A Monkey King Picture-Story Book Which Greatly Influenced 1960s China

i’m a chinese. this is my article. forgive me if my english is poor.

You can click below links to view the articles with pics.

my english full review with pics
http://blog.sina.com.cn/s/blog_8d6082f10102w9md.html

the HD scans of the 1962 first edition
http://blog.sina.com.cn/s/blog_8d6082f10102w8yy.html

the HD scans of the 1972 revised edition
http://blog.sina.com.cn/s/blog_8d6082f10102w90o.html

A Monkey King Picture-Story Book Which Greatly Influenced 1960s China

In the history of Chinese picture-story books (https://en.wikipedia.org/wiki/Lianhuanhua), Monkey King Thrice Defeats the Skeleton Demon, illustrated by Zhao Hongben and Qian Xiaodai, was a millstone masterpiece. Although the bestseller was adopted from Wu Chengen’s novel, Journey to the West, it changed its plot considerably. It was beautifully illustrated, with vivid characters and magnificent sceneries. Every single one of its well-structured illustration was skillfully inked, using Chinese painting brush which left fantastic straps on the drawing paper. It has been one of the most popular books in China during the past several decades, having been reprinted many times. It even made to the markets abroad. Some of you might have read the English version of the book.

I. Shao-Opera Version of Monkey King Thrice Defeats the Skeleton Demon, on Which the Picture-Story Book Based

In order to have a thorough understanding of the book, we should first introduce the Shao-opera (https://en.wikipedia.org/wiki/Shaoxing_opera) version of Monkey King Thrice Defeats the Skeleton Demon. This is because, although the book seems to be adopted from Wu Chengen’s novel, Journey to the West, it has changed the plot considerably. Were these changes made by the story-adopter of the book? No, the release date of the book was one year later after that of the opera. And it copied much of the opera’s plot.

You can watch the opera here (No English Subtitle):
(http://www.tudou.com/programs/view/BApubtS3toc/)

What’s the difference between the plot of the opera and that of the novel? In the novel, there is no such a story titled Monkey King Thrice Defeats the Skeleton Demon. The original story was titled: An Undead Creature Thrice Tricked Tang Hsan-Tsang; Holding Grudge against the Handsome Monkey King, The Holy Monk Excommunicated Him. The original story can be summarized as follows: On the Monk’s journey to the west, he encountered an evil monster born from a pile of white bones, who wanted to eat him. The undead was good at disguising. He tricked the Monk thrice by disguising as a young maiden, an old woman, and an old man. Monkey King beat her thrice. She managed to escape twice, but was destroyed in the third time. The Monk thought that the Monkey had killed three innocents and expelled the Monkey.
(https://en.wikipedia.org/wiki/Baigujing)
(https://en.wikipedia.org/wiki/The_Monkey_King_2)

The opera greatly amplified the story and made many changes, making it more intriguing. And the picture-story book was largely based on the opera. Some of the important changes are as follows: (The below texts are based on the picture-story book version)

1. The Power-Up of the Skeleton Demon
   In the original story, the Skeleton Demon was weak, a lone, low-level undead monster with no minion under her. Her fighting ability was so unimpressive that she was defeated every time with a single blow from the Monkey. Even when the Monkey was absent, she dared not confront Pigsy and Sandy. She was only good at tricks and disguises. But it was not so with the opera, in which she was a powerful lich queen and a cunning swordswoman, with a lot of able subordinates on her side. Although she was still no match for the Monkey, she was far more powerful than Pigsy and Sandy put together.
2. Magic Circle on the Ground Warding against Evil
   The opera added this to the story: Before he left to seek food, Monkey King traced a circle on the ground around the three with his Golden Magic Stick, warning them not to step out: “Should there be any stranger offering you food or shelter, just ignore him.” The circle was imbued with the power of holy magic of “turning undead”. The three could leave the circle out of their freewill. Yet, if they chose to stay, no evil could enter in nor harm them.
3. Three Beats Changed to Four Beats
   In the original story, the Skeleton Demon was killed by Monkey King’s third blow. Then she was no more. In the following chapters, the return of the Monkey King was because Pigsy and Sandy could not subdue the “Weirdo in Yellow Robe” on their own. In the opera, however, the ‘essence’ of the Skeleton Demon managed to escape the third time, after which, the Monk expelled the Monkey. In the absence of the Monkey, the Skeleton Demon and her minions caught the Monk and Sandy. Pigsy barely escaped to inform the money of this.
4. A “Buddhist” Edict Floating Down on the Wind
   In the opera, after the “third beat” and the escape of the Skeleton Demon’s essence, an edict written in a yellow silk-cloth floated down from heaven, which said: “Greater love hath no man than Buddha, by whose commandments ye are forbidden to kill; in no way shall ye obtain the Scriptures of Truth, if the Money remain un-excommunicated.” Of course, this was from the Skeleton Demon.
5. Worshipping Demons as Buddha
   In the opera, after the excommunication of the Monkey, the following plots were largely newly added. The remaining three came to a temple, wherein there were many Buddhist statues. They fell down and worshiped. To their surprise, the Buddhist statues were actually Skeleton Demon and her minions in disguise. They managed to catch the Monk and Sandy. Pigsy barely escaped to inform the Monkey of this.
6. Skeleton Demon Tricked by Monkey King’s Disguise
   Pigsy went to the Mountain of Flower and Fruit to invite the Monkey to rejoin the expedition team. The Monkey acted as if he were not moved at all. Pigsy left in anger, because he thought the Monkey was cold-hearted. In fact, the Monkey was so aware of the Skeleton Demon’s trickiness that he decided not to act rashly nor alert the enemies. Instead, he chose to act secretly and strike a surprise blow. Pigsy came back to fight the demons, exerting his utmost strength, and got caught. In the newly adopted story, the Skeleton Demon had some kind of a godmother, Granny Spotter, who was an original character. She was invited to the “Banquet of Monk Hsuan Tsang’s Flesh”, but on the way, was killed by Monkey king. Monkey King then impersonated her and joined the banquet. He successfully tricked the Skeleton Demon into confessing how she had deceived the Monk three times. The Skeleton Demon, then being totally carried away, performed a playback of how she disguised as three different persons and issued the false edict. The Monk completely repented his foolish-doings. After this, Monkey King revealed himself and wiped out the demons. (The opera is slightly different: Monkey agreed to come. One the way, he and Pigsy separated. He killed Granny Spotter. Pigsy was captured by the enemies. After this, the plot is the same as the picture-story book.)

The subtlety of the adoption is that most of the changes and new additions to the plots are not out of the thin air. They are mostly based off some of the other stories in Wu Chengen’s Journey to the West novel (e.g.: False Screamo Temple, Wisely Provoking the Handsome Monkey King, King Gold Horn & King Silver Horn, etc), making the style of the changes and new additions consist with the general feel of the novel. The readers of the novel would think that these are familiar; they seem not to be newly added. So these changes and additions have enriched the plots and intensified the dramatic conflict, without messing up the style and feel of the story.

The adopter of the opera was a famous Chinese drama writer named Gu Xidong. He wrote the opera in 1956. In 1959, the opera got the attention of Shanghai Film Studio. On knowing the opera, propagandistic and cultural officials immediately organized an editorial team headed by Gu, through whose efforts, the artistic achievement of the opera was brought to a new level. Later, after its release, it had enjoyed great popularity over the years.

Mao Zendong and Guo Moruo (https://en.wikipedia.org/wiki/Guo_Moruo) watched the opera. They were very fond of it and greatly praised it. Why? One reason was that it was good; the other was that it conformed to the political situation of 1960s.

In the opera, the smart and loyal Monkey was a figure of Mao (and “the broad messes of the people”). And the evil undead creature, the tricky and wicked Skeleton Demon, who fooled others many times, was a figure of “modern Marxist revisionism” (https://en.wikipedia.org/wiki/Revisionism_(Marxism)) (ideas of Nikita Khrushchev and Liu Shaoqi). And the Monk, who could not distinguish demon from human, was a figure of “ignorant men”, who were “fooled” by “revisionism route”. [In the early 1960s, the failure of “The Great Leap Forward Movement” (https://en.wikipedia.org/wiki/Great_Leap_Forward) had left Mao such a bad name in the Party that he had to “resign from the leading post” and “take a backseat”, letting Liu (https://en.wikipedia.org/wiki/Liu_Shaoqi) preside over the office. Therefore, Mao might not have been very fond of Liu long before since 1961. The two formally broke up in 1964. Mao and Guo watched the stage version of the opera in winter of 1961.]

If we want to analyze how the opera conformed itself to the political situation of that time, one important and reasonable method is to see what were the changes it made to the plots. Chances are, those newly-made changes were specially made to cater to the situation.

I. The Power-Up of the Skeleton Demon:
This showed that “revisionism” was not a weakling. People should exert their efforts to annihilate it.
II. Magic Circle on the Ground Warding against Evil:
It was like guidelines given by our Great National Leader, if you trusted Him and stayed within the “circle”, no evil could harm you. If you were fooled by the “Skeleton Demon” and desired her food (“sugar-coated bullets”, e.g.: short-sighted economic growth at the expense of “class struggle”, “relief food” with which the imperialists drew Chinese people over to their sides, etc), you were seeking your own destruction.
III. A “Buddhist” Edict Floating Down on the Wind:
Buddha symbolized Carl Marx. The edict symbolized Marxism, the false edict, false Marxism, which was revisionism.
IV. Worshipping Demons as Buddha
This showed that the ignorant men strayed away from the truth, taking revisionism for Marxism, and anti-revolutionaries for revolutionaries.
V. Skeleton Demon Tricked by Monkey King’s Disguise
This obviously was paying tribute to what Mao did in “Anti-Rightist Movement” in 1957. (https://en.wikipedia.org/wiki/Anti-Rightist_Movement) Early in the year, Mao asked people from China’s different sects and parties for “opinions” and “disagreements” to “rectify CCP”. He assured them that he was sincere and promised not to harm anyone who helped improve the Party. (https://en.wikipedia.org/wiki/Hundred_Flowers_Campaign) Yet not long after that, he went back on his words, and started persecuting those who put forward the objections. When people were perplexed of why Mao broke his promise, they were told that this was actually a smart strategy from our National Leader to lure the wicked rightists out and destroy them.

(“We did this to let those familiar spirits and evil beasts have their ways, and to let tares spring up out of the ground, so that people would be astonished and begin to take notice of such ugly things. In their outrage, they would start to annihilate these devils. … Some say: this is a secret treachery. We say: this now becomes an open purging! Because we are now informing our enemies: Only when the evil beasts are taken out of the cage, we have more occasions to kill them. Only when the tares spring up, we can more easily root them out.” – extracted from The Capitalist Tendency of Wen Hui Newspaper Deserves to Be Criticized written by Mao Zedong, first published on July 1st, 1957, in People’s Daily; also included in Volume V of The Selected Works of Mao Tsetung (Zedong). The quotation was translated by author of this article.)

Besides, though Mao had “taken the backseat” in 1961, he was staging a comeback. In name, he was not the “national chairman”, yet he still had the final say in the state affairs. He was still leading the “ideology” of the nation. But because of his apparent absence, all kinds of “harmful revisionism” sprang up, undisguised themselves, and started to “plague the people”, just like the demons did in the later part of the story. So the temporary “absence of the cunning Monkey” and “his letting the demons have their ways” also conformed to the prudence, temperance and fortitude of our Great National Leader in the early 1960s.

[The below picture is from the picture-story book, which is based on the opera. It subtly depicts the situation of that period of time: The failure of “The Great Leap Forward Movement” had diminished Mao’s figure in the Party. The “Skeleton Demon” worked this to “her” own advantage and issued a “false Buddhist edict”, forcing Mao to take the backseat. The Leader was leaving calmly, warning the ignorant “Monk”, who could not distinguish demons from humans, to “take good care of himself”. The weird tree on the left looks like an evil monster. It opened its mouth and stretched its arm, as if it wanted to harm the Monk. The Monk was meditating on something, head down, totally unaware of the “hidden dangers”.]

[More interesting are the back figures of the two men and one horse: Sandy, who had been righteous and just, trusting Monkey King from the beginning, was quite unwilling to part with him. His gesture of closing hands piously and devoutly shows that he really revered the Monkey. The White-Dragon Horse seems to be low-spirited. Even Pigsy, who, in the past, so often conflicted with the Monkey, now somehow sensing the impending hardships and dangers, was disheartened, lowering his head. This illustrates: Although a small number of ignorant men had hardened their hearts and driven away the Leader, “the great masses of the people” were still unwilling to say goodbye to Him—though when He was in charge, some of them might not have understood all his good wills and farseeing plans. In the picture, the foolishness and stubbornness of the Monk contrasts the calmness of the Monkey in his taking-off, leaving deep impressions to the readers.]

The entire story is conveying this message to the readers: There are two kinds of “beings” who are harmful to men: humans and demons. The troubles caused by the former are “the contradictions among the people”; the troubles caused by the latter are “the contradictions between ourselves and the enemy”. The former can be tolerated and corrected; the latter must be annihilated, showing mercy to which will certainly brood potential threats.

Therefore, our patriotic old Guo will certainly not skip this chance to enlighten the ignorant men with this opera. In order to do that, he wrote the poem below:

Qilu Poem: Review of Monkey King Thrice Defeats the Skeleton Demon
Ah! What a fool who could not tell a demon from a man!
Who was compassionate to the enemy and mean to the friend.
Because he kept casting spell to tighten the magic headband on the Monkey’s head,
The Skeleton Demon escaped three times and returned to plague men!
Bah! Such a fool deserves the punishment of dismemberment and lingering death! Yea, a thousand deaths!
Yet, can any one truly hurt the Great Sage (Monkey King, for he called himself Great Sage Equaling Heaven when he fought against gods) by plucking out several of his furs?
No way! For he is the Holy one, who always corrected others in due time!
You are such a stupid pig, yea, worse than a pig, if you do not receive his correction immediately!

Our Great Leader, of course, was very satisfied with Guo’s review, but not entirely satisfied. For in his opinion, stupid the Monk was, it was not absolutely necessary to dismember him and let him die a thousand lingering deaths. He is a figure of the ignorant men who was fooled by “demons”. It was the demons who deserved such a judgment. The Monk did not deliberately do those disservices. He was someone who needed correction. If he repented, hated the demons, and loved the Monkey, he needed not die a lingering death. The “demon” needed to die a thousand lingering death. The troubles caused by the former are “the contradictions among the people”; the troubles caused by the latter are “the contradictions between ourselves and the enemy”. To further enlighten the people, Mao also wrote a poem:

Qilu Poem: A Delightful Opera-Watching Experience with Comrade Guo
When there were winds and thunders on the earth,
Demons would be born in a pile of old bones.
Stupid the monk was, he was still correctable;
Demons were demons. They should not be spared.
The Golden Monkey destroyed all evil with his mighty stick;
The universe was purified, the sky crystal clear.
Now we keep chanting the name of the Great Sage Sun (Monkey King, whose name is Sun Wukong),
Because, again, the dark auras gather above.

Notes
Winds and thunders: A great social upheaval
A pile of old bones: The remnant of the old world; old thoughts
Dark auras: “Tsk, tsk, tsk. Who have pissed off our Great Leader?”

(The above two poems were translated by the author of this article.)

Guo was, of course, exceedingly joyful that Mao so wisely corrected him.

Now you see this was an opera which applied to the situation of the time quite well. Therefore the government had spent many resources making the movie of this opera, starring the most famous Shao-opera actors and actresses. Because of this opera, in the ten years period of Cultural Revolution, Liu Shaoqi was addressed by the red vanguards as “Skeleton Demon”. In that period, many classics were banned. Only the opera and picture-story books of Monkey King Thrice Defeats the Skeleton Demon were not banned. I think, the reason must be very obvious now.

II. The Picture-Story Version of Monkey King Thrice Defeats the Skeleton Demon, First Edition

You can read it here (Traditional Chinese): (http://blog.sina.com.cn/s/blog_8d6082f10102w8yy.html)

The production of the picture-story version started immediately after the release of the opera. It took one year and nine months to see its final released.

The picture-story book was written by Wang Xingbei. Although it was largely based on the opera, Wang indeed has made some improvements. First, he deleted some of the sluggish plots (e.g.: Pigsy patrolling the mountain), making the story more compact. Second, as said in Part I, he made some modifications to the plots to manifest Monkey King’s cleverness and prudence. Besides, Wang’s writing was clear and appropriate, a worthy match to the beautiful illustrations.

As said before, because the adopted story applied to the political situation of the 1960s’ China quite well, the picture-story book served as some kind of a propagandistic instrument. Therefore, the government has employed the most talented persons to work on it. The result was very satisfactory.

The two artists of the book were indeed top picture-story artists of the time, Zhao Hongben and Qian Xiaodai. Zhao was good at drawing Journey to the West themed illustrations, while Qian was good at drawing young maidens and sceneries. During the process, Zhao was supposed to be the penciler, while Qian the inker. All the illustrations were inked using Chinese painting brush, the tip of which was soft, wherewith Qian drew strips of a unique and fantastic style.

Yet the work was not absolutely divided according to the above way. For every picture, the two would have thorough discussions starting from the sketching phase. Qian had the power to deny Zhao’s sketches. Sometimes, the two would exchange roles. During the process, they also needed to accept suggestions from their colleagues. According to Zhao’s note: Although the total amount of work was 110 pages of pictures, for each of the picture, they needed to rework 7 to 8 times. No wonder they succeeded in creating this peak of Chinese picture-story book!

III. The New-Year-Picture Version of Monkey King Thrice Defeats the Skeleton Demon

The picture-story book was a huge hit. It won the Championship of “The First Chinese Picture-Story Book Contest” in 1962. In 1964, Zhao and Qian collaboratively released a 12-page full-color New-Year-Picture (https://en.wikipedia.org/wiki/New_Year_picture) Version of Monkey King Thrice Defeats the Skeleton Demon, which also pushed the envelope.

Since the number of pages of the new-year pictures is nearly a tenth of that of the picture-story book, it would be much harder for the artists to express the complete story within the limited number of pages. In order to achieve that, the new-year pictures highly condensed the information and elements of the picture-story book. Take, page one, for example: Monkey King set out to find food - the artists added the Skeleton Demon to the lower-right part of the picture, letting her hide behind a rock, thus enriching the amount of information of this single page, so that it told more story than its counterpart in the picture-story book.

All the 12 pages of the new-year pictures were elaborately drawn and beautifully colored. They can be both viewed as a condensed version of picture-story book and as high-quality illustrative arts. During the 1960s, these new-year pictures had circulated very well.

IV. 1972 Revised Version of the Picture-Story Book

You can read it here (Simplified Chinese):
(http://blog.sina.com.cn/s/blog_8d6082f10102w90o.html)

In 1972, the revised version of the picture-story book was published. Up until the end of the Cultural Revolution (https://en.wikipedia.org/wiki/Cultural_Revolution), all the picture-story books of Monkey King Thrice Defeats the Skeleton Demon that had been published were exclusively this version. For this reason, fans now call this version the “Cultural Revolution edition”. (We have never seen the oversee release of this edition.) (Sometimes this version is also called “May 7th Cadre School edition”, because the byliner of this version was: Monkey King Thrice Defeats the Skeleton Demon Revision Group of May 7th Cadre School of News & Press Division of Shanghai City.)

Since Zhao was a very famous picture-story artist who got paid handsomely long before the foundation of PRC, he was persecuted during the Cultural Revolution and was forced to labor in a “May 7th Cadre School” (https://en.wikipedia.org/wiki/May_Seventh_Cadre_School). In 1972, he was commissioned by the government to revise the picture-story book. This time he was told to highlight the anti-revisionism theme. By that time, Qian was already deceased. So the inker of this version was Wang Yiqiu, Zhao’s friend, who was younger then Zhao.

In order to better understand the anti-revisionism theme of the story, the two has consulted Yu Zhongying, the director of the Shao-opera film, and revised the arts and the story according to what they learned from him.

At first glance, the revised edition is almost identical to the first edition, but in fact, many pictures have been modified or even re-structured. The two revised the first edition and made many changes. Wang’s inking style in this work resembles that of Qian so well, that most people cannot tell the difference.

Below are some of the important changes of this edition:

1. The revised edition slightly changed the appearance of characters, e.g.: draw the bootlaces of the characters larger; changed the style of Monkey King’s headband so that it became identical to Pigsy’s and Sandy’s; added a flower-shape to the between of the eyebrows of Monkey King; as for Pigsy, in the first edition, Pigsy’s navel was exposed; in the new edition, old Pig was more civilized, his pants lifted up, covering his navel, his proportion slightly changed, having two slightly longer legs.

2. Many pictures were modified so that they were better structured. Take the Picture of the “first beat”, for example: in the first edition, the weeds to the left of the Monkey King stick too close to him, so that it looked quite messy, failing to highlight the Monkey. In the revised edition, there was a space between the Monkey and the weeds, thus highlighting the Monkey. As for the picture of “Water-Curtain Cave”, the first edition had the waterfall occupy three fifth of the picture, blocking the larger part of Pigsy. The revised edition redrew the picture so that the waterfall only occupied two fifth of the picture, revealing more of Pigsy. Besides, Pigsy’s rake prostrated through the water-curtain in this version, a skillful presentation of the interaction between the characters and backgrounds.

3. In some pages, Monkey King “stood out”. Some pictures which illustrated the alertness and smartness of the Monkey were added.

4. Several pictures were added to process of the “three beats”.

5. Some pictures were completely redrawn, e.g.: the last pictures of the second and third “beats”.

6. The picture in which Monkey King Kowtowed to the Monk was changed to a picture wherein the Monkey stood.

7. All the pictures in which Monkey King was in agony because the Monk cast the band-tighten spell were deleted.

8. Several pictures about how Monkey King killed Granny Spotter were added.

9. In the final battle, several pictures which illustrated the mighty power and braveness of Monkey King were added. A most impressive one was the one in which “a flaming divine word proceeded from the mouth of Monkey King, burning up the essence of the Skeleton Demon.”

10. The facial expression of the true form of the Skeleton Demon was more bitter and cruel, lacking feminine attractiveness.

11. The carpet in the cave of the Skeleton Demon was removed. The back of the throne, which originally resembled a “red sun” (Mao was called a red sun.), now looked like something else.

12. At the end of the story, a picture depicting the Monk being instructed by the Monkey was added.

These changes were made to cater to the situation of 1970s. By then, it was quite clear the Monkey King was Mao. It was a pity that “the band-tighten spell” illustrations were removed, yet some newly added illustrations were really good, making this edition a must to the collectors.

The number of pages of the “Cultural Revolution edition” totaled 118, eight more in number compared to the 1962 first edition.

V. My Collections
2007 Pocket Book
Publisher: People’s Art Press
A special version which combines both the first edition and the Cultural Revolution edition, totaling 131 pages. The pictures are a little bit small compared to other editions I have.

2011 Pocket Book
Publisher: Picture-Story Book Press
A reprint of the Cultural Revolution edition. The pictures are a little bit small compared to other editions I have.

2012 “B5” –Size Book
Publish:Shanghai People’s Art Press
A big-book reprint of the first edition with all the details. The 12 new-year pictures are also included.

2009 “A5” –Size Book
Publisher: Picture-Story Book Press
A reprint of the first edition with fewer details than “2012 “B5” –Size Book”. The 12 new-year pictures are also included. A calligraphy artwork specially written by Mao for the 1962 picture-story book was included as well.

2014 “A5” –Size full-color Book
Publisher: Picture-Story Book Press
A newly-colored version of the first edition. All the 110 pictures have been fully colored, each set besides its counterpart of the original black-and-white picture. 12 leaflets of “A4” –Size new-year pictures are dispatched along the book as bonus contents.

2014 Extra-Large-Size New-Year-Picture Art Book
A de luxe art book of the 12 new-year pictures.

2012 “A5” –Size Book
Publisher: Picture-Story Book Press
A reprint of the Cultural Revolution edition. The pictures are very clear.

1972 “A6” –Size Book
Publisher:Shanghai People’s Press
Some old pocket book I chanced to see in a stall. It costed me 5 Yuans.

Alrighty then.

Nope.

Chuck Testa?

Thank you for posting that. I’m a big fan of Journey to the West but I had never heard of this adventure with the same characters. Thanks to you I will investigate it more. Just one suggestion. You currently have three posts. One a place holder and the other an accidental post of the markdown syntax message. I suggest you break your original post into three. Copy and paste the second third into one post and the third into the last. If you can dig out some of the illustrations they will also break up the text and make the information easier to digest. A big wall of text on a phone or laptop can be very intimidating and there is lots of interesting things to be found in your big post. Cheers.

Dek Rollins said:

^LOL

I see someone’s never heard the Chuck Testa joke here. He certainly missed it the previous 8,000 times.

Finally！

Thank you. Finally, I have finished the article.

You can click below links to view the articles with pics. It’s in my personal blog.

my english full review with pics
http://blog.sina.com.cn/s/blog_8d6082f10102w9md.html

the HD scans of the 1962 first edition
http://blog.sina.com.cn/s/blog_8d6082f10102w8yy.html

the HD scans of the 1972 revised edition
http://blog.sina.com.cn/s/blog_8d6082f10102w90o.html

By the way, do you know any english journey to the west forum where I can let more people read my article?