《道門科範大全集》Vol. 17

This scripture records the complete procedure of Daoist rain and snow summoning rituals, compiled by the Tang dynasty master Du Guangting. The ceremony begins with priests establishing a ritual altar (sacred space) according to prescribed forms, as the chief ritual master (gaogong) leads the assembly in paying homage to ancestral masters through visualization.

The chief master first recites the Protective Spirit Incantation, invoking the Five Stars (Wood, Fire, Earth, Metal, Water) to manifest their divine powers: Water Star dispels calamities, Wood Star bestows blessings, Fire Star removes misfortunes, Metal Star averts warfare, and Earth Star safeguards the four directions, ensuring the nation's prosperity. The incantation further depicts the sacred vision of deities riding clouds and winds through the ten directions, commanding all creation.

Next, the ritual herald (dujiang) strikes the ceremonial drum twenty-four times, symbolizing the summoning of divine beings. The chief master performs the "Opening the Stove" ritual, reverently inviting the highest Daoist deities—the "Three Primordial Qi of the Supreme Three Heavens" (Wushang Santian Xuanyuan Shi Sanqi)—to descend, while also invoking internal guardian spirits (such as merit officers, divine messengers, golden boys, and jade maidens) to assist in communication. These spirits are envisioned in majestic attire, safeguarding the ceremony.

The chief master then declares the purpose of the altar, beseeching the "True Qi" of the Supreme Dao Ancestor to descend into his body, ensuring the prayers reach celestial ears. Finally, all priests collectively petition the highest Daoist deities: Celestial Worthy of Primordial Beginning (Yuanshi Tianzun), Supreme Lord Lao (Taishang Daojun), Jade Emperor (Yuhuang Shangdi), Great Emperor of Purple Tenuity (Ziwei Dadi), Empress Earth (Houtu Huangdiqi), along with the Thirty-Two Celestial Sovereigns and Thirty-Six Sacred Scriptures (San Shi Liu Bu Zunjing), expressing their devout supplications.

Through meticulous liturgical steps, sacred incantations, and divine intervention, the entire ritual seeks heavenly blessings for favorable weather. Embedded within is the Daoist cosmological view that specific ceremonies can bridge heaven and humanity, harnessing the power of stars and deities to harmonize nature.

This passage is a Daoist invocation text (Qingshen Shuwen) used in purification rituals (Zhaijiao) and liturgies (Keyi), depicting the ritual master solemnly inviting various deities to descend upon the altar. It consists of three main sections:

First, it enumerates the pantheon of invited deities, including: the Four Directional Sovereigns (Immortal Metropolises of Eastern Splendor, Southern Pole, Western Numen, and Northern Truth at the Jade Capital and Golden Portal); celestial rulers like the Purple Tenuity Constellation Lords (Seven-Treasure Jade Terrace and Purple Tenuity Upper Palace); ancient sage-kings such as the Three Sovereigns and Five Emperors; astral deities (Eleven Great Luminaries, Northern Dipper's Seven Stars, Twenty-Eight Lunar Mansions); dragon kings of the Four Seas (Cavernous Abyss Dragon Kings, Eight Ocean Dragon Kings); mountain, river, and water deities (Five Sacred Peaks, dragon spirits of rivers and lakes); and natural forces like wind, rain, thunder, and lightning.

Next, it expresses the sincerity of the invitation: The ritual master declares having heard how the supreme Dao (Ultimate Dao of Primordial Heaven) nurtures all things. Now commissioned by imperial decree to govern the region with integrity and compassion, he conducts this prayer due to prolonged drought (accumulated heat causing calamity). Having received divine response (truly attaining numinous resonance), he has prepared precious scriptures (jade-case texts) and aromatic offerings (lavishly arranged ritual mats), reverently inviting the deities to descend from their celestial palaces (realm of Primordial Chaos) to the altar.

Finally, it details the welcoming ceremony: The master and assembled participants (we officials and others) petition with utmost devotion, explaining how the cosmos differentiated from Primordial Chaos (Taiji) into Heaven and Earth (Two Forms), with celestial mechanisms (rotating jade) regulating the seasons. Though the Dao's true teachings (Zhenquan) manifest creation spontaneously, human realms still suffer droughts and floods. Now facing crop-threatening rain shortages (long-lacking great moisture) and acting with vigilant self-reflection (trembling self-examination), they conduct this ritual following ancient protocols (long-established fumigation rites).

This scripture documents the complete procedure of a Daoist rain-invocation ceremony. Following strict liturgical (Keyi) protocols, the priests devoutly petition various deities for favorable weather and seasonal rains.

First, the priests arrange the incense altar and reverently recite the petition document. They beseech the Three Pure Ones (Sanqing, the highest Daoist deities), the sacred beings of the Nine Heavens, the stellar lords of the Purple Tenuity Enclosure, and countless transcendent immortals of the Cinnabar Platform celestial realm. Their prayers ask for orderly movement of the sun and moon, harmonious balance of Yin-Yang, the descent of auspicious signs, the pacification of disasters, eternal peace across the land, prosperous livelihoods for all households, and thriving growth for every living creature down to plants and trees.

The ceremony proceeds with the second wine-offering ritual, where the priests petition the Five Sacred Mountains (including Mount Tai of the east) and the Four River Deities (of the Yangtze, Yellow River, Huai River, and Ji River), along with the divinities of various blessed lands and grotto heavens. These mountain and water deities govern cloud and rain transformations—capable of summoning clouds to release rain while regulating climate patterns, thereby secretly assisting the virtuous governance of earthly rulers. The priests specifically explain the region's prolonged drought, having prepared the altar and offerings with utmost sincerity, hoping for divine response.

The final stage involves the third wine-offering, where the priests pray to the Fusang Great Emperor of the East, the Yang Valley Divine Lord (solar deity), as well as the Dragon Kings of the Grotto Abyss, the Imperial Lord of Nine Rivers, the Dragon Kings of Four Seas, and all aquatic deities. Every water divinity is invoked—from the sources of the Four Rivers to the Three Mainstreams and Four Seas, down to the twelve tributaries' river gods and stream masters—hoping they might universally bestow sweet rain.

Throughout the ceremony, the priests repeatedly kneel in worship and offer incense, accompanied by solemn ritual music. Through wine offerings, recitation of prayers, and other ceremonial elements, they demonstrate ultimate reverence toward celestial and earthly deities. This liturgy embodies the Daoist cosmological principle of "resonance between heaven and humanity," maintaining that through standardized rituals and utmost sincerity, one can commune with divine beings to regulate the natural order.

This liturgical text describes the complete procedure of a rain-praying ceremony. The presiding high priest (Daoist ritual officiant) first extols the majestic virtue of the Water Palace deities (divine rulers of aquatic realms), praising their capacity to encompass heaven and earth while nourishing all beings—unfathomably profound yet omnipresent. The priest recounts the current drought and disrupted rainfall that have filled the people with anxiety, hence this purified zhaijiao (Daoist sacrificial rite) has been prepared with incense offerings, sincerely beseeching the Water Palace deities to temporarily depart their dragon palaces and pearl towers (abodes of water spirits) to descend upon the altar.

The priest implores these deities to harmonize with celestial timing, regulate the cyclical movements of the Five Phases (Wood, Fire, Earth, Metal, Water), and bestow life-giving rain to nourish all creation—ensuring bountiful harvests and deliverance from famine. References to the "Sage of the Four Oceans" and "Divine King of All Grains" designate deities governing waters and crops, while "scale-roofed halls" and "dragon palaces" denote the aquatic abodes of these spirits.

The latter section marks the deity-sending phase. The priest reports the ceremony’s completion to the Three Pure Ones (Jade, Upper, and Grand Purity—the supreme triad), the Jade Emperor, and celestial immortals, acknowledging that though the mortal realm remains clamorous, the deities’ whirlwind chariots (divine vehicles) must now return to the heavenly realms. Final steps include fulu (ritual closure) and cunshen (visualization of deities), with prayers that the incense smoke may ascend to celestial ears, conveying the community’s devotion to the supreme Dao.

The entire ceremony embodies the Daoist principle of "cosmic resonance between heaven and humanity," employing meticulous keyi (liturgical procedures) to bridge the human and divine, harmonizing Yin-Yang and the Five Phases to relieve suffering. Recurrent phrases like "with reverent awe" and "kowtowing repeatedly" reflect the profound piety characteristic of Daoist ritual engagement with the sacred.

This passage describes the procedural arrangement of a Daoist liturgical ceremony (Keyi). It first mentions the highest deities venerated in the ritual: the "Three Pure Ones and Supreme Sages" (Sanqing Shangshang, referring to the three supreme Daoist deities—Yuanshi Tianzun, Lingbao Tianzun, and Daode Tianzun) and the "Jade Emperor of the Vast Heaven" (Haotian Yuhuang Shangdi, the highly revered celestial sovereign in Daoism). The term "before the imperial presence" indicates the ceremony is conducted before the sacred seat of the Jade Emperor.

The text then outlines the ritual sequence: the "Zhiqing" (the Daoist priest responsible for striking the Qing chime) leads the assembly in chanting the "Chutang Song" (a ceremonial hymn), after which the procession is guided to exit the main hall. Finally, the participants are conducted to the "Liu Mu Tang" (a specific ceremonial hall within Daoist temples). This excerpt comes from Volume 17 of the Comprehensive Collection of Daoist Liturgical Norms (Daomen Kefan Daquanji), a canonical text documenting standardized Daoist ritual procedures.