《靈寶領教濟度金書》

This text provides detailed specifications for constructing the Xu Huang Altar (a ceremonial platform) used in Daoist Zhaijiao (purification rituals). The three-tiered altar complex consists of: an innermost platform approximately 1 meter high with 5.4-meter sides, adorned with 20 vermilion bamboo zuan (ornamental pillars); a middle platform about 0.5 meters high with 9-meter sides featuring 24 zuan; and an outer platform built directly on level ground with 12-meter sides displaying 28 zuan.

Surrounding these three platforms lies a 13.8-meter square perimeter area where 32 decorative floral columns are installed. All zuan and floral columns are crafted from red-lacquered bamboo, with the zuan standing approximately 3.3 meters tall and the floral columns measuring 1 meter. During installation, squared timber is laid along the platform edges with pre-drilled holes to secure these vertical elements.

The inner platform requires particularly refined construction: compacted from purified hard earth, it rises about 0.5 meters higher than the middle platform. Bordered by squared timber, it features 20 red zuan with gates installed between every two pillars (totaling ten gates). Each gate bears carved lintels depicting sun-moon motifs and celestial immortals, while the zuan tops are shaped like ornamental pillars crowned with wooden lotus blossoms or flaming pearl carvings.

Three tiers of red rope railings encircle the complex: the first suspended beneath the lotus decorations, the second about 1 meter lower, and the third another meter below that. The northwest gate remains unbarricated as the entry/exit point. For structural reinforcement, crisscrossed ropes bind the four corner zuan tops. Colored pennants hang from the second rope tier, while artificial floral branches adorn the third. Each zuan's second rope tier supports a red silk lantern for nighttime illumination. Additionally, small wooden zuan ornaments dangle three inches below the lotus decorations on every pillar.

This passage describes the specific arrangement methods for constructing an altar (fatan) in Daoist Zhaijiao (grand purification rituals). The altar consists of inner and outer layers, with meticulous attention paid to the correspondence between directions and colors.

Bamboo poles wrapped in colored silk surround the altar, with the topmost layer covered in jade-green fabric to prevent exposed earth. Outside the Tianmen (celestial gate/main entrance), two-tiered steps are built for easy access.

The inner altar features ten gates, each with specific names and color regulations:

• The eastern gate is called "Qinghua Yuanyang Gate," with red characters inscribed on a cyan tablet
• The southern gate is named "Dongyang Daguang Gate," featuring vermilion characters on a yellow tablet
• The western gate is titled "Tongyin Jinquegate," displaying white characters on a black tablet
• The northern gate is designated "Yinsheng Guangling Gate," bearing black characters on a cyan tablet

The four corner gates each have distinct names, all with white characters on yellow tablets. The uppermost is called "Daluo Feibu Gate," while the lowest is named "Jiuling Zhenhuang Gate," both following prescribed color combinations.

Twenty ceremonial banners (zuan) are erected on the altar, arranged clockwise starting from the northwestern Tianmen. The four cardinal directions use specific silk colors: cyan for east, vermilion for south, white for west, and black for north. The four corners employ yellow, the upper level uses profound black (xuanse), and the lower level yellow—each color bearing corresponding talismanic inscriptions.

The middle altar stands 1.5 chi (about 50cm) higher than the outer altar, constructed from clean, sturdy wood. Square timbers frame the perimeter with twenty-four red zuan banners, leaving only four corner gates open. Lotus motifs crown the banner tops, while inscribed tablets hang from the lintels. Red cords wrap downward from the lotus motifs in three coils, leaving only the symbolic Di'hu (earth gate/passageway) exposed.

This scripture details the proper arrangement of a Daoist ritual altar, which consists of three concentric layers—here focusing specifically on the specifications for the middle and outer altars.

The middle altar features four gates: the Celestial Gate (Tianmen), Earth Portal (Dihu), Solar Gate (Rimen), and Lunar Gate (Yuemen). Each gate must have a plaque hung before it—the front inscribed with the gate's name, while the reverse bears four celestial symbols written in cinnabar. The plaques follow strict color conventions: Celestial Gate uses black characters on cyan background, Earth Portal red characters on yellow, Solar Gate cyan characters on yellow, and Lunar Gate white characters on yellow.

Twenty-four wooden posts (called "zuǎn") are erected around the altar perimeter, arranged clockwise starting from the Earth Portal in the southeast. Each post bears ritual banners (fulu)—six per cardinal direction—with corresponding colors: cyan for east, red for south, white for west, and black for north. The banners must bear inscriptions in their respective colors.

The outer altar is constructed directly on the ground, enclosed by square timbers with twenty-eight red wooden posts. Only the due south position features an actual gate—other directions have single posts. Lotus blossoms are carved atop each post, with plaques hung above the gateframe. Three loops of red cord are wound below the lotus carvings to form railings (omitted at the southern gate). Between every two posts hang colored banners and flowering branches, with each post supporting a lantern and a slightly more distant ritual banner.

Eight gates mark the outer altar, each with plaques bearing the gate name on the front and four cinnabar celestial symbols on the reverse. Specific examples include: the east "Qi of Dongqing in Zhen Palace" with yellow characters on cyan, the south "Qi of Dongyang in Li Palace" with white characters on red, and the west "Qi of Shaoyin in Dui Palace" with cyan characters on white.

These meticulous arrangements follow strict liturgical protocols (keyi), employing specific colors, orientations, and symbols to construct sacred space and create the proper environment for Daoist ceremonies.

This passage describes the specifications for arranging the ritual altar (法坛) in Daoist Zhaijiao (斋醮, grand ceremonial offerings). The altar is divided into three tiers, with specific arrangement requirements for each direction:

The northern sector corresponds to the Kan position (坎宫, the northern trigram in the Bagua), using black inscriptions with red headers to represent the Dongyin (洞阴) Qi. The northeast aligns with the Gen position (艮宫), employing yellow inscriptions with black headers for Fanyuan (梵元) Qi. The southeastern Xun position (巽宫) similarly uses yellow characters with black headers for Fanxing (梵行) Qi. The southwestern Kun position (坤宫) employs yellow characters with black headers for Fanyang (梵阳) Qi, while the northwestern Qian position (乾宫) also uses yellow characters with black headers for Fantong (梵通) Qi.

Twenty-eight ceremonial banners (纂) must be erected around the altar, arranged clockwise starting from the southern gate. Each banner must bear ritual talismans (符幡) with colors corresponding to their directional Five Phases attributes (azure for east, vermilion for south, etc.). The text provides a detailed numbering system for these twenty-eight talismanic banners.

A three-foot-wide open space should surround the altar, enclosed with carved railings. Inside the railings, Golden Register Lamps (金箓灯, ritual lamps) must be placed according to a specific lighting diagram: thirty-six lamps at the Celestial Gate symbolizing the Thirty-Six Heavens, two lamps at the Dao Gate protecting the dwelling, and twenty-four lamps at the Earth Gate corresponding to the twenty-four solar terms.

Other crucial arrangements include: two additional lamps at the Celestial Gate for household protection, one lamp for each of the ten directions, nine lamps in each of the eight directions representing the Nine Palaces (九宫, ancient directional system), plus two lamps in the central palace. Eight lamps symbolize the Eight Trigrams (八卦), while five lamps represent the Five Sacred Mountains (五岳, with Central Peak Song Mountain located in the southwest). Nine lamps in the central courtyard illuminate the Nine Netherworld Hells (mainly placed in the south), seven lamps in the altar hall liberate seven generations of ancestors (also placed southward), and twenty-eight lamps around the perimeter correspond to the twenty-eight lunar mansions.

These intricate lamp formations embody the Daoist cosmological principle of "correspondence between heaven and humanity" (天人对应). Through precise ritual object placement, the altar constructs sacred space to facilitate communication between celestial and earthly realms.

This scripture describes the arrangement methods for lamp arrays and altars in Daoist Zhaijiao (purification rituals), representing essential liturgical practices of the Lingbao school's salvation rites.

Regarding the lamp array setup:

• The Mingdeng (Life Lamp) must illuminate the three Hun (Daoist cosmology holds that humans possess three ethereal souls: Taiguang, Shuangling, and Youjing) in three distinct phases.
• The Xingniandeng (Annual Fate Lamp) illuminates the seven Po (corporeal souls: Shigou, Fushi, Queyin, Tunzei, Feidu, Chuhui, and Choufei) across seven intervals.
• The Taisuideng (Year Guardian Lamp) should be placed according to the current year's Tai Sui (Grand Jupiter) position.
• Three Damudeng (Great Tomb Lamps) and five Xiaomudeng (Small Tomb Lamps) require placement based on the presiding priest's birth chart calculations for tomb orientations.
• Seventy-one lamps total are arranged, each five chi tall with stands and bases.
• The Twenty-Eight Lunar Mansions Lamps must be crafted in constellation shapes, hung with red gauze shades, and inscribed with their respective names (the text provides the complete list from Jiao to Zhen).
• Thirty-Six Heavenly Lamps and Twenty-Four Solar Term Lamps are arranged in three staggered tiers.

The altar space divides into four concentric layers:

The innermost and middle layers feature three layers of thick padded mats covered with colored silks. The central area enshrines tablets of the Three Treasures (Dao, Scriptures, and Master), surrounded by tablets of the Ten Directional Celestial Worthy. The Three Treasures platform stands approximately five inches higher than the others, all properly adorned with incense, flowers, lamps, and candles. A five-colored jeweled canopy hangs before the Three Treasures.

The middle layer displays banners of the Blue, Yellow, and White Heaven Fulu (talismans), while the next layer bears nine-colored banners representing the Nine Heavens (azure, crimson, green, etc.). The outermost layer suspends Thirty-Two Heaven talismanic banners. All banners must use correspondingly colored silk, with one side inscribed with celestial titles and the reverse bearing talismanic designs.

A qing (resonator stone) stands at the altar's right (managed by the Zhiqing attendant), while a bell occupies the left (supervised by the Zhilu attendant). Outside the Heavenly Gate, tablets honoring the Three Altar Guardians are installed. For Huanglu Zhai (Yellow Register rituals for soul salvation), additional deity positions representing the Nine Directions are arranged beneath the middle layer, with the Sun Palace (Solar Deity) positioned in the east.

In the arrangement of a Daoist altar space (zhaijiao ritual site), each direction holds specific significance: the Lunar Palace is positioned in the southwest, the Stellar Palace in the northwest, while the Four Sacred Mountains (Mount Tai of the east, Mount Hua of the west, Mount Heng of the south, and Mount Heng of the north) are arranged according to their respective cardinal directions.

Mount Song, the Central Sacred Mountain, is placed in the southwest, and the Water Palace (abode of aquatic deities) occupies the southeast. Each directional position requires corresponding inscribed tablets with offerings of incense, flowers, lamps, and candles arranged according to ritual protocols. The positioning of attending officials follows precise rules: on the middle level’s left side stand the Southern Lecturer (who presides over scripture recitation), Scripture Attendant (responsible for sacred texts), Lamp Attendant (in charge of ritual lamps), and Altar Officers (ritual executors). The right side accommodates the Southern Ritual Supervisor (overseeing purification rites), Incense Attendant (managing offerings), and additional altar officers—their numbers may vary, all arranged in subordinate positions. Duty-bound ritual masters must stand beyond the Celestial Gate, ready to serve when summoned.

Encircling the altar’s periphery, a ceremonial guard of twelve participants dressed as Daoist acolytes holds various ritual implements and banners, stationed at the four directions. When masters perform the Yu Steps (a sacred Daoist gait) while circumambulating the altar, these acolytes follow in procession, chanting while bearing their regalia. Music greets the masters’ every entrance and exit, ceasing only when they enter the Hall of Silence (meditation space). During non-ceremonial periods, these implements rest on stands flanking the altar’s front.

The ceremonial regalia comprise six paired sets totaling twelve items:

1. The Command Staff, adorned with five-colored silk streamers layered in five tiers upon its pole, crowned by a golden phoenix clutching ribbons;

2. The Canopy Banner, featuring beaded covers and nets, suspended octagonally in a single layer with wooden mounts displaying left dragon and right tiger motifs clutching ribbons;

3. The Pennant, resembling the staff but lacking dragon-phoenix decorations, with three-tiered five-colored silk hangings;

4. The Beaded Banner, ornamented with jade pendants and suspended from a golden phoenix’s beak;

5. The Five Illuminations Fan, a polychrome wooden carving depicting constellations above, the Five Sacred Mountains at center, and rivers/seas below, mounted on vermilion poles;

6. The Crane Feathers, wooden wings carved in avian form, similarly painted and decorated.

Before the altar stands a grand incense table where censers and flower vases must be meticulously arranged. The northern and side walls of the altar space follow strict conventions: ancient altars featured dual tiers symbolizing heaven and earth, constructed open-air to gather deities from the Three Realms. Later adaptations moved rituals indoors, necessitating elaborate wall treatments. Considering the Jade Emperor’s supreme status among the Three Realms—whose depiction should not appear subordinate to the Three Pure Ones (Sanqing: Celestial Worthy of Primordial Beginning, Celestial Worthy of Numinous Treasure, and Celestial Worthy of Dao and Virtue)—the northern wall displays only seven sacred images: the Three Pure Ones, North Pole Celestial Emperor, and the Eastern and Southern Extremities.

The ritual space arrangement follows strict directional and dimensional protocols. On the left wall hang portraits of the Nine Heavens deities, Six Luminaries, the Big Dipper Lords, the Three Purities (Sanqing), the Three Officials (Celestial, Earthly and Water Officials), and the Five Sacred Mountain deities. The right wall enshrines the Five Ancient Lords, Five Planet Deities, Southern Dipper Lord, Heavenly Ministry officials, Four Sacred True Lords (Tianpeng, Tianyou, Yisheng, Yousheng), and two groups of divine generals, each position adorned with ritual offerings of incense, flowers, lamps and candles according to liturgical standards.

Before the altar platform stand six ceremonial curtains (for hanging divine portraits) on both sides. Ordinary purification rituals (Zhaijiao) require only two curtains: the left for the Six Teaching Patriarchs, the right for the Three Officials. For the Yellow Register Retreat (a major salvation ritual), six curtains must be arranged: the left side sequentially displaying the Mystic Master (Great Master of Mystic Centrality), Celestial Master (Zhang Daoling), and the Supervising Master; the right side featuring the Five Directional Thearchs, Three Officials, and Three Teachers (Scripture Master, Register Master, and Ordination Master). Each curtained area has three-sided drapes with a sacred image hung at the center, similarly furnished with ritual offerings.

The Hall of Silent Contemplation (now called the Quiet Chamber) serves as the priest's meditation space, displaying portraits of the lineage patriarchs including the sect founder, Mystic True Master, and the Three Teachers. Elevated seats flank the chamber for the presiding priest and cantor (leader of liturgical chanting), with other ritual officers seated in order along the sides. This chamber must be adjacent to the ritual platform, functioning as the passage hub.

The Pavilion of Refined Thought provides a tranquil environment for priests to compose talismans (Fulu) and recite scriptures. Draped curtains enshrine the priest's ritual implements like incense burners, ritual swords, and seals, while Lingbao sect deities' portraits hang at the rear. The Supervision Curtain stands before the main altar gate, enshrining local deities like the Eastern Peak Judge and City God to oversee the ritual space.

The General's Curtain near the altar enshrines guardian deities invoked by the priest, while the Petition Official's Curtain specifically displays tablets for celestial messengers delivering memorials. The Petition Platform, built in an open courtyard with three-tiered earthen levels, has its top layer (three chi high) facing the Celestial Gate (northwest direction). Here priests concentrate their Qi (vital energy) to deliver petitions to the heavenly courts. All spaces must strictly follow liturgical standards for curtain arrangements, sacred images and ritual offerings.

In Daoist purification rituals (Zhaijiao), the altar arrangement follows strict protocols. At the highest central point of the main altar (Jiaotan), thrones are erected for the Three Pure Ones (Sanqing) — the supreme deities of Jade Clarity (Yuqing), Upper Clarity (Shangqing), and Great Clarity (Taiqing) — with a several-foot-wide passage left open in front for movement. Seats for the Seven Celestial Emperors are arranged nearby, each divine position furnished with tall name tablets, curved offering tables (Quji), and ritual offerings of incense, flowers, lamps, and candles according to liturgical standards.

Among them, Jade Clarity represents the highest Daoist divinity, while the August Heaven God governs the Three Realms. Each deity is honored with an independent seat to signify reverence. During rituals to liberate deceased souls, offerings are made to the Eastern Pole God of Salvation from Suffering (also called the Azure Mystery God, an epithet of the Salvation from Suffering Heavenly Worthy) and the Southern Pole Vermilion Mausoleum Great Emperor. For prayers to dispel calamities, the Eastern Pole Azure Radiance Great Emperor is venerated. These divine positions are arranged on either side, with the outermost seats reserved for the most exalted saints and perfected beings — no specific name tablets are usually erected, as the hierarchical order of the Three Realms' deities transcends mortal comprehension and must be arranged spontaneously upon the gods' descent.

The altar space specifically designates two seats: the "Ritual Overseer" (Zhangjiao) and the "Descent of Saints" (Jiangsheng), prepared in advance to reverently receive the deities. Offering tables flank the central area in three concentric layers: the outermost for welcoming deities, the middle layer for placing yellow ceremonial objects (Huangdao), and the innermost for concentrated offerings.

The Divine Tiger Canopy (Shenhu Mu) — used for liberation or general rituals — is installed near the purification altar, adorned with drapes and hung with sacred images and name tablets, accompanied by prescribed offerings of incense, flowers, lamps, and candles. Before it stand two ritual platforms: "Yang Radiance Pass" (Yangyao Tongguan) and "Yin Soul Capture" (Yinling Shepo), with a soul-summoning banner planted between them and explanatory proclamations displayed at the front.

The Liberation Canopy (Zhengdu Mu) is set in the central hall, where portraits of the deceased or ancestral tablets may be displayed. If burial has not yet occurred, the ritual is performed before the spirit seat, but only after completing the coffin-sealing ceremony with a submitted memorial and maintaining a minimum distance of 120 paces from the main purification altar.

Other functional canopies include:

• Reception Canopy (Chengshou Mu) for memorial documents
• Celestial Physician Canopy (Tianyi Mu) for healing
• Birth Protection Canopy (Jiansheng Mu)
• Courier Canopy (Yili Mu) for message delivery
• Purification Canopy (Muyu Mu)
• Attire Canopy (Jinsi Mu) for ritual garments
• Karmic Resolution Canopy (Jiejie Mu) to dissolve grievances
• Primordial Chaos Canopy (Hunyuan Mu) for cultivation

All are positioned near the purification altar with draped decorations, name tablets, and displayed proclamations. The Refinement Canopy (Liandu Mu) specifically honors immortal officials who refine departed souls, featuring a central name tablet with drapes, prescribed offerings, and proclamations. The Jiao Guo (boundary zone) forms a protective barrier woven from wild rice stems.

Beside the altar, find a quiet and open space to construct a six-foot-wide, ten-foot-high thatched hut using riverbank reeds. The hut should have doorways on all four sides covered with curtains and a roof also thatched with reeds, resembling a small house. This serves as a temporary dwelling for summoned spirits of the deceased, awaiting subsequent salvation rituals.

Regarding the arrangement of the Nine Prisons Lamp Array: First, wash half a dan (approximately 60 pounds) of purified sand with clean water and let it dry in the sun. On the day of the prison-breaking salvation ritual, use this sand to form miniature models of the nine hells. At the center of each sand prison, place a wooden plaque inscribed with the prison’s name (e.g., "Eastern Wind and Thunder Prison"), behind which stands a prison-breaking banner, illuminated by three lamps. Surround each prison with a sand-built wall. Around the nine prisons, construct a larger outer wall of sand with gates on all four sides, each lit by two lamps. After the salvation of the Nine Nether Hells, proceed to the salvation of the Fengdu Hell and the Celestial Prison, which are dissolved using talismanic incantations without the need for sand models.

For the Three Torments and Five Sufferings Lamp Altar: Similarly, spread purified sand to form the base. The inner circle represents the Three Torments Hell, enclosed by a sand wall with one central lamp and nine surrounding lamps. The outer circle represents the Five Sufferings Hell, also enclosed by a sand wall, with fifteen lamps. Place plaques and banners as before. Inside the inner wall, plant eight banners inscribed with the names of the Celestial Worthies (Tianzun), and around the outer wall, plant sixteen banners evenly spaced.

For the Great Hell Lamp Altar: Construct models with purified sand, lighting four lamps for each hell and eight lamps along the outer wall, totaling forty-four lamps.

The Mingzhen Refining Altar (specifically for the Mingzhen Purification Ritual) is more flexible in its arrangement: Hang a portrait of the Great Emperor of Zhuling (the deity overseeing refining and salvation) at the center of the altar, with a high seat placed in front, adorned with incense, flowers, lamps, and candles as prescribed. Arrange the tablets of refining officials and generals alongside. To the left, set up the Nine Heavens Altar, and to the right, the Five Emperors Altar, each with tablets, talismanic banners, incense, and lamps. On the ground, artfully spread purified sand to form patterns such as water-fire talismans, Flowing Fire Pavilions, or swirling clouds, emphasizing novelty and elegance. Place a basin of clean water on the right and a brazier burning willow charcoal on the left. At the front, on either side, arrange the talismans (Fulu) and paper offerings (spirit money and paper horses) to be burned.

This describes the arrangement of different altars in Daoist rituals for the salvation of souls. The first is the Nine Refinements Celestial Worthy Altar, specifically used for the Yellow Register Retreat (rituals to deliver deceased souls). This altar follows the pattern of the Big Dipper constellation, with elevated seats for nine Celestial Worthies and offerings of incense, flowers, lamps, and candles. At the center is placed a water-fire pool, with various Fulu (talismans and registers) arranged before the statue of the Refining the Realm Celestial Worthy.

The Blood Lake Ritual Space is dedicated to delivering female souls who died in childbirth. Before the ceremony begins, deities must first be summoned to purify the space of impurities before formal audience with the divine can commence. The central altar venerates the Three Pure Ones (Sanqing, the highest Daoist deities), the Supreme Unity Savior from Suffering Celestial Worthy, and the Primordial Sovereign's spirit tablet. On either side are curtained enclosures for the Divine Tiger and Postal Dragon. The periphery contains six functional areas: Untying Karma, Overseeing Birth, Celestial Healing, Primordial Chaos, Washing, and Dressing—each enclosed on three sides by drapes. Each area contains corresponding ritual implements like birthing rooms, medicine furnaces, bathing tubs, and dressing tables. Though divided into six sections, the Overseeing Birth and Celestial Healing areas are connected, as are the Washing and Dressing spaces, for the convenience of the female souls.

The Blood Lake Lamp Altar has a unique arrangement: a three-foot deep, six-foot square pit must be dug beneath the deceased's former bed, filled with red sand symbolizing hell, with blue banners inscribed with hell's names planted within. Specific numbers of lamps are lit: five for the Avici Hell, seven for the Blood Lake, three for the Gorge of Stones, one for the passageway of childbirth souls, and one for the Chilly Abyss—surrounded by twenty-eight additional lamps.

In the upper level of the Azure Mystery Retreat (salvation rituals), the Ten Directions Numinous Treasure Celestial Worthies are replaced with Ten Directions Savior from Suffering Celestial Worthies, while other arrangements remain standard. The final Refinement Altar centers on the statue of the Supreme Unity Savior from Suffering Celestial Worthy and tablets for immortals overseeing soul refinement, flanked by departments recording merits, supervising rituals, and delivering souls.

These altar arrangements strictly follow Daoist liturgical conventions, with every detail carrying specific symbolism—red representing the Blood Lake Hell, blue banners signifying salvation, lamp quantities corresponding to different hells. Through these meticulously designed settings, Daoist priests help souls escape suffering and attain deliverance.

This scripture details the specifications for arranging different altars in Daoist zhaijiao (purification rituals). In the Six Offices Canopy (altars representing six functional departments), each canopy must display official tablets according to regulations, with offerings of incense, flowers, lamps, and candles. The Water-Fire Pool (for purification) should be placed before the Six Offices Canopy, with all other arrangements following keyi (liturgical) requirements.

The Jiutian Shengsheng Zhai (ritual for salvation of the deceased) requires using the upper-level altar, with the Nine Heavenly Emperors addressed as Tianzun (Celestial Venerable Ones). The tablets of the Ten Directions Lingbao Tianzun must be arranged in a specific sequence: northeast for Yudan Wuliang Tianzun, east for Shangshang Chanshan Tianzun, southeast for Fanjian Xuyan Tianzun, south for Jiran Doushu Tianzun, southwest for Boluoni Mi Tianzun, west for Dongxuan Yingsheng Tianzun, northwest for Linghua Fanfu Tianzun, north for Gaoxu Qingming Tianzun, and center for Wuxiang Wujie Wu'ai Tianzun. Only nine directions are used here, excluding the vertical dimensions above and below.

The Liandu Altar (for soul refinement and salvation) follows similar arrangements to the Mingzhen Altar, but replaces the Five Emperors' altar with large tablets of the Nine Heavenly Emperors. Each direction corresponds to different Tianzun: north for Yudan, south for Chanshan, east for Xuyan, west for Doushu, center for Bolo, northeast for Yingsheng, southwest for Linghua, southeast for Gaoxu, and northwest for Wu'ai. Other arrangements remain as before.

The Lingguan Canopy (for protector deities) is temporarily erected during jiao-offering rituals as needed and dismantled afterward.

The Shihui Duren Ritual (Tenfold Salvation of Humanity) exclusively uses the upper-level altar positions of the Ten Directions Lingbao Tianzun. Beside each Tianzun position, a smaller and slightly lower tablet for the Ten Directions Divine Kings must be placed. The Xuan Cao Canopy (overseeing underworld affairs) is positioned directly opposite the main altar, where the refinement offices are located.

For the Liandu Canopy arrangement: a Water-Fire Pool is established before the ritual master's seat, preceded by the Five Emperors' Altar, which in turn is preceded by the Thirty-Two Heavens Altar, each with its own tablet. Other arrangements follow the aforementioned methods.

The Duxing Zhai (stellar worship ritual) employs specially designed altar lamp charts: thirty-three stars for the seven eastern constellations, thirty-two for southern, fifty for western, sixty-three for northern, with the Big Dipper's seven stars at the center. These star maps should be drawn on vermilion silk lamp screens, with one lamp placed behind each screen, arranged by direction with incense and candle offerings. The lamp bases should use purified sand dyed in five colors, each color forming a mound supporting a lamp—five lamps in total.

The Ziting Canopy (for high-ranking deities) is placed near the front of the altar, with a central tablet for offerings of incense, flowers, lamps, and candles—all meticulously arranged according to ritual protocols.

This passage explains the altar arrangements for several different Daoist zhaijiao (ritual ceremonies). Each type of ritual has specific requirements for deity tablets and lamp placements.

In the Preemptive Yellow Register Ritual (a ceremony for salvation of the deceased), one must establish the "Heavenly Court Longevity Curtain" (a sacred space honoring the Star of Longevity) and set up a "Salvation Altar." The altar should display tablets for the Nine Heavenly Worthies arranged according to the "Nine Spirits" sequence. The ritual master sits on a high seat facing the images of the Heavenly Worthies, while disciples receiving salvation kneel before the elevated seat, with attendants passing talismanic orders to them in sequence.

For lamp arrangements, one must set up Eleven Luminaries Lamps (representing the eleven stellar deities), Southern Dipper Lamps (six lamps), Northern Dipper Lamps (nine lamps), and Celestial Circuit Lamps. These lamps should all use clean sand as their base rather than rice grains.

The House-Pacifying Ritual (for blessing residences) employs the "Bow and Arrow Lamps," representing the six stars of the celestial bow and arrow constellation, also using clean sand as base, surrounded by twenty-four additional lamps. If the house construction has violated directional spirits, the "arrow" should point toward the offending direction.

For the Seven Luminaries Ritual (honoring the seven planetary deities), the upper level of the altar should display tablets for the Seven Luminaries placed beside the tablets of the Ten Directions Heavenly Worthies: the Sun in the northeast, the Moon in the southeast, Saturn in the southwest, while Jupiter, Mars, Venus and Mercury are placed in the four cardinal directions.

The Mysterious Jade Pivot Ritual (worshiping the nine stars of the Northern Dipper) doesn't use the Ten Directions Heavenly Worthies tablets, but instead employs the nine Northern Dipper star tablets: Greedy Wolf in the south, Giant Gate in the northeast, Storehouse of Salary in the west, Civil Arts in the northwest, Martial Arts in the southeast, Army Breaker in the east, Left Support in the southwest, Right Assistant in the north, and Pure Integrity in the southwest. Using the "Nine Stars Flying Palace Method" to adjust positions monthly is considered even better.

For the Thunder Ritual (worshiping thunder deities), one must enshrine tablets for the Nine Thunder Lords: Long Life in the Kan position, Azure Splendor in Kun position, Universal Transformation in Zhen position, Thunder Patriarch in Xun position, Jade Green in the center, Cavernous Abyss in Qian position, Six Waves in Dui position, Honorable Han in Gen position, and Investigator in Li position. These should likewise receive proper offerings of incense, flowers, lamps and candles.

Before the ritual altar, three square tiers are drawn on the ground with white powder. The innermost tier enshrines the three Thunder Department generals Deng, Xin, and Zhang (principal commanders of Daoist thunder deities): General Deng Tianjun is positioned at the Li trigram (south), General Xin Tianjun at Zhen trigram (east), and General Zhang Tianjun at Xun trigram (southeast). At each corner stand the spirit tablets of the Four Ocean Deities, with a water vat placed before each statue containing water pressed down by bricks inscribed with fu (talismanic) incantations.

A banner is erected at the altar's center, flanked by ritual swords and command seals on either side. The middle tier enshrines the Five Thunder Envoys: Envoy Jiang in the east, Envoy Bi in the south, Envoy Hua in the west, Envoy Lei in the north, while Envoy Chen at the center is placed at Kun trigram (southwest). The outer tier venerates the Barbarian Thunder Envoys: Envoy Ma in the east, Envoy Guo in the south, Envoy Fang in the west, Envoy Deng in the north, with Envoy Tian similarly positioned at Kun trigram. Before each deity's tablet, offerings of incense, flowers, lamps, and candles are arranged according to ritual protocol.

All Thunder Department generals under the presiding ritual master's command must be arrayed throughout the middle tier. Local City Gods (tutelary deities), efficacious temples and dragon pools within the jurisdiction, along with deities governing thunder, wind, and rain, are arranged in the outer tier with careful attention to balanced spacing.

This altar configuration serves ten types of disaster-averting and blessing rituals, as well as salvation ceremonies for the deceased, requiring coordination with the Thirty-Two Heaven Lantern Formation. The inner circle of three lamps represents the Daoist supreme Three Pure Heavens: Qingwei Heaven (abode of Yuanshi Tianzun) at Qian trigram (northwest), Yuyu Heaven (abode of Lingbao Tianzun) at Gen trigram (northeast), and Dachi Heaven (abode of Daode Tianzun) at Li trigram (south). The outer thirty-two lamps symbolize the thirty-two celestial realms, arranged clockwise starting from northern Qian position—Jia Yi Heaven occupying the northwest Qian position. Each lamp is accompanied by an inscribed name tablet and a hanging banner bearing the corresponding celestial realm's fu incantations (specific talismanic forms are recorded in this text's latter scrolls).

(Note: This scripture meticulously documents the layout standards for grand Daoist zhaijiao ritual altars, detailing the arrangement of thunder deities and lantern ceremony formations, serving as crucial material for studying Song Dynasty Daoist liturgy.)