Lushan Sect (Part 1)

In Zhejiang, the Daoist "Lushan Sect" is referred to as the "Lushan San Nai Sect" or the "Chen Shisi Furen Religion," among other names. It originated as a folk talismanic Daoist branch during the Yuan and Ming dynasties. Although some classify it under Zhengyi Daoism, it is not entirely identical to Zhengyi Daoism. Originally prevalent in the Zhangzhou area of Fujian, it worships Lady Linshui, Chen Jinggu, as well as Lin Jiuniang and Li Sanniang, collectively known as the "Three Nai Ladies." Among them, Chen Jinggu is particularly revered and was once promoted as the sect's founder, hence the name "Chen Shisi Furen Religion." In the Lishui area, regardless of the type of ritual performed by Lushan Sect masters, during the "Purification of the Altar" ceremony, they must inscribe the names of the Ladies three times in a bowl of purified water; during the "Submission of Petitions," the master must transform into a white crane, fly to the Linshui Hall in Gutian County, Fujian, invite Lady Chen Shisi to the altar to submit the petition, and deliver it to the Heavenly Court. It is said that Chen Jinggu once studied Daoist arts and attained enlightenment from the brothers and sisters of Lord Xu Jiu Lang at Mount Lushan in Fujian. Later, the two Ladies Lin and Li became her disciples and also attained Daoist arts. Daoist priests in Fujian revere her as the founding master of the sect, calling it the "Lushan Religion," with the sect's poem reading: Daoism surpasses the Three Mountains, taming dragons and tigers; Virtue weighs heavier than the Five Sacred Mountains, inspiring awe in ghosts and gods. Talismans drive away all wicked ghosts across the world; Daoist law governs mountains and rivers, correcting unrighteous spirits. Since the Song Dynasty, with the migration of people, this sect spread east to Taiwan, south to Guangdong, west to Jiangxi, and north to Wenzhou, Lishui, and Jinhua in Zhejiang. According to the "Chen Clan Genealogy" of Xiafang Village, Shouning County, Fujian, Daoist priest and villager Chen Xiaowu lived from the late Taiping Xingguo era to the Xianping era. He later moved to Xiayuyang (now part of Pingyang County, Wenzhou) to settle, indicating that Lushan Religion had entered Wenzhou from Fujian at the latest by the early Northern Song Dynasty.  Wenzhou's Lushan Religion is prominent in Cangnan, Yongjia, and Taishun counties. In Cangnan, Lushan Sect priests are called "Red Masters" or "Shi Gong," collectively referred to as "Min Sect Priests" alongside other priests from Fujian . They excel in martial rituals, using bells and knives, dragon horns to capture demons and dispel evil. Their rituals include "San Yuan Jiao" and "Shi Gong Ba Chong," among others . In Yongjia County, the Lushan Sect is simply called "Shi Gong" without the title "Red Master," also excelling in martial rituals, favoring stepping on the Big Dipper to eliminate demons and monsters. Their rituals include "Eight Trigrams" and "Shou Shang," among others.  According to Mr. He Guojing, an old priest in that county, his ancestors migrated from Fujian to Nanshan Village in Qukou, Yongjia. Starting from his ancestor He Gongyi who practiced Lushan Religion, it has been passed down to him as the thirty-third generation, spanning over 700 years of history.  In the Lishui region, Lushan Daoism is prevalent in Jingning, Lishui, Yunhe, Songyang, Qingtian, Longquan, and遂昌 counties. Besides the Han Chinese, there are She ethnic minority immigrants, including surnames Lei, Lan, and Zhong. They claim their ancestor Long Qi learned the arts of dispelling evil and subduing demons at Mount Lushan, which have been passed down through generations to ensure the prosperity of their ethnic group. Their rituals include "Zhou Ming Chuan Fa," "Zuo Gong De," "Da Gui," "Ba Shang," "Furen Lian Dan," among others . Lushan Religion is also prevalent in Wuyi County, Jinhua, introduced by She ethnic minority immigrants from Fujian during the Ming Dynasty, capable of performing rituals such as "Zuo Sang," "Nian Fu," "Po Di Yu," and "Po Xue Hu."   II. Rituals of Lushan Religion The rituals of Lushan Religion in Zhejiang were originally all "Martial Fields," aimed at capturing demons and ghosts. During performances, the right hand holds a dragon horn, and the left hand holds a bell knife, accompanied by actions such as tossing divination blocks, shaking bells, whipping, stepping on the Big Dipper, and forming mudras. Their attire includes a red silk headscarf, a dark blue jacket with a front opening, a red "Master Skirt" around the waist, and red leg wraps, similar to the "Red-headed Priests" in Taiwan. In recent years, due to the absorption of Zhengyi Daoist rituals and performance forms, "Civil Fields" have also emerged, aimed at delivering souls or prolonging life. Their performances focus on chanting scriptures and repenting, with attire identical to Zhengyi Daoism. Besides the aforementioned "Martial Field" rituals, there are also "Praying for Clear Skies," "Praying for Rain," "Turning Rocks and Breaking Caves," "Turning Nine Floors," "Dispelling Five Thunders and Exorcising Evil," "Turning Three Realms," "Summoning Soldiers," "Passing through the Mountain of Flames," "Doing Five Dragon Flashes," "Daluo Mountain," "Xiaoluo Mountain," "Dajiuzhou," "Xiaojiuzhou," and many others. The most common are: "Da Jiao," "Tiao Tong," "Ba Shang," "Zhao Yin," "Shi Er Ta Gang," "Lian Dan," "Zuo Gong De," "Chuan Shi Xue Shi," "Zuo Sang," "Du Guan," "Huang Jun Luo Chang," among others. "Da Jiao" is prevalent in the She ethnic villages of Badu, Longquan County, Lishui region, aimed at capturing ghosts, dispelling evil, and curing diseases, usually performed in the homes of the sick. According to the oral account of the local master Lan Muyou (born in 1907), his ancestors for seven generations have practiced "Da Jiao," indicating that "Da Jiao" has been prevalent among the She people for at least over 200 years. The entire ritual is performed by one master, playing the role of the "Lushan Master" (called "Xiansheng" by villagers) capturing ghosts and snatching souls. Five accompanists play: two on bronze gongs, two on flat drums, and one on small cymbals. The ritual sequence includes: "Scattering Five Thunder Children," "Beating the First Altar," "Lighting Five Direction Lamps," "Smelting Jiao Skin," "Meeting the Cave," "Performing Rituals at the Office," "Building the Temple and Whipping," "Sending Soul Clothes," "Building the Nine Heavens Immortal Tower," and "Releasing Oil Fire." "Tiao Tong," meaning jumping spirit, is prevalent in the villages of Gushi, Songyang County, Lishui region. It was introduced from Fujian in the late Qing Dynasty and has a history of over a hundred years. It aims to exorcise demons and cure diseases for the sick. Generally held in the home of the sick, a supply table is placed in the center of the main hall. On the table, besides offerings, there is a bowl of purified water, a rice bucket, a bell knife, and a horse whip inserted into the rice bucket. Additionally, folded paper talismans are placed upright between the bell knife and the horse whip. Performed by one master, the ritual includes opening the altar, purifying the altar, inviting gods, jumping spirit, and sealing disasters, with the focus on the master playing the role of the Lushan Master building the five-directional divine towers (East, South, West, North, Center), capturing ghosts and extinguishing demons, singing and dancing, with music mostly using the "Pu Jie Diao" tune. "Ba Shang" is prevalent in the She ethnic villages of Jingning and Yunhe counties in the Lishui region. It is a deliverance ritual performed by the She people for those who died from so-called "Thirty-six Injury Gates," including "Heavenly Injury," "Earthly Injury," "Water Injury," "Fire Injury," "Knife Injury," "Hanging Injury," and "Falling Injury." It is generally held after the burial of the deceased, and rarely immediately after death. The She people believe that only after "Ba Shang," ensuring that the deceased will not suffer from various "Injury Gates" in the underworld, will their descendants live in peace. The ritual includes "Chao Hun," "Passing through Thirty-six Injury Gates," and "Breaking Thirty-six Injury Gates," taking a full day and night to complete. Mainly performed by one high-ranking master playing the role of the Lushan Master breaking the thirty-six "Injury Gates." The Dao site is set on an open flat ground, with the injury gates in the center. The so-called thirty-six injury gates are made of thirty-six bamboo rings symbolizing the "Injury Gates" using small bamboo sticks. A rooted bamboo pole is erected in front of the injury gates, with a chicken cage hanging on it containing a rooster. Rice sieves, mirrors, rulers, scissors, and ox yokes are also placed in appropriate places to signify sacrifice, deliverance, and dispelling evil. A straw rope is threaded through the ox yoke, with thirty-six copper coins hanging on it, passing through all thirty-six injury gates. Behind the injury gates, a wooden basin filled with water is placed, with a pair of stone mills in it. The straw rope passes through the holes in the stone mills, connecting the head and tail ends. After all the mourning sons and daughters pass through the thirty-six injury gates, the master summons the Lushan Master to break the thirty-six injury gates. For each gate broken, first a breaking spell is recited, then a dragon horn is blown, followed by striking the injury gate with a bell knife. Two people on the field then cut this injury gate (bamboo ring) with a knife and throw it into the fire to burn. The deceased's daughter or daughter-in-law kneels behind the injury gate, singing mournful songs while pulling the straw rope. Each time the master breaks an injury gate, they pick a copper coin from the straw rope, until all thirty-six injury gates are broken. "Zhao Yin" is also known as "Doing Sheng Zhao Yin" or "Leading the Soul." It is prevalent in the Lishui region. It is a sacrificial activity held before the funeral, aimed at preventing the soul of the deceased from wandering outside as a "wandering soul." Thus, the Lushan Jiu Lang Patriarch is invited to summon the deceased's soul back, allowing it to rest peacefully in the incense burner and enjoy offerings and memorials from descendants throughout the year and eight festivals. The ritual is generally held in the main hall of the mourning family, with a square table placed in the center, laden with various offerings. The master dances with the bell knife, blows the dragon horn, and forms hand mudras alternately, performing rituals such as inviting the Patriarch, receiving the master, adding incense, hiding the soul, and submitting petitions. This ritual was originally performed by Shi Gongs, but due to its simple movements and props, some ordinary commoners have learned to do it. They call themselves Lushan disciples and are often hired by mourning families. They often omit musical accompaniment, purely chanting and performing themselves, using only bell knives and bronze bells, without dragon horns, and wearing ordinary casual clothes.  "Zuo Sang," also known as "Zuo Gong De," is prevalent in the She ethnic villages of Dayuan Township, Liucheng, Wuyi County, Jinhua. It was introduced from Putian County, Fujian, with migration around the late Ming and early Qing dynasties. It aims to invite the Lushan Master to break the hell and deliver the soul of the deceased. The ritual includes: inviting the Great and Small Kings of the Underworld, welcoming the Patriarch of Incense and Fire, communicating with the prefecture, receiving Buddha, inviting the spirit, performing filial piety, summoning soldiers and generals, and breaking hell. When summoning soldiers and generals to break hell, the Lushan Master holds a dragon horn in one hand and raises a divine sword to break the formation, singing: "The Three Pure Ones of the Upper Palace ascend the throne, the Lushan Dharma Master is invited out of the altar. Invited out of the altar to support the disciple, leading the Five Camps' troops to the front of the altar." And again: "Lushan Jiu Lang dispatches troops, dispatching soldiers and horses to descend and arrive." This fully embodies the characteristics of martial teaching. The Dao site walks the "Lotus Step" from beginning to end. It is said that this is because the founder of the "Chen Shisi Furen Religion," Chen Jinggu, was female. Walking the Lotus Step is a symbol of devout faith in Lady Chen Shisi. The Lotus Step is also called "Niangniang Step." When walking, both feet always stay on a straight line, with the toes and heels of the two feet connecting front and back. The order of each foot touching the ground is first the sole, then the heel. The body can tremble slightly up and down. The movements must maintain balance and symmetry. Thus, the so-called "Lotus Step" is the Gang Step.  "Du Guan" is fully titled "San Yuan Rang Zai Jie E Du Guan Zhao Hun Bao An Dao Chang," a ritual for children to remove evil and pass through barriers. It is said that from the day of birth, children encounter various barriers, each guarded by divine spirits, including Tian Zhu Guan, Si Ji Guan, Qian Ri Guan, Bai Ri Guan, Yan Wang Guan, Wu Gui Guan, etc., totaling thirty-six barriers. Without breaking the spirits and passing through the barriers, survival is difficult. Generally, five Shi Gongs are invited to perform a full day of rituals, totaling nineteen sessions. In the morning, six sessions: Fa Gu, Fa Fu, Zhao Bing, Qing Shen, Tai Sui Jiao, Zao Jun Jiao; in the afternoon, nine sessions: Jie Lian Jiao, Tian Yi Jiao, Xie Wai Ke, Bao Tong Deng, San Luo Jun, Shou Hun, Zao Chuan; in the evening, six sessions: Zao Qian, Fen Qian, Du Guan Da Guan, Zhuang Sao Song Chuan, Shang Jun, Song Shen. The entire hall ritual does not use wind and string instruments, only accompanied by drums and gongs. I once watched the live "Du Guan" Dao Chang in Dage Village, Wufeng Township, Cangnan on September 21, 1998. "Huang Jun Luo Chang" is one of the rituals in the nine-day, eight-night great ritual "San Yuan Da Zhai Jiu Huang Da Jiao" jointly initiated by Lushan Sect and Zhengyi Daoism. It means inviting the Huang Jun, Lady Chen Shisi, to descend to the Dao site to slay demons and dispel evil, ensuring local peace. Lady Chen Shisi was awarded the title "Taiyin Shengmu Niangniang" by Emperor Dezong of Tang for her merits in saving the people and protecting the country, and is commonly known as "Huang Jun Niangniang" among the people. The ritual includes: purifying the banquet, establishing boundaries, worshipping the Three Mountains, Three Caves, Three Ancestors, Six Roads, carrying lamps, worshipping seals, opening three caves, issuing ten vows, summoning generals, reviewing troops, crossing the Hundred Flowers Bridge, etc. Finally, praising the merits of Lady Chen Shisi: "Lofty Daoist arts originate from Lushan, nine turns of alchemy completed, returning with satisfaction. Everywhere saving people, evil spirits retreat; loyal heart protecting the country, imperial grace bestowed. Great grace like Linshui, infinite green; traces appearing in Gutian, still wanting to be recorded. May everyone devoutly offer worship, why worry about the difficulty of deliverance? Yuan Jun learned Dao at Lushan, the law manifests boundlessly, saving the world. Jade quality and golden appearance still shining, majestic spirit protecting peace. Yuan Jun's law manifested in the Song Dynasty, ghosts and demons all vanish. Protecting the country and aiding the people, great merits; bearing sons and sending daughters, heavy virtues. Protecting the country and aiding the people, sealed as Dayin; grace same as Linshui, equally deep. Praying for men and women to be as wished, more spiritual light shining through past and present." I once watched this ritual on the sixth day of the third lunar month, 1999.   III. Music of the Lushan Sect The music of the Lushan Sect is generally characterized by simple and steady rhythms, pure and high-pitched tunes, possessing a unique ethnic style. Each region has its own characteristics. For example, the singing of the Lishui Lushan Sect mostly adopts a single-section form, freely and flexibly repeating. The lyric structure uses seven-character lines, interspersed with three, five, and six-character lines. If the number of characters does not match the musical score, flexible handling methods such as adding heads and tails, adding or subtracting beats, and adding auxiliary words are used. The singers hold bell knives and dragon horns, shaking them once per beat according to the musical rhythm, using the creaking sound of the bell knives to enhance the atmosphere of slaying demons and extinguishing evil. Common musical scores include [Zao Zhai], [Zao Laojun Dian], [Yin Tan], [Jing Jiu], [Zhao Bing], [Pai Bing], [Qian San Er Hou San San], etc. Their [Pai Bing] reads: "One sound of the horn arranges the East, ... The bell knife first slays, then reports to Lushan." Promoting the "Lushan Patriarch" as the supreme commander. The Jingning County Lushan Sect accompanies singing with dance, accompanied by erhu, jinghu, flute, suona, etc.; percussion instruments mainly include flat drums, bronze gongs, dragon horns, spiritual knives, ding zhong, tung wood knives, and tung wood clappers, struck on the strong beats of the movements. "Ding Zhong" is the ritual bell, made of copper; the tung wood clapper is a round piece of tung wood about ten centimeters long, split in half. The tunes are simple and vigorous. Except for the ending which is relatively free, the beats are mostly standardized, with steady rhythms. Common tune names include [Da Wu Yu Men], [Zao Zhai], [Tuan Bing], [Zao Jing Mu Shi], [Zao Laojun Dian], [Liao He], etc. The Yunhe Lushan Sect music has high-pitched tunes and free beats, often shifting from 2/4 to 1/4 or 3/4 time, accompanied by erhu, suona, flute, etc. Percussion instruments mainly include flat drums and low-pitched gongs. The sounds of these two instruments can distinguish the strong and weak beats of the music. Common tunes include [Qi Zu], [Chai Zhai], [Ya Dan], [Zao Zhai], [An Zu Tuan Ji], [Tui Bing Dao Zuo], [Tuan Bing Gan Sha], [Zao Jing Mu Shi], [Zuo Sheng Zhao Hun], [Da Kai Shi Ba Di Yu], [Ba Wu Fang Jie], [Guo Jiu Chong Shan], [Yin Hun], [Shao Nian Qi Shen], [Tui Bing Shan Tou], etc. The Wuyi Lushan Sect percussion instruments include large drums, large gongs, small gongs, secondary gongs, and song boards. The singers hold a ritual bell in one hand, striking the board with the bell, and a dragon horn in the other hand. After each verse, they blow the dragon horn one or several times. The tune blown should be "25 25 52 5" according to regulations; if the dragon horn is not made to standard, it is difficult to blow. When singing, the ritual bell striking the board is often used as an accompanying instrument. Common tunes include [Xing Xiao], [Zhao Bing Zhao Jiang], [Yi Sheng Long Jiao], etc. Among them, "Zhao Bing Zhao Jiang" sings of the Lushan Dharma Master Chen Jinggu and her patriarch Lushan Xu Jiu Lang leading the Lushan troops to descend to the altar to "receive gods and capture ghosts." The song reads: "The Three Pure Ones of the Upper Palace ascend the throne, the Lushan Dharma Master is invited out of the altar. Coming to the front of the hall to ascend the throne, receiving the disciple's incense." And again: "Lushan Jiu Lang dispatches troops, dispatching soldiers and generals to descend and arrive. King of the East Sea, King of the South Sea, capturing gods and ghosts, the Great Spirit King." The shaman plays the role of the Lushan Dharma Master Chen Jinggu, walking the Lotus Platform Step. When singing, drums and gongs are lightly struck, the tune is slow and low. After each verse, a dragon horn is blown to enhance the atmosphere of capturing demons.