近日，一則驚人消息在網絡上流傳，稱“齊天大聖孫悟空的女兒——月孛星竟手提一人首”的畫作在俄羅斯展出，引發廣大網友驚嘆與討論。這一奇聞背景雖源於網絡創作與傳說延伸，但其本質仍深深植根於中國古典神魔小說的文化脈絡之中，尤其是明代四大奇幻小說中的“神魔世界”。

首先，《西遊記》作為四遊記中最著名的一部，構建了以唐僧師徒西天取經為主線的宏大敘事。故事講述大唐高僧玄奘奉唐太宗之命，攜孫悟空、豬八戒、沙悟淨及白龍馬前往西天（古印度）求取真經。過程中，師徒四人歷經九九八十一難，對抗白骨精、紅孩兒、牛魔王等妖魔鬼怪，也獲觀音菩薩、如來佛祖等神佛幫助。孫悟空作為核心角色，從“大鬧天宮”的叛逆者逐漸成長為“鬥戰勝佛”，象徵野性收斂、修成正果的修行之路。《西遊記》不僅是中國古典四大名著之一，更成為東方神話經典IP，對後世文學、戲劇、影視乃至民俗文化均有深遠影響。

其次，《東遊記》（吳元泰著）以道教八仙過海的故事為核心，講述八仙成仙歷程與濟世事蹟。小說著重呈現“修道成仙”與“人間功德”，以鐵拐李、漢鍾離、呂洞賓、張果老、藍采和、何仙姑、韓湘子、曹國舅八位仙人為主角，描寫其出身、修道與斬妖除魔過程。書中融入道教“內丹修煉”與因果報應思想，並穿插帝王故事，如武則天，以交織仙凡世界。八仙形象貼近民間生活，故事細節生動，如呂洞賓風流逸事、鐵拐李的殘疾，使其成為民間八仙信仰的重要文學承載。

再次，《南遊記》（余象斗著，全稱《五顯靈官大帝華光天王傳》）聚焦華光（馬靈官）的反叛與救贖，呈現神性與人性衝突以及因果循環。華光因盜取金磚、私放妖魔被貶下凡，轉世為三眼靈官，性格桀驁，多次大鬧天宮、地府，與孫悟空比試，經歷“三次顯聖”與五次轉世，最終皈依佛門，被封為“五顯靈官大帝”。小說風格偏向神魔鬥法，主角兼具叛逆與慈悲，民間常將華光視為火神與護法神，信仰廣泛見於南方地區。

最後，《北遊記》（余象斗著，全稱《北方真武玄天上帝出身志傳》）描寫真武大帝的修行與成神之路，強調道教修行的艱辛與虔誠。主角為淨樂國王子，因厭世而立志修道，歷經舍棄王位、抵禦誘惑、斬妖除魔等重重考驗，最終在武當山得道成仙，被玉帝封為“玄天上帝”，成為北方守護神，掌管水、雷等自然力量。小說詳細描述其修行磨難與心性考驗，凸顯苦行得道理念，其形象（披髮跣足、手持寶劍）成為道教文化經典符號，與武當山信仰緊密結合。

綜觀“四遊記”，《西遊記》無疑是巔峰之作，其他三部則更多反映民間宗教信仰、地方神祇傳說與道佛融合的神魔文化。月孛星手提人首的奇聞，正是在這一類型的神魔小說與民間信仰基礎上衍生出的創意敘事，將傳統神話角色延伸至新的奇幻故事中，彰顯中國古代神魔小說“神、仙、人、妖”交織的奇幻世界。

Recently, a sensational story circulated online claiming that Sun Wukong, the Monkey King, has a daughter named Yue Bo Xing who was seen carrying a human head, her painting was exhibited in Russia, sparking widespread astonishment and discussion. While this story is largely a product of modern creative reinterpretation and folklore extension, it is deeply rooted in the cultural context of classical Chinese shenmo (gods and demons) literature, particularly the “Four Journeys” novels of the Ming dynasty.

First, Journey to the West (Xi You Ji), the most famous of the Four Journeys, constructs a grand narrative centered on Tang monk Xuanzang’s pilgrimage to India to obtain Buddhist scriptures. Accompanied by Sun Wukong, Zhu Bajie, Sha Wujing, and the White Dragon Horse, Xuanzang faces eighty-one trials while confronting demons such as Bai Gu Jing, Red Boy, and Bull Demon King, receiving aid from divine figures like Guanyin Bodhisattva and the Buddha. Sun Wukong, the central character, evolves from the rebellious instigator of the “Havoc in Heaven” to the enlightened Victorious Fighting Buddha, symbolizing the path from untamed wildness to spiritual cultivation. Journey to the West is not only one of China’s four great classical novels but also a cornerstone of Eastern mythology, influencing literature, theater, film, and folk culture for centuries.

Second, Journey to the East (Dong You Ji) by Wu Yuantai focuses on the Eight Immortals crossing the sea, chronicling their paths to immortality and acts of benevolence. Emphasizing “cultivation and human virtue,” the novel details each Immortal’s background, spiritual training, and battles against demons, intertwining Taoist practices such as internal alchemy with moral causality. The narrative also includes interactions with historical rulers like Empress Wu Zetian, blending the mortal and divine worlds. The Eight Immortals’ personalities—Li Tieguai’s disability, Lü Dongbin’s romantic antics—bring life to the story and serve as a literary embodiment of folk Taoist beliefs.

Third, Journey to the South (Nan You Ji) by Yu Xiangdou (full title: The Biography of the Five Manifested Spirit Officers Huaguang Tianwang) centers on Huaguang, the rebellious yet redeemable deity. Once punished for stealing gold and releasing demons, he is reincarnated as the Three-Eyed Spirit Officer. Throughout multiple cycles of rebellion, punishment, and redemption, Huaguang ultimately submits to Buddhism and is enshrined as the Five Manifested Spirit Officer Emperor. The novel emphasizes magical battles and divine powers, portraying a protagonist who is both defiant and compassionate, widely revered in southern China as a fire and protector deity.

Finally, Journey to the North (Bei You Ji) by Yu Xiangdou (full title: The Biography of the Northern True Martial Xuantian Emperor) narrates the cultivation and ascension of Zhenwu Dadi, focusing on the rigorous and devout nature of Taoist spiritual training. The prince of Jing Le kingdom renounces worldly life, endures countless trials, battles demons and temptations, and ultimately attains immortality on Mount Wudang, becoming the guardian of the north with control over water and thunder. The novel emphasizes the hardships and moral testing inherent in spiritual cultivation, with Zhenwu’s iconic depiction—unbound hair, bare feet, and sword in hand—becoming a symbol of Taoist culture and closely associated with Mount Wudang worship.

In summary, among the “Four Journeys,” Journey to the West stands as the pinnacle work, while the others reflect more localized religious beliefs, folk legends, and Taoist-Buddhist integration. The story of Yue Bo Xing carrying a human head is an imaginative extension within this rich shenmo literary and folk tradition, blending traditional mythological characters with new fantastical narratives, exemplifying the Chinese mythological universe where gods, immortals, humans, and demons intertwine.