The Mysterious Title: Why “Second Son” When There’s No First?

The celestial pantheon of Chinese mythology contains numerous fascinating deities, but few capture the imagination quite like Erlang Shen, the divine warrior known formally as Yang Jian. His peculiar title – literally “Second Son God” – immediately raises questions. If there’s a second son, where is the first? This naming mystery provides our first clue to understanding how this complex deity evolved through centuries of cultural synthesis.

In popular narratives like the Lotus Lantern legend, Erlang Shen appears as the maternal uncle of the child deity Nezha. However, tracing back to earliest mythological roots reveals a startling relationship – originally, this “second son” deity was actually Nezha’s elder brother. The evolution from sibling to uncle exemplifies how Chinese deities often represent composite figures, absorbing characteristics from multiple sources over time.

Buddhist Beginnings: Dujian the Protector

The earliest identifiable “Erlang” figure emerges during the Tang Dynasty (618-907 CE) as Dujian Erlang, the second son of the Buddhist guardian deity Vaisravana (Pishamen Tianwang in Chinese). In this original configuration, the pantheon clearly showed Vaisravana with three sons: the eldest Zuisheng Taizi (Supreme Prince), second son Dujian, and third son Nezha. While Nezha became widely worshipped, the eldest son – despite impressive iconography depicting him as an eight-armed guardian – faded into obscurity.

Dujian Erlang’s rise to prominence connects directly with Tang political history. Emperor Taizong (r. 626-649 CE) claimed divine assistance from Vaisravana during his father’s rebellion that established the Tang Dynasty. After ascending the throne, Taizong promoted Vaisravana worship nationwide, elevating the entire divine family including Dujian. This warrior deity earned particular devotion after legendary accounts described his miraculous intervention during a Western Regions invasion of the Anxi Protectorate – appearing in golden armor to repel five attacking kingdoms. Numerous temples dedicated specifically to Dujian Erlang appeared across Tang territories, establishing the “second son” as an independent object of worship.

Daoist Counterparts: The Flood-Fighting Heroes

As Buddhist-influenced Dujian worship spread, Daoist communities developed their own “Erlang” figures, adapting local heroes into divine protectors. In Sichuan region, Daoist practitioners promoted Zhao Yu as their version of Erlang Shen. Historical records describe Zhao Yu and his elder brother Zhao Mian as Daoist recluses studying under master Li Jue during the Sui Dynasty (581-618 CE). As magistrate of Jiāzhou (modern Leshan, Sichuan), Zhao Yu famously battled a flood-causing jiaolong (flood dragon), earning him the title Zhao Erlang (Zhao the Second Son). While his cult remained regionally confined compared to Dujian’s national presence, Zhao Yu’s flood control miracles resonated deeply with Sichuan’s water-plagued population.

Shortly after Zhao Yu’s cult emerged, an even more popular Sichuanese Erlang appeared – Li Erlang, associated with the legendary hydraulics expert Li Bing of Qin Dynasty (221-206 BCE) fame. Though historical records mention no son assisting Li Bing’s construction of Dujiangyan irrigation system, folk tradition developed this “second son” figure who helped control floods and subdue dragons. By late Tang and Five Dynasties period (907-960 CE), Li Erlang had become the predominant “Guankou Erlang Shen” (Erlang God of the River Mouth) in Sichuan. His youthful, hunting-oriented iconography – often depicted with falcon and hound – maintained continuity with previous Erlang figures’ martial imagery.

The Yang Jian Synthesis: How a Song Eunuch Became a God

The transformation of historical figures into the composite Yang Jian deity occurred through two primary channels during the Ming-Qing period (1368-1912 CE). One path traces to Song Dynasty (960-1279 CE) records about a eunuch named Yang Jian who reportedly transformed into a toad and investigated temples dedicated to the “Pure Source Marvelous Dao Erlang Shen.” Ming-Qing novelists later conflated this shape-shifting eunuch with existing Erlang deities, culminating in the familiar Yang Jian Erlang Shen of popular literature.

The alternative origin story connects to the Di ethnic leader Yang Nandang of Northern and Southern Dynasties period (420-589 CE). As ruler of the Chouchi state spanning modern Gansu and Sichuan, Yang Nandang displayed remarkable military prowess against both Liu Song and Northern Wei dynasties, declaring himself “Great King of Qin.” Later generations likely merged this historical Di chieftain with existing Erlang figures, explaining why the mature Yang Jian deity retains certain non-Han characteristics – particularly the hunting dog companion and sacrificial lamb rituals atypical of Han Chinese traditions.

Weapon of Legends: The Three-Pronged Blade

The evolution of Erlang Shen’s signature weapon – the sanjian liangrendao (three-pointed, double-edged blade) – mirrors his complex synthesis. Early depictions showed various Erlang figures wielding bows or swords alongside their hounds. By Ming-Qing period, the distinctive trident-like blade became standard, likely adapted from Song Dynasty naval weapons called zhaodao. Song artists had already begun portraying Tang soldiers with artistically enhanced zhaodao to emphasize military might. For a deity renowned for martial prowess, this imposing weapon proved far more impressive than conventional arms.

Cultural Legacy: From Regional Cults to National Icon

During Song Dynasty, Sichuan maintained multiple competing Erlang traditions – Zhao Yu, Li Bing’s son, Dujian, and Yang Nandang – each with regional followings. By Yuan Dynasty (1271-1368 CE), these diverse legends inspired numerous zaju plays like Erlang God Beheads the Flood Dragon and Erlang God Drunkenly Shoots the Demon-Mirror, though these still featured Zhao Yu as protagonist. The definitive consolidation occurred through Ming novels Journey to the West and Investiture of the Gods, which established Yang Jian as the standard Erlang Shen with his canine companion and distinctive weapon.

The “Erlang” title ultimately represents not fraternal birth order but a cultural title accumulating meanings across centuries. Whether as Buddhist guardian, flood-quelling hero, or composite literary figure, these “second son” deities consistently embodied martial valor and protective power. The absence of any prominent “First Son God” underscores how “Erlang” evolved into an independent divine title rather than indicating family position. Through this complex historical process, Yang Jian became the Erlang Shen known throughout Chinese culture today.