound symbolic meaning. In traditional Chinese numerology, the Nine Palaces represent a complete diagram of the cosmos; the nine skulls represent the history of the previous nine scripture-seekers who perished in the Weak Water; the red gourd is the material vessel for Guanyin's divine power. By combining the memory of death with the Bodhisattva's power, constrained within the cosmic order of the Nine Palaces, a Dharma Boat was formed that could ferry a mortal across the Weak Water. The theological depth of this design is one of the most exquisite magical constructions in all of Journey to the West.

The person tasked with executing this was Muzha.

Carrying the red gourd, he arrived at the surface of the Flowing-Sands River with Sun Wukong. There was no grand fanfare or imposing entourage; he simply arrived "half-shrouded in clouds and mist upon the waters of the Flowing-Sands River, calling out sternly: 'Wujing, Wujing! The scripture-seeker has been here long; why have you not yet submitted?'" (Chapter Twenty-Two)

At the bottom of the water, Sha Wujing heard his Dharma name being called. The original description is vivid: "He feared neither axe nor halberd, hurriedly broke the waves and poked his head out, and recognized it to be the Walker Muzha. See how he smiled radiantly, stepped forward and bowed, saying: 'Venerable One, forgive my failure to welcome you. Where is the Bodhisattva now?'"

"Smiled radiantly, stepped forward and bowed"—these words are the best proof that the relationship between the two had undergone a qualitative change since their first meeting in Chapter Eight. Upon seeing Muzha, Sha Wujing felt no fear or hostility, but rather a heartfelt welcome and respect. This indicates that after the battle in Chapter Eight, a special bond transcending enmity had been established between Muzha and Sha Wujing—or rather, from that day forward, Sha Wujing knew that the man with the iron staff was someone he was destined to meet again on his path home.

Subsequently, Muzha guided Sha Wujing to remove the nine skulls from his neck, arrange them according to the Nine Palaces, and place the red gourd in the center. A strange Dharma Boat, the likes of which no one had ever seen, took shape, floating steadily upon the Weak Water and safely ferrying Tang Sanzang across the boundary of the Flowing-Sands River.

The original text concludes: "Muzha returned directly to the Eastern Ocean, while Sanzang mounted his horse and headed west." (Chapter Twenty-Two)

This is one of the most concise farewells in the entire book. There was no lingering attachment, no words spoken. The mission was complete; Muzha returned east, and the pilgrimage party traveled west. From then on, their paths diverged.

The Blade of Chapter 42: Muzha’s Journey Between Heaven and the Buddhist Realm

Chapter 42 is another pivotal section for understanding Muzha, though his role in this chapter remains brief.

The context is as follows: the pilgrimage party encounters Red Boy (the Holy Infant King) at the Withered Pine Ravine of Roaring Mountain. Sun Wukong is trapped by the True Samadhi Fire, and even the assistance of the Four Sea Dragon Kings in calling for rain fails to break the spell. When Zhu Bajie goes to seek Guanyin's help, he is deceived by Red Boy, who transforms into Guanyin's likeness, and is lured into the cave and bound. Left with no other choice, Sun Wukong personally travels to Mount Potalaka in the South Sea to seek the Bodhisattva.

Guanyin decides to personally subdue Red Boy. Before departing, she issues an order to Muzha: "Go quickly to the Upper Realm, see your father the King, and ask to borrow the Heavenly Transformation Blades for a time." (Chapter 42)

Though this sentence is extremely brief, it carries a wealth of information.

First, "see your father the King"—this is one of the very few direct references in the original text to the relationship between Muzha and his father, Li Jing. Guanyin speaks of "your father" in the most natural tone, and Muzha carries out the order with equal naturalness. There is no friction, no awkwardness; it is as if, even after entering the Buddhist faith, the channel of communication between Muzha and his father remained open and normal. This detail suggests that Muzha's transition from the Heavenly Court to the Buddhist realm was not a rupture, but a peaceful transition; no rift had grown between father and son.

Second, the "Heavenly Transformation Blades"—these are special treasures within the Heavenly Court's armory, totaling thirty-six blades. That Guanyin wishes to borrow the full set speaks to the high prestige and immense magical power required for this particular demon-subduing mission. And the conduit for borrowing these blades is Muzha.

Muzha "accepted the order and immediately rode a cloud, entering through the Southern Heavenly Gate to the cloud-lofts and palaces, where he bowed before his father. Upon seeing him, the Heavenly King asked, 'Where does my son come from?' Muzha replied, 'Sun Wukong has requested my Master to descend and subdue a demon. My Master has charged me to visit my father and borrow the Heavenly Transformation Blades for a time.' The Heavenly King immediately summoned Nezha to fetch the thirty-six blades and hand them to Muzha. Muzha said to Nezha, 'Brother, when you return, give my regards to Mother. My matter is urgent; I shall kowtow to her when I return the blades.'" (Chapter 42)

This brief passage provides the most complete depiction of Muzha's family relations in the entire book.

When his father Li Jing sees him, he asks, "Where does my son come from?"—this word "son" is the simplest, most heartfelt address from a father to a child, devoid of distance or stiffness; it is merely the natural opening of a father seeing his son. Muzha replies that he is on his Master's errand, concise and direct, immediately stating the need for the blades. Without a second word, Li Jing orders Nezha to fetch them.

Furthermore, the words Muzha speaks to Nezha are the only recorded direct dialogue between the two brothers in the entire novel: "Brother, when you return, give my regards to Mother. My matter is urgent; I shall kowtow to her when I return the blades."

The details of this sentence are worth savoring: Muzha calls Nezha "Brother." While the text does not record how Nezha addresses him, the tone suggests a typical sibling relationship. By saying "give my regards to Mother," he shows that he maintains a connection with his mother, Lady Yin; he simply lacks the time to perform the formal kowtow due to the urgency of the hour. By saying "I shall kowtow when I return the blades," he demonstrates that he balances two responsibilities—filial piety toward his parents and loyalty to his Master.

This is the most human moment for Muzha in the entire book: he is not merely a "messenger machine," but a person with a family, with affection, and with inner longings. He simply places all of this behind his mission, intending to return and perform that kowtow once the task is complete.

Having secured the blades, Muzha returns to the Bodhisattva, "presenting the blades to her," and immediately accompanies her to Roaring Mountain. In the sky, side-by-side with Sun Wukong, he witnesses the entire process of subduing Red Boy. The Bodhisattva uses the Heavenly Transformation Blades to form a lotus pedestal for Red Boy to sit upon, then transforms the blades into inverted hooks that pierce through the boy's legs, eventually reforming the fierce demon child into the Sudhana Child.

Once the process is complete, "the Bodhisattva called: 'Huian, take the blades back to the Heavenly Palace and return them to your father. Do not come to fetch me; go first to the assembly of the heavenly hosts at Potalaka Rock and wait.'" (Chapter 42) The act of returning the blades is Muzha's final movement in his transit between father and Master—he used the power borrowed from his father to complete the task assigned by his Master, and then returned the items. This figure, traversing two sources of power, is the most concrete manifestation of Muzha's identity as one with "dual belonging."

A Narrative Map of Thirteen Appearances: From Chapter 6 to Chapter 83

By carefully tracing Muzha's appearances throughout the book, one can map a unique narrative trajectory that spans the entirety of Journey to the West.

Chapter 6: Guanyin accompanies the Jade Emperor to Flower-Fruit Mountain to observe the battle, witnessing Sun Wukong being besieged by the heavenly army; Muzha is in her entourage. This is the earliest trace of Muzha in the book—at this time, the pilgrimage project had not yet begun, and Sun Wukong was still wreaking havoc in Heaven, yet Muzha was already silently attending to the Bodhisattva.

Chapter 8: The Bodhisattva travels east under the decree of Rulai to seek the pilgrims, and Muzha accompanies her. This is the chapter where Muzha has his most significant role: intercepting Sha Wujing at the Flowing-Sand River (their first encounter), capturing Zhu Wuneng at Mount Fuling (a second deployment), and accompanying the Bodhisattva through the Southern Heavenly Gate to plead for the Bai Longma. Muzha participated in all three major events, making him one of the most important executors in the early preparations for the journey. (Chapter 8)

Chapter 12: Before Tang Sanzang sets out on his journey, the Bodhisattva transforms into an old monk to meet him in Chang'an for final instructions and gifts. Muzha accompanies her, witnessing the final ritualistic moment before the official launch of the pilgrimage.

Chapter 22: By the Bodhisattva's order, Muzha carries the red gourd and accompanies Sun Wukong to the Flowing-Sand River to call Sha Wujing to submission, presiding over the ritual of crossing the river by dharma-boat. This is Muzha's most significant independent action in the latter half of the story and the most complete demonstration of his functional role in the book. (Chapter 22)

Chapter 42: He accompanies the Bodhisattva to Roaring Mountain to subdue Red Boy. He is ordered to travel between the Heavenly Court (to borrow the Heavenly Transformation Blades) and the site of the demon-subduing, completing a critical resource allocation between two power systems. He witnesses the birth of the Sudhana Child from the air. (Chapter 42)

Chapters 49, 57, and 58: At various crisis points for the pilgrimage party, Muzha appears with the Bodhisattva, either as an escort or a messenger, serving as the fixed interface for the South Sea system's intervention in the journey. Among these, the events of the True and False Monkey Kings in Chapters 57 and 58 represent one of the most complex narrative crises in the book; Muzha appears with the Bodhisattva throughout this event, witnessing the operational boundaries of the Three Realms' authority under extreme circumstances.

Chapters 60 and 83: As the journey enters its final stages, Muzha remains by the Bodhisattva's side. In Chapter 83, with only seventeen chapters remaining until the end of the book, Muzha makes his final appearance, placing a silent period at the end of his thirteen-time journey as a Dharma Protector.

These thirteen appearances form a very distinct narrative pattern: Muzha never acts alone; he is always an extension and execution of the Bodhisattva's will. He does not interfere in the pilgrimage based on personal judgment, nor does he act on his own without authorization. This "complete agency" stands in stark contrast to the passionate, youthful heroism of Nezha, yet it aligns perfectly with the inner meaning of his identity as the "Huian Walker."

If the influence of Guanyin Bodhisattva is likened to a network extending across the Three Realms, Muzha is the thickest, most reliable main line extending from the center of that network (Mount Potalaka in the South Sea)—carrying the most important information, the most critical magical artifacts, and the most indispensable authoritative endorsements, shuttling between the triple worlds of Heaven, Earth, and the Buddhist realm.

The Transition Between Daoism and Buddhism: The Evolution of Characters from the World of Investiture to the World of Journey

The character of Muzha cannot be discussed solely within the framework of Journey to the West. He is a unique existence in the Chinese mythological system, spanning the "World of Investiture" and the "World of Journey." This crossing reveals exactly how classical Chinese mythology handles the destiny of a single character across different narrative systems.

In the narrative of Investiture of the Gods, Muzha is the second son of Li Jing, standing alongside Jinzha and Nezha as the "Three Sons of the Li Clan." He participated in the Great War between Shang and Zhou under his father's command and holds a place on the List of Deified Spirits. However, compared to the heart-wrenching father-son rupture experienced by Nezha, Muzha's presence in Investiture of the Gods is limited—he exists primarily as a supporting force for military operations, lacking an independent narrative focus.

From Investiture of the Gods to Journey to the West, there is a recognized chronological relationship between the mythological timelines: the stories of Investiture occur at the end of the Shang and the beginning of the Zhou, while the stories of the Journey take place during the Tang Dynasty. Over this vast span of time, China's religious landscape underwent a profound transformation—Daoism evolved from a school among many into a systematized celestial hierarchy, and Buddhism, as a foreign religion, gradually penetrated the heart of the Middle Kingdom, forming a unique Sinitic Buddhist cultural ecology.

Muzha's life choices are a concrete projection of this religious evolution upon an individual's destiny.

In Investiture of the Gods, Muzha is a member of the Daoist system, living under the world order constructed by the Primordial Lord Yuanshi and the Sect Leader Tongtian. By the time of Journey to the West, however, he has entered the Buddhist fold, becoming a disciple of Guanyin and traveling the three realms under the dharma name "Huian Walker." This shift in identity is a specific reflection of the historical and cultural process of Daoist-Buddhist fusion within mythological narrative.

It is noteworthy that the three sons of the Li Jing family form an intriguing map of faith in Journey to the West: the eldest, Jinzha, belongs to Manjushri Bodhisattva; the second, Muzha, belongs to Guanyin Bodhisattva; and the youngest, Nezha, remains in the service of the Heavenly Palace. Their father, Li Jing, is the military representative of the Heavenly Palace, effectively positioned on the boundary between the Daoist and Buddhist systems (Vaisravana is a Buddhist deity in Sanskrit, but a Daoist heavenly god in Middle Kingdom mythology). While the two elder sons entered Buddhism, the youngest remained at the Heavenly Court. This dispersion of faith reflects the complex ecology of the Journey to the West universe, where the realms of Daoism and Buddhism permeate one another.

From a broader narrative perspective, Muzha's transition "from Dao to Buddha" carries a symbolic meaning: one of the central themes of Journey to the West is the ultimate triumph of Buddhist faith across the three realms. Sun Wukong transforms from a rebel who wreaked havoc in Heaven into the Victorious Fighting Buddha; the entire pilgrimage is, in essence, a mythologized account of Buddhist scriptures traveling from the West to the Eastern Land. Against this narrative backdrop, Muzha's transition from a Daoist disciple to a Buddhist protector is a subtle temporal metaphor—the son of a Heavenly commander eventually finds his home with a Bodhisattva.

Huian Walker and Nezha the Third Prince: Two Destinies of the Li Brothers

No analysis of Muzha can bypass a comparison with Nezha.

These two brothers are among the most famous yet overlooked "brotherly contrasts" in the Chinese mythological system—though this contrast is never explicitly placed at the forefront of the narrative by Wu Cheng'en, it leaves a clear imprint between the lines.

Similarities in their Starting Points: Both Muzha and Nezha were born into the same family, both underwent rigorous training within the heavenly military system, and both possess formidable combat prowess. Both appeared in pivotal events across the three realms as military commanders during their youth, blessed by the glory of a millennia-old mythological lineage.

However, from a certain point in time, their destinies diverged into two entirely different paths.

Nezha took the most dramatic route: conflict with the Dragon King, rupture with his father, the carving of his own bones and flesh, and rebirth via a lotus. He declared his independence in the most extreme fashion—willingly paying with his life to sever the blood ties to his father, using botanical life to be reborn as a completely new self. In the universe of Investiture of the Gods, this path was long and fraught with pain; in Journey to the West, he retains that unrestrained youthful spirit, always the vanguard, always charging forward.

Muzha took another path: he had no earth-shattering drama of breaking with his father, no solemn ritual of self-destruction and rebirth, and not even a complete account of his initiation was narrated. He simply left the army of Li Tianwang at a certain point, entered the service of Guanyin, and thus became the Bodhisattva's senior disciple. There was no climax, no twist, only a quiet choice.

Narratively, this contrast reveals two distinct modes of "growth"—or rather, two different ways of dealing with family pressure and self-definition. Nezha is the "breakthrough type"—he establishes his identity through extreme conflict and destruction, trading his life for absolute freedom. Muzha is the "transformation type"—he achieves self-sublimation through quiet devotion and cultivation, completing a peaceful separation from his family through departure rather than confrontation.

Both modes have deep roots in Chinese culture: one belongs to the Daoist tradition of "acting against the current," while the other belongs to the Buddhist tradition of "following the conditions of fate."

In the specific narrative of Journey to the West, this contrast is also evident in their attitudes toward their father, Li Jing. Nezha's conflicted feelings toward Li Jing are described in detail in Investiture of the Gods and leave faint traces in Journey to the West. Conversely, the relationship between Muzha and Li Jing is almost a blank space in Journey to the West—no conflict, no tenderness, nothing at all. There is only a brief interaction involving the borrowing of a weapon in Chapter 42, showing the most basic level of peaceful coexistence between father and son. This "absence of father-son emotion" is itself a piece of narrative information: Muzha entered the Buddhist fold and maintained a peaceful distance from his father's world—not intimate, but not antagonistic.

If one were to summarize the difference between the two brothers with an image: Nezha is the Wind-Fire Wheels, forever burning and spinning; Muzha is the iron staff, heavy, stable, and silent, but delivering a thousand-fold force once swung. There is no superiority between the two, only two different modes of existence, each in their own orbit, serving the same great project in their own way.

The Disciple Circle under Guanyin: The Cultivation System of Muzha, Sudhana, and the Dragon Maiden

Guanyin is one of the most frequently appearing and widely worshipped Buddhist deities in Chinese culture. Within the narrative framework of Journey to the West, she is surrounded by a small circle of disciples and attendants, of whom Muzha is the most senior member.

The attendants commonly found by Guanyin's side can be divided into three roles:

Muzha, the Huian Walker—the senior disciple, primarily responsible for guarding, delivering missions, and on-site execution. He is the militarized extension of the Bodhisattva's will and the most critical physical interface between the South Sea system and the various corners of the three realms.

Sudhana Child—In Chapter 42, Sun Wukong asks Guanyin to subdue Red Boy, and the Bodhisattva takes him in as Sudhana Child. A demon child who once burned the pilgrims with True Samadhi Fire became a lotus-bearing attendant with a spring-like smile through the pain of the Heavenly Stem Blade and the restrictive power of the golden headband. Sudhana Child's story is one of the most dramatically tense cases of "redemption and transformation" in Journey to the West—he was subdued, transformed from an adversary, and carries the memory of a profound karmic debt.

Dragon Maiden—In Buddhist legend, the Dragon Maiden is the daughter of the Dragon King who achieved perfection in an incredibly short time, serving as a famous case of "sudden enlightenment" in Buddhist scriptures. In the attendant system of Journey to the West, her image is relatively brief, but her spiritual presence is recognized.

Within this disciple circle, Muzha's position is the most unique: he was not subdued (unlike Sudhana Child), nor does he possess a sacred narrative background from Buddhist scriptures (unlike the Dragon Maiden). He is simply a heavenly military officer who chose to enter the Buddhist fold for cultivation. This path of "voluntary devotion by a secular general" holds unique symbolic value in Journey to the West: it demonstrates that the Buddhist fold is open, accepting not only spirit children born with innate wisdom but also an ordinary general from the heavenly military system—provided he possesses the heart to enter and adheres to the precepts of cultivation.

From a modern perspective, the functional division of this disciple circle is as follows: Muzha is the "Chief Operating Officer," handling all tasks requiring physical intervention; Sudhana Child is the "Brand Ambassador," holding a lotus and representing the softness and beauty of the Bodhisattva's compassion; the Dragon Maiden is the "Spiritual Symbol," representing the transcendence of the Bodhisattva's teachings. The three have their own roles, together constituting the different dimensions of Guanyin's influence across the three realms.

But ultimately, when the Bodhisattva needs to translate her will into action, she calls for Muzha.

The Sanskrit Code of Dharma Names: The Dual Naming of Muzha and Huian

Muzha's dharma name, "Huian Walker," merits a detailed discussion of its own, as it contains a wealth of Buddhist semantics that align profoundly with his functional role in the story.

The character "Hui" (惠) is a phonetic substitute for "Hui" (慧), meaning wisdom. In a Buddhist context, "Hui" (Prajñā) represents the fundamental wisdom of cultivation—the capacity to perceive that all phenomena are empty and to realize the true nature of all things. Naming him with "Hui" implies that Muzha's path of cultivation is one of "protection through wisdom," rather than mere subjugation by force.

The character "An" (岸), meaning shore, is a vital symbolic image in Buddhism—the "other shore" (Nirvāṇa), the realm of liberation and enlightenment. Together, "Huian" signifies "reaching the other shore through wisdom," or "protecting sentient beings upon the shore of wisdom." This dharma name provides a clear spiritual guide for Muzha's cultivation: every mission he undertakes and every act of protection is a practical application of the spirit of "Huian"—using wisdom to safeguard others and assisting sentient beings in crossing the sea of suffering to reach the shore of liberation.

The title "Walker" (行者) is particularly intriguing in Journey to the West. Sun Wukong's initial identity was also that of a "Walker" (Sun Xingzhe), a term denoting a practitioner who has left home to cultivate while traveling. It represents a liminal state between total monastic seclusion and complete secular life. That Muzha is called a "Walker" indicates that his mode of cultivation is to "walk within the world"—he does not meditate in stillness on Mount Putuo, but instead travels the Three Realms with staff in hand, rushing to fulfill the Bodhisattva's missions. This "cultivation through action" aligns perfectly with his role as a messenger: his missions are his cultivation; every journey he takes is the concrete flow of Prajñā wisdom within the world.

The name "Muzha" itself has a more direct Sanskrit origin. Moksha (Muzha) in Sanskrit means "liberation"—one of the most central concepts in Indian philosophy, referring to the state of total release from the cycle of rebirth and suffering. To be named "Liberation" is an aspiration of the highest order: he is not merely a practitioner, but a symbol of liberation itself; his very existence serves as a silent revelation to all sentient beings.

When these two names are combined—Muzha (Moksha, Liberation) and Huian (reaching the other shore through wisdom)—they form a dual naming centered on liberation and wisdom, providing the spiritual foundation bestowed by Guanyin upon her senior disciple. The figure wielding an iron staff as he traverses the Three Realms carries these names; every command he delivers and every rescue he facilitates is guided by the spiritual direction of "liberation" and the "other shore."

Reevaluating Military Prowess: A Deep Reading of the Battle at Flowing-Sand River

In analyses of the great battles in Journey to the West, the fight between Muzha and Sha Wujing at the Flowing-Sand River is often glossed over or omitted from the list of "major engagements." However, a careful rereading of the combat descriptions in Chapter 8 reveals that the significance of this battle far exceeds surface appearances.

First, this marks Muzha's first real combat experience since "leaving Lingshan." The phrase "this first feat since leaving Lingshan" explicitly tells us that this is the beginning of his career as a Dharma Protector. A protector on his first mission, without ample preparation or warning, stepped forward to face a demon who had been stationed in the Flowing-Sand River for centuries and survived on human flesh, resulting in a draw where "each fought dozens of rounds without a victor."

Second, the opponent's strength was no ordinary feat. Sha Wujing was in a former life the Curtain-Rolling General of the Heavenly Palace, having served as a close guard to the Jade Emperor; his martial prowess was forged in the rigorous training of the Heavenly elite. His long years in the Flowing-Sand River further allowed him to master the tactical advantages of aquatic warfare to an extreme degree. Fighting by the water, the opponent held an absolute geographical advantage—the text notes, "none were as fierce as he who had long dwelt in the weak waters," highlighting the weight of this advantage.

Third, the parity of the combatants' skill is reflected in Wu Cheng'en's poetic descriptions, which treat both figures with equal status: "Two silver pythons dance by the river, a pair of divine monks charge from the shore"—they are listed side-by-side, neither superior to the other. "One has long dwelt in the weak waters, the other brings his first feat from Lingshan"—both derive their strength from different sources, making them evenly matched.

More noteworthy is Muzha's proactive strategy during this battle. When Sha Wujing leaped from the water to "capture the Bodhisattva upon landing," Muzha did not wait or seek instructions; he immediately "blocked him with the muddy iron staff, shouting 'Halt!'" This instantaneous intervention demonstrates his professional instinct and tactical judgment as a Dharma Protector.

Comparing Chapter 8 with Chapter 22 reveals the evolution of Muzha's strategy when facing the same opponent: the first encounter was a martial stalemate; the second was a seamless subjugation achieved through authority and spiritual appeal rather than force. This transition from "subduing through strength" to "subduing through virtue" reflects the genuine growth trajectory of a protector after years of experience.

The Narrative Philosophy of the Background Hero: The Name of the Nameless

Modern readers and researchers often tend to downplay Muzha's role: he is a supporting character, a plot device, or merely the Bodhisattva's errand boy. While not entirely unfounded, this judgment ignores a fundamental fact of narrative structure: in a novel of one hundred chapters, a "supporting character" who appears thirteen times is not truly a supporting character.

True supporting characters are those who flash across the screen for a chapter or two and never return. Muzha appears from Chapter 6 and remains present until Chapter 83, spanning nearly the entire narrative arc. This persistence proves his indispensability to the narrative structure.

The question then is: why does he "feel unimportant"?

The answer lies in the nature of his appearances: he is always in a service role, arriving on command and departing upon completion. He never speaks for himself, nor does he exhibit personal desires or conflicts. In a novel driven by dramatic conflict, a character without personal conflict naturally leaves the lightest impression on the reader's memory.

Yet, this is precisely the most profound aspect of Muzha: he is a deliberate embodiment of "non-self."

In the context of Buddhist cultivation, "non-self" (Anātman) is a supreme state—the elimination of ego-attachment to meet all conditions with a pure heart. While this "non-self" is a result of Wu Cheng'en's narrative arrangement, it possesses a deep internal consistency with Muzha's identity as a Buddhist disciple. He requires no story of his own because his existence is dedicated to fulfilling the stories of others.

To a modern reader, this may seem like being a "tool," but in the Buddhist narrative tradition, this is a merit known as "protection" (摄护)—safeguarding practitioners with a pure, selfless heart, seeking neither fame nor profit, and harboring no attachment. Muzha is the incarnation of such a "protector": every appearance is an act of safeguarding, helping others cross a particular threshold and then receding, claiming no credit and seeking no remembrance.

From the perspective of narrative structure, Muzha's function is similar to an "interface" in modern systems theory—he is the standard interface between the Guanyin Bodhisattva system and the pilgrimage system. Whenever the two systems need to interact, they do so through him. He is not the source of the function, but the conduit through which the function flows. Without this conduit, communication between the two systems would fail, and the pilgrimage project would grind to a halt at critical junctures.

This is the narrative philosophy of the "background hero": they are not the protagonists on the stage, but they are the ones who make the stage function. Their names may be forgotten, but the tasks they complete forever alter the course of the world.

Pivotal Moments of the Three Realms Witnessed by Muzha

Among Muzha's thirteen appearances, several moments merit special attention, for they record not only his personal actions but the most critical turning points of the entire pilgrimage narrative.

Chapter 8: Witnessing Sha Wujing's Conversion. Muzha was the first witness to Sha Wujing's conversion to Guanyin, participating in the entire process of Wujing receiving his dharma name. He witnessed a sinner, exiled in solitude within the Weak Water for countless years, rediscover his direction in a single afternoon. Having left the Heavenly Palace to join the Bodhisattva himself, Muzha likely understood the feeling of "finding a new home" better than anyone else. (Chapter 8)

Chapter 8: Accompanying Guanyin to the Southern Heavenly Gate to Plead for Bai Longma. Guanyin took Muzha directly through the Southern Heavenly Gate to petition the Jade Emperor, rescuing the young dragon who had been sentenced to death. Muzha witnessed the Bodhisattva alter a dragon's fate through her own power, preparing Bai Longma for the pilgrimage. In a sacred order built upon hierarchy and rules, the Bodhisattva could act in such a way—this deepened Muzha's understanding of his master. (Chapter 8)

Chapter 22: The Farewell After Crossing the River by Dharma Boat. "Muzha returned directly to the Eastern Ocean, while Tripitaka mounted his horse and headed west." This is one of the final lines near the end of Chapter 22. With the task complete, Muzha returned east, and Tang Sanzang and his disciples journeyed west. This parting contains no emotional description, no words of farewell, and no lingering reluctance. Muzha arrived, did what was required, and then departed. This pattern of "exiting upon completion of the task" persists throughout all his appearances. (Chapter 22)

Chapters 57 and 58: Witness to the Crisis of the True and False Monkey King. The Six-Eared Macaque disguised himself as Sun Wukong, creating the most insoluble identity puzzle in the Three Realms, which could only be resolved when Rulai Buddha personally intervened. Throughout this crisis, Muzha appeared alongside Guanyin, witnessing the operational limits of the Three Realms' authority under extreme circumstances—a problem that even a Bodhisattva could not solve alone, ultimately requiring Rulai's decision. For Muzha, this was a profound witness to the boundaries of power and the limitations of wisdom.

Chapter 42: Subduing Red Boy and Witnessing the Birth of Sudhana Child. This is one of the most brilliant subjugation scenes in Journey to the West. Side by side with Sun Wukong in the air, Muzha watched as the Bodhisattva used the Heavenly Stem Blade to transform into a lotus pedestal and the Reverse-Bristle Hook to subdue a fierce nature, transforming a demon child who once burned the pilgrims with True Samadhi Fire into the Sudhana before the lotus. Muzha was one of the closest witnesses to this miracle of transformation. (Chapter 42)

Layered together, these moments constitute Muzha's unique historical perspective: he is both an observer and a participant in the entire pilgrimage project. Standing on the periphery of the story, he nonetheless witnessed its most central moments.

Contemporary Creative Perspectives: Muzha's Adaptability and Potential Narratives

In the realms of contemporary web literature, film and television adaptations, and game development, Journey to the West is the most frequently utilized resource of Chinese classical mythology. Due to the unique "narrative white space" in the original text, Muzha possesses immense value for adaptation—it is precisely the areas the original left unsaid that provide the greatest room for creative expansion.

The Vacuum of Prehistory and Initiation: The process of Muzha transitioning from the Heavenly system to the Buddhist fold is entirely missing from the original, leaving a complete "prehistorical vacuum." What made him leave his father's army? Why did he choose Guanyin over other Buddhist luminaries? What did he experience before entering the Bodhisattva's service? The answers to these questions could support an entire independent work, resonating deeply with the modern reader's universal anxiety regarding "career choice" and "identity."

The Blank Space of Brotherly Narrative: In recent screen adaptations (such as Ne Zha), Nezha has been reinterpreted as a complex symbol of rebellion and redemption. Yet, the fraternal relationship between Muzha and Nezha remains almost entirely uncharted creative territory. The interaction, understanding, estrangement, and reconciliation between the two brothers could form independent narrative units. As the "older brother who chose a different path," Muzha naturally provides the most compelling contrast to Nezha's image as a "rebel."

Internal Conflict of Dual Identities: Muzha stands at the intersection of three identities—son of Li Jing (Heavenly lineage), brother of Nezha (familial bond), and senior disciple of Guanyin (Buddhist belonging). These identities inevitably produce internal tension in specific scenarios: how does he choose when his father's orders conflict with his master's will? How does he handle it when his brother Nezha stands against him on a battlefield? These internal conflicts were deliberately avoided in the original, but they are precisely where the greatest dramatic tension can be generated in a new creation.

The Unique Perspective of the Observer: Muzha's thirteen appearances span the majority of the pilgrimage, meaning he is one of the characters who has traveled the most and seen the widest range of the world (second only to the pilgrimage team itself). By connecting his appearances and retelling the story from his perspective, one could construct a unique "unsung hero narrative." He sees not the heroic legend of Sun Wukong or the arduous cultivation of Tang Sanzang, but how a massive project—from preparation to completion over many years—was planned, driven, and supported behind the scenes by a succession of silently devoted individuals.

Deep Exploration of the "Unsung Hero" Theme: In an era that idolizes heroic legends, Muzha represents a different set of values: he is one of those whose name may not be remembered, but without whom things would be different. This theme has a profound real-world correspondence in any era, and using a mythological figure to discuss the "value of the nameless" often possesses more piercing power than a purely realistic narrative.

Chapters 6 to 83: The Hard Coordinates of Muzha's Appearances

The character of Muzha cannot be judged by mere impression; he must be counted strictly by chapter. In Chapter 6, he reveals his military background as the son of Li Jing amidst the aftermath of the Heavenly War. In Chapter 8, he enters the main plot for the first time alongside Guanyin. In Chapters 12 and 15, he serves as a protector and messenger. Chapters 17 and 22 tie him closely to the Flowing-Sand River and Wujing's return to the team. Chapter 26 sees him witness the new alliance after the Five Villages Monastery, and Chapter 42, where he delivers the blade to capture the demon, best exemplifies his role as an executor. By Chapters 49, 57, 58, 60, and 83, Muzha has become the most reliable field operative of the South Sea system. Because these coordinates—Chapters 6, 8, 22, 42, 57, and 83—appear repeatedly, Muzha is not merely background scenery, but one of the most stable mobile protectors in the entire westward project.

The Structural Value of Muzha: The Invisible Pillar of the Pilgrimage Project

To reach a final conclusion, let us return to the overall narrative of Journey to the West.

On the surface, the pilgrimage project is a long journey from Chang'an to the West undertaken by Tang Sanzang and his three disciples (plus Bai Longma). Yet, in the deeper layers of the narrative, it is a systematic undertaking designed by Rulai Buddha, permitted by the Jade Emperor, and implemented under the leadership of Guanyin—a grand plan that requires the coordinated cooperation of various powers across the Three Realms.

At the level of implementation, Guanyin is the general coordinator, and Muzha is her most direct executive arm.

It is through Muzha that the submission of Sha Wujing at the Flowing-Sand River was achieved—without his initial interception and claiming of the demon in Chapter 8, Sha Wujing might never have accepted the summons so peacefully in Chapter 22; without him carrying the red gourd to the Flowing-Sand River, there would be no peculiar dharma-boat composed of skulls and a gourd, and Tang Sanzang would have been unable to cross the Weak Water. (Chapter 22)

It is through Muzha that Li Jing's Heavenly Transformation Blade was delivered in time in Chapter 42, providing the critical magical tool needed to subdue Red Boy. (Chapter 42)

It is through Muzha that the will of Guanyin was concretely transmitted to various parts of the Three Realms across thirteen key junctures—he is not an abstract carrier of information, but a physical messenger bearing both authority and martial power, a signal that the recipient cannot ignore.

It is through Muzha that an implicit connection was established between Li Jing's family and the pilgrimage project—he carries both the blood of the Heavenly King and the teachings of the Bodhisattva. His very existence is a signal: even the son of a Heavenly Commander has sought refuge with Guanyin and is serving this great project in his own way.

This is the true value of Muzha in the narrative of Journey to the West: not in his martial prowess, nor in his magical powers, but in his existence itself—a stable, constant, and selfless presence. Like that thousand-pound iron staff, he silently and firmly supports a great project spanning many years, from Chapter 6 to Chapter 83, from beginning to end.

When Tang Sanzang and his disciples encounter their darkest moments on the road to the scriptures, when all tricks are exhausted and every deity has been summoned yet no solution is found, it is often Sun Wukong who rides the clouds to Mount Potalaka in the South Sea and returns with a figure holding an iron staff.

That figure needs say no more. His arrival signifies that the will of the Bodhisattva has arrived.

He stands there with his staff; that thousand-pound iron staff is the most silent and reliable promise between the Three Realms. Nameless and without legend, he appears precisely when needed most, standing steady and sure.

This is the narrative significance of Muzha, and it is the most profound literary practice in Journey to the West of the "background hero" character type: achievements may be forgotten and names may go unremembered, but without him, the world would be different.

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Related Characters: Guanyin · Sha Wujing · Li Jing, Pagoda-Bearing Heavenly King · Nezha · Tang Sanzang · Sun Wukong · Rulai Buddha · Bai Longma