Taoism was originally a Taoist song sung by Taoist priests when they propagated the Tao and turned into a fate, and later gradually developed into a kind of folk rap. Taoism is characterized by the promotion of the idea of detachment from the world, and is an art form of Taoism to promote Taoism. Taoism has been quite popular in Chinese society since the Song, Yuan, Ming and Qing dynasties, and as a folk rap art that promotes Taoist thoughts, it is called "Huangguanti" because of its strong Taoist color. The singing of Taoist priests in the miscellaneous dramas of the Yuan and Ming dynasties was not only a form of combining Taoism with the literary genre of the time, but also truly reflected the influence of Taoist singing in Chinese civil society and the characteristics of the times when Taoism spread.

1. The characteristics of the times when singing Taoism in miscellaneous dramas of the Yuan Dynasty

The fifth generation of Shen Jue's "The Biography of the Continuation of the Immortals" records Lan Cai and the Tao of singing, which has always been regarded by the academic community as the origin of singing Taoism. After experiencing the development of the Song Dynasty society, there were more descriptions of Taoist priests singing Taoism in the literary works of the Yuan and Ming dynasties. In the historical books of the Tang and Song dynasties, Lu Dongbin, Zhong Liquan and Han Xiangzi of the Eight Immortals of Taoism have no deeds of Taoist rapping. But in the miscellaneous dramas of the Yuan and Ming dynasties, the three Taoist priests were portrayed as immortals who rapped Taoism. At that time, the reality of Taoist priests rapping Taoism in society became the material for reshaping the images of Lu Dongbin, Zhong Liquan and Han Xiangzi, so that the Taoist rap of Lu Dongbin, Zhong Liquan and Han Xiangzi became a typical example of the true and virtual descriptions of Taoist immortals.

The Yuan Dynasty was the most popular period of miscellaneous operas, and there was no shortage of Taoist repertoire in the Yuan miscellaneous dramas, and there were descriptions of Taoist priests rapping Taoism, which was the result of Taoism's influence on the society of the Yuan Dynasty. The immortal Taoist dramas in the Yuan Dynasty miscellaneous dramas belong to the Taoist repertoire, and the content of the immortal Taoist dramas is to interpret the stories of the immortals, and the theme of such miscellaneous dramas is to promote the Taoist idea of immortals. Yuan Zhong Sicheng's "Record Ghost Book" recorded 400 Yuan miscellaneous dramas, and the immortal Taoist dramas accounted for about one-tenth. In the popular immortal Taoist dramas of the Yuan Dynasty, such as Ma Zhiyuan's "Dream of Opening the Altar to Explain the Teachings of Huangliang", "Lu Dongbin Three Drunken Yueyang Tower", "Taihua Mountain Chen Tuan Gao Lying", "Wang Zushi Three Degrees Ma Danyang", "Ma Danyang Three Degrees Ren Fengzi", its protagonists Lu Dongbin, Chen Tuan, Wang Chongyang, Ma Danyang and others, are all high Taoist virtues in the history of Taoism. Ma Zhiyuan picks up the story of the Taoist master to help the world, and uses the literary expression of miscellaneous dramas and loose songs to expound the Taoist idea of immortal Taoism, which also contains the characteristics of the times when the Quanzhen Tao of the Yuan Dynasty disdained fame and passed away from the world.

In addition, there are Zheng Tingyu's "Fengyue Qizhentang", Li Shouqing's "Drum and Basin Song Zhuangzi Sighs Skeleton", Ji Junxiang's "Han Xiangzi's Three Degrees of Han Retreat", Shi Zhang's "Broken Yingyan Bee Butterfly Zhuang Zhou Meng", Yue Bochuan's "Lu Dong Bindu Tiegui Li Yue", Zhao Mingdao's "Han Xiangzi Three Goes to the Peony Pavilion", Zhao Wenjing's "Zhang Guo Laodu Takes Off the Dumb Guanyin", etc., it can be seen that the Taoism of immortals is the theme that the Yuan Dynasty miscellaneous dramas are keen on. The miscellaneous dramas created with Taoist themes in the Yuan Dynasty were quite popular in society for a while.

The third fold of Yuan Ma Zhiyuan's "Lu Dongbin Three Drunken Yueyang Tower" miscellaneous drama depicts the scene of the actor Lu Dongbin holding a foolish drum and performing Taoism. Among them, "On the Foolish Drum at the End of the Fool", Lu Dongbin sang about love:

If the wind does not fall, the rain does not fall, how can you know the cold and heat;

No matter what the east is, no matter what the west is, it is a fairy.

The boat went to the heart of the river to hold the chest, and the arrow was stretched on the string.

In this life, it is not convenient for others, and it is always empty to recite the Buddha. [1]177-178

This fishing drum that sings the love with the foolish drum symbolizes that the singing of the fishing drum has the meaning of alerting the world and opening up the stubbornness. Lü Dongbin repeatedly sang and exaggerated the beauty of the Taoist immortal realm, aiming to "persuade the sage, persuade the fool, and return to the road early"[1]178. The twenty-fourth chapter of "The Complete Biography of Han Xiangzi" "Returning to his hometown Han Xiang manifests, shooting Ying Brother Dou's obsession", in which Xiangzi said: "Because people in the world are naughty and don't turn their heads, they have to put that naughty on the bamboo tube, which is called a foolish drum." There is a wise man who wakes up when he hears the sound of a drum, and there is a foolish man who will not turn back when you knock a thousand times and break through this naughtiness. Therefore, he knocked twice from time to time, sang the love and tore the foolish and unconscious man out of the hustle and bustle of the world. [2] 956 It is precisely because the Tao preaches the characteristics of being born and attaining the Tao that Ren Ne divides the Tao of the Yuan Dynasty into the transcendent and the vigilant and stubborn. The use of "foolish drums" in Yuan miscellaneous dramas is relatively common, which vaguely reflects the cynical and complex mentality of the scholars of the Yuan Dynasty, but they are helpless about social politics. The miscellaneous dramas of the Yuan Dynasty deliberately wrote the fishing drum as a foolish drum, and its intention to warn the world was obvious. The depiction of the immortals worshiped by Taoism singing Taoism reflects the Taoism of the Yuan Dynasty is an art form of Taoist propaganda and Taoism. In the fourth fold of Yuan Fan Zi'an's miscellaneous drama "Bamboo Leaf Boat", it is written that Shilie Yukou and others are holding foolish drums and simple boards, claiming to go to the Changjie Market and sing some love songs to warn the world. The fourth fold of "Bamboo Leaf Boat" says:

When Lie Yukou and the others came to the Changjie Market, they sang four Taoist sentiments:

I am here in the depths of the cave, and the world is not there, and I am waiting to be buried incognito, without honor or shame, without trouble or annoyance. You see the name of the snail horn, the fly is sharp, more or less, and I will sleep until the dawn, and sleep until the night, and sleep until sleep. Ah, it's like a horse has already passed by.

[Yuan He Ling] I eat half a scoop of thousands of rice, and I wear a set of hundred clothes, like such coarse clothes and light rice and drown, let the heavens spare. I waited for the bamboo fence hut to rest on the mountainside, covering the firewood quietly, sighing that life was empty and disturbed.

[Shang Ma Jiao] you want to be famous, the title is high, those are your murder knives. When you have to be comfortable and happy, you often have to frown and lose your eyebrows.

[Sheng Hulu] you wait day and night to think about the ten thousand, how can I have nothing to do. I have spring, summer, autumn and winter grass here is not withered, leaning on the sunny window to be proud, gazing at the short basket, and looking at the ripe peaches on the sea.

Then there is Lu Dongbin, the pure yang son who plays the end of the Zheng, singing:

[The main palace is just right] I don't go to Beiming to travel, I don't go to Dongshan to lie down, I have to grind and grind. Playing a few foolish drums and sitting in the dust, this is my idle homework. [3]1055

The Taoist songs expressed in the form of loose songs in the miscellaneous dramas of the Yuan Dynasty mostly express the transcendent state of mind of the scholars of the Yuan Dynasty, and also create a style of Taoist vigilance and stubbornness. The Yuan Dynasty is good at lyrical scenes with historical facts, and from the perspective of foil, it alludes to the unpredictable career, the misfortune of officials, the impermanence of wealth and wealth, and the truth that life is like a dream. The leisure and tranquility of the immortals is the focus of the rendering of the loose songs, and the contrast technique is often used to show the ease and pride after attaining the Tao.

The content themes of the miscellaneous dramas of the Yuan Dynasty mostly come from the stories of becoming immortals that circulated in the society. The ability of Yuan Fan Zi'an's miscellaneous drama "Bamboo Leaf Boat" comes from the story of Chen Jiqing in the legend of the Tang Dynasty. Yuan Tao Zongyi's "Saying Xuan" volume 17 quotes Tang Li Jiu's "Strange Stories" and says:

Chen Jiqing, a native of Jiangnan. Raised to Chang'an, ten years without returning. One day, it is not worth visiting monks in Qinglong Temple, it is not worth it, it is in the big pavilion, there is the end of the South Mountain Weng also waiting for the monk, even sit for a long time, there is a picture of Huanying between the walls, Ji Qing looks for Jiangnan Road. Tai Xi said: "If you get this home, you will not regret it." Weng said: "Why is this difficult. It is the bamboo leaf before the folded steps, placed in the Weishui on the map, and Chen said: "Pay attention to this, and get your wish." Li Qing was familiar with it, that is, Weishui, the waves were turbulent, a boat was very big, and he suddenly boarded the boat, and he went extremely fast. [4]5369-5370

The miraculous story says that Chen Jiqing got the guidance of Nanshan Weng and took the bamboo leaf boat of the immortals to return to Jiangnan to see his family in an instant. "Taiping Guangji" volume 74 Daoshu 4 "Chen Jiqing" quotes "Compilation of Strange Records" and also contains Chen Jiqing's bamboo leaf incident. Chen Jiqing's encounter with Nanshan Weng originally belonged to the Taoist story, and Chen Jiqing was able to convert to Taoism and become a Taoist priest because of his experience of meeting immortals. In the Dadi Cave in Yuhang, Zhejiang, there are the ruins of Chen Jiqing's cultivation. Song Dengmu's "Cave Sky Atlas" Volume 1 "Cave Morning View" contains the cave morning view:

On the Dongguo River in Yuhang County, Anle Shandong is the former site of Chen Liqing. Ji Qing, a native of Yuhang. Legend has it that the immortal Weng of the South Mountain is the one who takes the bamboo leaves as the boat. [5]412

Song Dengmu's "Chronicles of the Cave Sky" Volume 6 "Cave Morning Observations" also contains the miraculous story of Chen Jiqing's encounter with the immortal Weng of Nanshan and the use of bamboo leaves as a boat. Regarding Chen Jiqing's encounter with Nanshan Weng, the supernatural deeds of getting a bamboo leaf boat and enjoying the immortal tour, the Song Dynasty further perfunctory into the title of "Bamboo Leaf Boat". Yuan Luling Luo Ye wrote the title of "Drunkard Talks", Volume 1, "Tongue Cultivation and Introduction", listing "There are spirits, smoke powder, legends, public cases, simple knives, poles, witchcraft, and immortals." Among them, the immortals are: "On the "Seed of the Gods", "Yuejing Wen", "Jinguang Cave", "Bamboo Leaf Boat", "Huangliang Dream", "Fan Heer", "Ma Zhiyi", "Xu Yan", "Four Immortals Fighting Saints", "Xie Wei Falling into the Sea", this is the set of immortals. [6] 3,4 The title of "Drunkard Talks" lists eight categories, with a total of one hundred and seven kinds, among which the fairy category is "Bamboo Leaf Boat". This can roughly determine that the Yuan Dynasty miscellaneous drama "Bamboo Leaf Boat" is adapted on the basis of "Bamboo Leaf Boat" in the Southern Song Dynasty. It can be seen that the immortal Taoist dramas in the miscellaneous dramas of the Yuan Dynasty have a certain relationship with the fairy tales of the Tang and Song dynasties.

In the Yuan Dynasty, the popular folk song Taoism was officially listed as one of the categories of singing songs in the literary world at that time. Yuan Tao Zongyi's "Nancun Dropout Record" volume 27 "Mr. Yannan Zhi'an's Singing Theory", which lists the singing portals include small singing, inch singing, slow singing, altar singing, step void, Taoism, refining, annoying, and screaming[7]6483. Ming Cheng Mingshan's "Xiao Yu Spectrum" Volume 5 also follows this saying: "The gateway to all singing songs: small singing, inch singing, slow singing, altar singing, step void, Taoism, refining, annoying, and screaming." The south note is a song, and the north note is a song. [8] 577 It can be seen that Taoism was one of the nine kinds of singing songs in the Yuan and Ming dynasties, which cannot but be said to be the result of Taoism's influence on loose songs.

The depiction of singing Taoism in the miscellaneous dramas of the Yuan Dynasty reflects the reality of Taoism in the Yuan Dynasty society. "Yuan History" volume 15 "Criminal Law Chronicles" contains:

The children of the people, who do not make a living, go to the cities and towns, sing lyrics, teach and practice acrobatics, gather people to commit obscenity, and prohibit them. Birds, snakes, puppets, hiding, pouting cymbals, pouring money, beating fish drums, confusing people to gather people, and selling counterfeit medicines are forbidden. Violators are guilty of felonies. [9]2685

This record of "beating the fish drum and confusing people to gather the crowd" is the scene of the city town singing Taoism, which shows that the Taoism of the Yuan Dynasty has tended to be folk, and the main way of singing Taoism in the Ming and Qing dynasties was also finalized during this period. The honor guard of the royal festival celebration in the Yuan Dynasty included the fish drum Jianzi who sang Taoism, which shows that the spread of Taoism has infiltrated all levels of society at that time.

Due to the wide spread and influence of the Quanzhen Tao in the Central Plains, the scattered lyrics and lyrics of the Yuan Dynasty miscellaneous dramas also showed a strong idea of the birth of the Quanzhen Dao. The theme of the immortal Taoist drama in the miscellaneous dramas of the Yuan Dynasty is the immortal life, which is quite characteristic of the times when the masters of the Jinyuan Quanzhen Dao preached the Tao. We know that the ideological content of the dramas "Opening the Altar to Explain the Dream of Huangliang", "Lu Dongbin Three Drunken Yueyang Tower", and "Ma Danyang Three Degrees of Ren Fengzi" originates from the Taoist scriptures such as "The Deification of the Emperor of Chunyang" and "The Authentic Record of the Golden Lotus". There is also a record of the Quanzhen Grandmaster singing the Tao in order to express the joy of cultivation, and the Quanzhen Grandmaster Qiu has sung the Tao on the way to the west. The Taoist priests of the Yuan Dynasty sang Taoism not only to express the heart of the Tao, but also a popular form of spreading the Tao to the people.

Second, the folk characteristics of singing Taoism in the Ming Dynasty

The literature of the Ming Dynasty is characterized by the gradual prevalence of the market, and in some Taoist themes, there are detailed descriptions of Taoist rap. Ming Yanger's "The Complete Biography of Han Xiangzi" focuses on depicting the Taoism of Han Xiangzi, one of the Eight Immortals, which is a typical description of Taoism in the Ming Dynasty. Presumably, Taoist priests in the Ming Dynasty sang among the people, often improvised along the downtown area of the neighborhood to attract passers-by to stop and listen. The tenth episode of "The Complete Biography of Han Xiangzi" "Singing the Love of Han Xiangzi Moves the People" describes that Han Xiangzi scattered the wine and food that everyone gave to them, as well as copper coins, silver, cloth and shoes, etc., and scattered them with the beggars in the market. In response to the audience's incomprehension of his generosity, Han Xiangzi improvised a set of [Jade Jiaozhi] Taoism to warn about the harm of greedy wine and wealth. This is the so-called "Tao love is the love of salvation, which originates from the heart of the Tao"[10]114.

The Taoist priest sang the Tao to promote the Tao and preach, among which the description of the degree of the official, the story of Han Xiangzi and his uncle Han Yu is the most typical. The fourteenth chapter of "The Complete Biography of Han Xiangzi" "Breaking into China to Feast Xiangzi Talking about the Sky, Yang Yuanyang Retreats from Enlightenment" said that Han Xiangzi:

He sat up on it, beat the fishing drum, and sang a sermon:

The head is better than the robe. The gold belt around the waist is not as good as my grass. I clapped my hands and laughed on the futon, and the adults were in the morning, and the Dan Qi bowed down. The double hair is better than a black gauze hat. I'm at ease, happy and happy all day long. ……

Xiangzi clapped his hands and laughed, and went out singing "Folding Laurel Order". [2]847

The story of Han Xiangzi's transformation of Han Yu was originally from "The Legend of the Blue Pass", also known as "The Story of the Blue Pass". The allusion of "Snow Embracing Blue Pass" is taken from the poems of Han Yu in the Tang Dynasty. Han Yu's poem "Moving Left to Languan to Show Nephew Sun Xiang" said: "Where is the family of Qinling in the clouds, and the snow hugs Languan and does not move forward." [11] 3860 Song Liu Axe's "Qing Zuo Gao Yi" in the first volume of the ninth volume "Han Xiangzi", which contains Han Xiangzi and Han Yulanguan in great detail, which says that Han Xiangzi used the technique of transformation to make the two rock flowers in the cage bloom instantly, and the small gold characters on the flowers are clearly distinguishable. His poem said: "Where is the house of Qinling in the clouds, and the snow hugs the blue pass." [12] 85-86 "Taiping Guangji", volume 54, "Han Yu's nephew", quoted in "Immortal Legend Collection":

Next spring, the peony flowers will bloom several times, and the color of the flowers will be the same. But in each leaf of flowers, there are fourteen characters in regular script: "Where is the cloud across the Qinling family, the snow hugs the blue pass and does not move forward." The book is powerful, beyond the reach of artificial, non-immortals have attained the Tao, and immediately see the prophet, how can it be here. [13]331-332

Song Baiyuchan's "Xiuzhen Ten Books Wuyi Collection" volume 50 "Han Xiang" poem says:

The snow is full of snow at night, and the yellow buds are spring.

After Lan Guan returned, he asked people in the world. [14]817

"The Legend of Immortals" and "Xiuzhen Ten Books Wuyi Collection" are quite popular Taoist classics in the Tang and Song dynasties, and the story of Han Xiangzi's transformation of Han Yu was rewritten into a popular Taoist rap form, and then after the popular rendering of the Ming Dynasty, it became a popular Taoist masterpiece in the Ming Dynasty society. The sixty-fourth episode of the Ming Dynasty's "Golden Vase Plum" "Jade Xiao Kneels to Accept Three Chapters, and the Scholar Privately Hangs a Sail", saying that Ximenqing invited two singers in advance, and invited a group of Haiyan operas, and invited Xue Neixiang and Liu Neixiang to listen to the story. Haiyan opera sang "Liu Zhiyuan's White Rabbit Story" first:

After singing a few folds, I was impatient, and while calling two people to sing the Tao, I played the fishing drum, side by side, and sang a set of stories about "Hangul Gongxue hugging the Blue Pass". [15]973

It can be seen that the Taoism of "Hangul Gongxue Embraces the Blue Pass" has become a widely circulated Taoist repertoire. Ming Li Xu's "The Old Man's Pen of the Ring Nunnery" Volume 5 said: "The Taoists sing Taoism, and the monks sing songs, such as "Journey to the West" and "Languan", which are really close to the ear. ”[16]173

The Taoist sentiment of "Zhuangzi Sighs and Skeletons" described in the Ming Dynasty is a typical text of the Ming Dynasty society to promote the idea of Taoist birth. The thirty-eighth volume of "Xingshi Hengyan" "Li Daoren Walks Alone in the Cloud Gate" has a detailed description:

(Li Qing) was hesitating, suddenly heard the faint sound of the fishing drum, when he went to see, it was a blind old man in front of the Dongyue Temple, where he sang love and robbed people of money. …… I saw that the blind old man stopped plundering more than ten dollars, but no one was willing to pay. One of them said: "Sir, you should rap and wait for us to gather enough with you." The blind man said, "No, no! I am a blind man, and if I have finished speaking, I will all slip away and go away, where will I seek it?" When the blind man heard the people, he encouraged the fishing drum to be simple, and first recited four lines of poetry:

Summer goes to cold, spring to autumn, and the water flows eastward under the sunset bridge.

Where are the generals' war horses now? The weeds and flowers are full of sorrow.

After reciting these four poems, the first perfunctory transmission is a passage from "Zhuangzi Sighs for the Skeleton", and it is a Taoist story, which is in line with Li Qing's meaning. Li Qing squeezed further, listened attentively, and saw the blind man say it once, sing it once, and sigh until the skin of the skeleton was raw, and he returned to the sun, jumping straight up in the ground. Those people also laughed and sighed, but it was only half a book, and the blind ones stopped drumming Jane. When the money is enough, he said again. - This is the norm for plain talk. Who knew that everyone was happy when they were obedient, and when they were about to give money, they looked at each other and refused to make a move. There was a pretense that there was no money around him to say a few cold words, and he pretended to walk away. [17]752-753

The story of "Zhuangzi Sighs and Skeletons" with Taoist themes has different literary expressions, and it was one of the miscellaneous repertoire as early as the Yuan Dynasty. According to the records in the volume of Yuan Zhong Sicheng's "Record Ghost Book", Yuan Li Shouqing's "Sighing Skull" miscellaneous drama is titled "Nanhua Immortal Doesn't Chao Zhao Tianzi", and the name is "Drum Song Zhuangzi Sighs Skull", abbreviated as "Sigh Skull". The "Yongle Canon Catalogue" compiled by the Ming Chengzu Dynasty, in which volume 54 has "Drum and Bon Song Zhuangzi Sighs Skeleton" miscellaneous plays. Since the Yuan and Ming dynasties, those who sang Taoism in the society mostly took the Taoist Zhuang Zhou as their ancestor, that is, because of the Zhuangzi drum song and enlightenment. The forty-eighth chapter of the Qing Dynasty's "Continuation of the Golden Vase Plum" "Lotus Purity Meiyu Monk, Lame Listens to the Skeleton Enters the Tao", which has a description of the Taoist sentiment of "Zhuangzi Sighs Skeleton", which tells the story of Zhuangzi being framed after saving the skeleton Wugui, but using magic to restore the skeleton to its original form.

In the Yuan and Ming dynasties, the image and spiritual realm of Taoist priests playing fishing drums were vividly described in miscellaneous dramas. Yuan Yang Jingxian's "Journey to the West Miscellaneous Drama" is the fifth book and the eighteenth "Lost and Asked the Immortals", which contains the medicine collection immortals singing the song "Drunken Spring":

Playing fishing drums and singing happily, picking Ganoderma lucidum is happy and tireless. Shouting and shouting, covering the front and back, measuring from afar, looking at it closely, being honest and polite, and guessing that I am a doaway from the world. [18]680

Ming Wu Chengen's "Journey to the West" seventieth episode "Demon Treasure Releases Smoke and Sand Fire, Wukong Plans to Steal the Purple Golden Bell" said that Sun Wukong:

Transformed into a Taoist boy again:

He wore a double bun on his head and wore a hundred clothes.

Hand knock on the fish drum Jane, and sing love words. [19]891-892

The forty-fourth episode of Ming Wu Chengen's "Journey to the West" "The Law Body Yuan Luck Meets the Car Force, the Heart is Righteous and Evil and the Spine Pass" said that Sun Wukong: "Shake your body and become a wandering Yunshui Quanzhen, with a water and fire basket hanging on his left arm, beating the fishing drum with his hand, and singing love words in his mouth." [19] 567 Ming Yang Er once portrayed Han Xiangzi's singing love in "The Complete Biography of Han Xiangzi", and the description of the dissolute and uninhibited image of the Taoist priest was the most nuanced. The ninth chapter of "The Complete Biography of Han Xiangzi" "Han Xiangzi's name ascends to the Purple Mansion, and the two shepherd boys know the immortals", describing Han Xiangzi disguised as a Taoist and said:

(Han Xiangzi) changed his appearance and became an old man. What does this old man look like?

Wear a rotten Tang scarf, folded left and right, wear a collar of rag jackets, and make up for everything. The front is tied to the sheepskin and the back is hung with a piece of war, and the east leaks the spine and the west sees the hip bone. Tie a rotten straw rope around the waist, break and connect, and step on a pair of multi-eared hemp shoes, with little help and no bottom. The face is like chicken skin, the eyes are like arrowroot, and the snot is spurting out when gluttony. Laughing at Peng Zu for 800 years, it is not as good as Chen Lu's daughter. [2]795-796

Ming Yanger once said in the tenth episode of "The Complete Biography of Han Xiangzi" "Singing the Tao and Han Xiang's Moving People":

Xiangzi came down the mountain, put the nine-cloud scarf on his head in the flower basket, put the yin and yang buns on his head, and the nine-palace gossip cross-dragon robe he wore on his body turned into a coarse preaching robe, rubbing some dust on his face, and turning into a yellow-skinned, skinny, and ghostly man. Holding a fishing drum in his hand, he sang along the way. …… Xiangzi moved the fishing drum, clapped the simple board, sang the love, and laughed. The men and women of the neighborhood, young and old, came together to hear him sing. [2]804

Chinese and Korean Xiangzi wore a double bun on his head, wore a collar cloth coat, and wore double grass shoes on his feet. This kind of dress of the wind demon Taoist is a typical image of the Taoist priest rapping Taoism. At that time, the Taoist priest deliberately dressed up in this kind of pure cultivation to show his contempt and resistance to the corrupt atmosphere of the Taoist sect in the Song Dynasty. The ascetic cultivation of the founding masters of the Jin Yuan Quanzhen Dao was regarded as a model of cultivation by the Taoists, and the hard dress of the Taoist rappers at that time was certainly out of the need to enlighten the world, but it was not unrelated to the value orientation of the Jin Yuan Quanzhen Dao asceticism. Taoist priests travel around the world and rap Taoism, which is really a hard thing. Yuan Ma Zhiyuan's "Lu Dongbin Three Drunken Yueyang Building" said in the fourth fold of the Taoist love song: "A hungry meal, a full meal, through the sheepskin jacket." Half a brick, a handful of grass, lying on his side and sleeping sideways, he was laughing at others. [1] 182 This is not only a confession of the life of the Taoist priest singing Taoism, but also a true portrayal of the spiritual realm of the Taoist singer. For Taoists who have the belief in promoting the Tao, this is actually a kind of spiritual practice of happiness in suffering. In the thirteenth chapter of "The Complete Biography of Han Xiangzi", "Driving Xiangyun Xianzong's Bow, On the Poetry of Quanzhen Xiangzi", Han Xiangzi said: "I eat yellow rice with light rice, which is better than a delicacy. Even if you have a lot of money, it's hard to rely on. Thinking about Shi Chong's wealth, Deng Tong's money is high, and he is empty when he dies. It's better than me, Yaoqin. Play a song "Crane Singing Jiugao", no glory, no humiliation, no trouble, leisurely, slow fishing drums. [2] 844 "Lu Dongbin Three Drunken Yueyang Tower" fourth fold Lu Dongbin sang:

Luofu Taoist priests who are in the same stream, grass clothes and wood food light princes.

The world can't be controlled, and the pot is only free.

Counting the remnants of the chess, Jiang Yuexiao, a long howl Haimen Qiu.

Yu Yu looked back at the way back and pointed to the white cloud skyline with a smile. [1]182-183

At that time, the Taoist priest who sang Taoism, "A bowl of thousands of meals, traveling thousands of miles alone." In order to seek the road of life and death, begging to spend the spring and autumn"[2]812. The Ming Dynasty's description of this kind of wandering begging actually has a basis for Taoist classics. "Quotations of Jin Zhenren" Xuanmen Miscellaneous Treasures of the Fourteenth "Bowl" Cloud: "A bowl of thousands of meals, traveling thousands of miles alone, in order to escape life and death, begging to spend the Spring and Autumn Period." [20] 700 The image of this kind of wind demon Taoist in the Yuan and Ming dynasties is difficult for ordinary secular people to understand its spirit, and the singers of Taoism are doing their own thing. Han Xiangzi's "Drunken Country" said: "Playing fishing drums and singing is exciting, and picking Ganoderma lucidum is tireless." Shouting and shouting, covering the front and covering the back. Soaring through the clouds and fog, he traveled all over the nine days in an instant. A few others laughed at me. [2] 807 Taoist priests sang along the streets, this kind of leisurely travel aimed at promoting Taoism was easy to approach the people, and was an important way for Taoism to spread in society during the Yuan and Ming dynasties.

The two religions of Buddhism and Taoism, which are traditional religions in China, have always attached importance to preaching and preaching the scriptures among the people, and the popular preaching of Taoism and Buddhism in the Tang Dynasty is the educational activity of preaching the scriptures to the people. The Taoist rap that gradually emerged in the society of the Song Dynasty was a more vivid form of Taoism to adapt to the times. After the Song Dynasty, Confucianism, Buddhism, and Taoism all paid attention to more popular propaganda and education. Confucianism, Buddhism and Taoism are different in the form of rapping, and the ideological theme of rap is also different, Yuan Tao Zongyi's "Nancun Dropout Record" volume 27 "Mr. Yannan Zhi'an Singing Theory", which says that the three religions are still up: "Taoism sings love, monks sing sex, and Confucianism sings reason." [8] 6482 can be said to be an accurate summary of the characteristics of the rap of the three religions. Since the flourishing and development of Taoism in the Tang Dynasty, it has opened the way to combine with the literary styles of the times, and the Taoist poems in Tang poetry, the Taoist drum words in Song poetry, and even the Taoist singing in Yuan and Ming miscellaneous dramas are all the results of the combination of Taoism and literature. The influence of Taoism in Chinese society is ubiquitous, and as long as it is a popular literary style in society, it will always be branded with the influence of Taoism. The Taoist singing of the Ming Dynasty has been combined with various local dialects to form a Taoist singing with regional characteristics. Taoist rap is regarded as the sound of the outside world, and the persuasion of Taoism in the Ming Dynasty is particularly strong. Rappers include both wandering Taoist priests and folk artists, and those popular and vivid Taoist songs express the feelings of seclusion and seclusion and dedication to cultivation from different sides, from which it is not difficult for us to see the world style of the Ming Dynasty, and we can see the influence of Taoist singing Taoism in society.

epilogue

The development of Taoism to the Yuan and Ming dynasties has been quite prosperous, which is not unrelated to the background of social history, the rise of new Taoism such as Jin Yuan Quanzhen and the prosperity of the Ming Dynasty are together, all for the spread of Taoism to create social conditions. Since the Ming Dynasty, the folk have formed the custom of playing fishing drums and singing Taoism to send the old and welcome the new year. In the more than 1,800 years of missionary history of Chinese Taoism, the Yuan, Ming and Qing dynasties paid more attention to the propagation of Taoism in the lower classes of civil society. The close integration of Taoist singing and folk beliefs has made the foundation of Taoism more deeply rooted in Chinese civil society, so in the process of the evolution of Taoist folklore, singing Taoism does have its irreplaceable historical role. The Taoist rap aims to persuade the world, and the complex ethical teachings in the Taoist classics are transformed into simple life warnings in Taoism. The lyrics of Taoism are a popular interpretation of Taoist doctrine and thought. Daoqing rap is the product of the combination of Taoism and folk culture, in the big and small traditions of Chinese culture, Taoism can be said to be a fusion of large and small traditions, and the singing of Taoism in the miscellaneous dramas of the Yuan and Ming dynasties discussed in this paper reflects one aspect of the influence of Taoism on Chinese society in history.