Religious rituals are a form of culture that is recognized by today's society. And since the ritual of the Jiao is an important part of Taoism, it should be considered a form of culture. As a form of culture, it has its own cultural value, and the Jiao is no exception.

  (1) The ritual and the teachings

  Taoism manifests its religious ideas and the beliefs of its followers through the combination of the content and form of the ritual, which is mainly manifested in the aspects of Tao, gods, relieving the poor and relieving suffering.

  Tao is the theoretical basis of Taoism, not only the Taoist view of the universe, but also the fundamental belief of Taoism. Because “Tao” is eventually personified as “Taishang Laojun,” the theory of “one breath and three purities” appears. Together with people (here, people refer to Taoist believers) and ghosts, the relationship between humans and gods and humans and ghosts appears. In the Jin and jade seal temples, the various rituals mostly reflect the relationship between humans and gods, while in the yellow seal temples, the various rituals mostly reflect the relationship between humans and ghosts. Therefore, rituals such as inviting the holy, celebrating, and celebrating birthdays are used to pray for blessings and gratitude for humans and gods; rituals such as breaking prisons, refining, and feeding the dead are used to help humans and ghosts. For example, the ritual of lighting a lamp shows the content of the teachings and ideas of Taoists in pursuit of light. In short, all of these reflect the teachings of Taoism.

  (2) The ritual and literature

  The ritual of the sacrifice ceremony uses many praise texts, namely the “Bu Xu” and “Qing Ci,” which belong to two literary genres.

  Bu xu is a form of praise for the gods. When building a jiao, Taoist priests must spin around the incense burner or candle, reciting words and chapters to a certain tune while walking around. It is usually in the form of poetry, or five-character, seven-character, or eight-, ten-, or twenty-two-character lines. As early as the time of Kou Qianzhi and Lu Xiuqing, there were already “Ode to China” and “Bu xu ci” (words of praise). There are many “Buxu Ci” in the extant “Taishang Dongxuan Lingbao Shoudu Yi” by Lu Xiu Jing and “Taishang Huangzhuanzhai Yi” by Du Guangting.

  Qingci, also known as Qingci or Lvzhang, is a type of prayer written for the gods during Taoist rituals. It is usually written in parallel style, with four-character and six-character phrases, and is well-structured and ornate. There are also examples of parallel prose and verse, with the name of the person praying at the beginning, the title of the deity being prayed to, the reason for the prayer, and at the end, words such as “to be heard” and “words of respect” to show humility and supplication. During the Tang and Song dynasties, many literati and officials frequented Taoist temples and were ordered by the emperor to write their own prayers.

  In addition, emperors also wrote eulogistic poems for the ceremonies. Song Taizong, Song Zhenzong, and Song Huizong each wrote dozens of poems, including “Walking in the Void,” “Scattering Flowers,” “Praise of the White Crane,” “Jade Qing Yue,” and “Tai Qing Yue.”

  Due to the widespread influence of the ritual, there are also many descriptions of it in ancient literary works. For example, novels such as “A Dream of Red Mansions,” “Water Margin,” and “Romance of the Three Kingdoms” all have vivid descriptions of the ritual.

  (3) Music and the ceremony

  Jiao music, also known as ritual music, Buddhist music and Taoist music, includes various forms of music such as the rhyming songs of the step-in-the-void, the chant, the praise.

  It was not until the end of the Northern Song Dynasty that a model songbook, the Yuyin Fashi, appeared. This is the earliest vocal music collection of Taoist music scores that has survived to the present day. The collection was included in the Zhengtong Daozang of the Ming Dynasty, which recorded 50 Taoist songs from the Tang Dynasty to the Song Dynasty. Because the notation method is very peculiar, it is still difficult to decipher. In the Ming Dynasty, there was another score collection called “Daming Yuzhi Xuange Yue Zhang” (Imperial Music of the Ming Dynasty), which contained 14 Daoist tunes in the Gongche system. The Qing Dynasty's “Zhongkan Daozang Jiyao Quanzhen Zhengyun” (Re-published Daoist Canon: Complete Zhengyun) included 56 tunes commonly used by the Quanzhen Daoist sect, which were played on the “dangcai ban” (a set of cymbals). These are all important documents of Daoist music.

  The Quanzhen Daoist sect emphasizes cultivation, so the music of the sacrificial altar is relatively restrained; the Zhengyi Daoist sect is more outward-looking, so the music of the sacrificial altar is very lively.

  (4) Fasting and health preservation

  In Taoism, fasting and cultivation often go hand in hand. For example, before the ritual, one must fast and bathe, that is, cleanse the body, mouth and mind, and not allow impurities to enter. During the ritual, one must use meditation to focus one's attention and eliminate distracting thoughts, achieving a state of true purity and tranquility. In addition, there are also factors such as teeth-clenching and breathing that are conducive to health during the ritual.

  In general, the Taoist rituals of fasting and purification have had a profound impact on Chinese society and the development of Taoism. They are the main content of Taoist religious activities; they are the behavioral embodiment of Taoist teachings; they are an important way to promote Taoism; they are the main way for Taoists to express their beliefs; they are the link between Taoism and the masses; and they are also a bridge for the masses to understand and believe in Taoism.