Who are the bodhisattvas of Empress Chen's family?

Chen Jinggu, the mother of Mrs. Chen XIV, is a god who shares the belief with people in southern Zhejiang and northern Fujian. Before and after her death, there were many honorifics, such as Mrs. Linshui, Mrs. Shuntian, Mrs. Shunyi, Mrs. Fairy, Mrs. Tzu Chi, Princess, Empress Zhu, etc ... People called her Mama Milk, Aunt Buddha Milk, Mrs. Chen and Mrs. Chen. This mythical hero in folklore has great merits because he is good at "treating diseases, exorcising evil spirits, helping the crisis, relieving Eritrea, saving labor, protecting the fetus, giving birth and dispelling doubts". His sacred objects are widely spread in Fujian, Zhejiang, Jiangxi, Guangdong, Guangxi, Taiwan Province Province, Southeast Asia and other places, and are widely read and worshipped.

Its legend in Taishun is roughly like this: two white hairs produced by Guanyin's heaven fight turned into male and female snakes to harm the world, and then three drops of blood oozing from her fingers turned into red rain and came to the world with Chen Fourteen. Chen Jiashi learned Maoshan art, and people begged Taoist Chen to come out of the mountain to surrender the snake demon. Chen couldn't go to his post because of illness, so he sent two sons, Fatong and Faqing, to surrender the snake. Fatong was swallowed by the snake king, and Faqing escaped. The Antarctic fairy recommended Chen XIV to study law in Lushan Mountain and returned three years later. Chen Jinggu held the corner of Lushan Town, and after many battles, he finally eliminated the snake demon. During the period, due to stealing the horn of Lushan Town, the earth shook and the rain and dew saved the day and killed Raytheon. He broke the dogma many times and died at the age of 27.

There are two immortals in the southeast of China. One is Chen Jinggu, the "land goddess" in southern Zhejiang and northern Fujian, and the other is Mazu Lin Moniang, the "sea goddess" in southern Fujian and Guangdong. Mazu is famous in the world because of the efforts of people in Taiwan Province Province, Hong Kong, Macao and Taiwan, Southeast Asia and southern Fujian and the inheritance of traditional culture. It is a great pity that our "Goddess of the Land", the Fourteenth Virgin of Shuntian Chen, has a more legendary color, a kinder heart and a richer history, which is not only unknown to the outside world, but also gradually fades away in the local area. Facing the worsening social atmosphere, it is urgent for us to inherit the culture of our ancestors, the fine tradition of the Chinese nation embodied in Chen Jinggu to eliminate violence and protect teenagers, the qualities of kindness, selflessness, integrity and courage, the ethics of filial piety, and the ideas of freedom and equality, punishing evil and promoting good.

1. Niangniang Ci and Wenzhou Folk Belief Wenzhou Drum Ci is one of the two major types of folk music in Zhejiang, and it is said that "Northern Zhejiang Tanci, Southern Zhejiang Drum Ci". This kind of folk art with local characteristics is also called "Ci" and "Blind Ci" because it is mostly run by blind people. Because the singing of drum lyrics is related to the belief of folk Chen Jinggu (commonly known as "Empress Chen 14"), artists often go to Niangniang Temple to sing Daqu lyrics, so they are also called "Niangniang Ci".

There are three main types of Wenzhou drum ci: Niangniang ci, Pingci and family ci. Among them, Niangniang Ci is the main type, which is the "big word" in Wenzhou Drum Ci. Because of its long circulation and wide influence, it is called "Ci Niang" by artists. In Wenzhou, people have great respect for artists who sing Niangniang Ci. Generally, the artists who sing lyrics are called "lyricists", only the artists who sing the lyrics of Niangniang are called "gentlemen", and the top artists who sing the lyrics of Niangniang are considered "gentlemen".

Every season, temples and temples in Wenzhou invite artists to sing drums; Usually, the clan has a complete genealogy, and the folk elderly hold birthdays, housewarming and funerals. And also held drumming and singing activities. As little as one night, as many as a few days. Streets, alleys and villages can all be used as venues for singing. Therefore, on the banks of Oujiang River and nanxi river, you will hear the beautiful, simple and charming tunes of Wenzhou drum lyrics from time to time. When the piano and drums sounded, men, women and children competed to listen and sing. When Wenzhou drum ci flourished, there were more than 200 professional artists and more than 300 folk artists. There are more than 80 calligraphy and ci fields in urban and rural areas, and the audience of drum ci is as high as 30 thousand people every day.

There are two opinions about the origin time of Wenzhou drum ci. An idea began in the Song Dynasty. Lu You, a great poet who has been to Wenzhou and Rui 'an, wrote such a poem: "The ancient Liu Zhaojiazhuang in the setting sun, Weng Zhengzuo, the blind man in charge after death, listened to Cai Zhonglang all over the village." It can be seen that Lu You witnessed the grand occasion of drum singing in the Southern Song Dynasty. Another way of saying it is that Wenzhou Drum Ci began in the Ming Dynasty, and was formed by combining the lyrics of Pingyang Lane. Later, it was gradually developed by the absorption of ancient music and folk tunes. However, in any case, Wenzhou drum ci must have been bred from folk songs in southern Zhejiang, and it has been continuously absorbed by folk tunes and developed perfectly, so the tunes have the local flavor of Wenzhou and the amorous feelings of Yanshan Oushui.

Wenzhou drum ci is sung in dialect, and it has always been pronounced with Rui 'an dialect as the standard, explained and narrated. Therefore, Ryan is known as Wenzhou's "hometown of drums". For the local people, drum songs sung in Rui 'an dialect are not only easy to understand, but also flat, rhyming and catchy. It can not only tell tortuous stories, but also adapt to the needs of the plot, express emotions, sometimes sing passionately, sometimes mourn deeply, restrain, raise and suppress, pause, stumble, be light and heavy, be fast and slow, and use it freely. The musical cavity is exquisite, unrestrained, pleasant and refreshing.

The accompaniment instrument that sings the lyrics of Wenzhou drum is unique. There are drums, beef tendon harps (only appeared in Guangxu period of Qing Dynasty), three boards (made of three mahogany or boxwood boards) and a small moon hug (made of boxwood or evergreen or camphor tree hollowed out, about four inches). When singing, the artist sits in a chair, holding a drum arrow in his left hand and three boards in his right hand, and taps the drum and beef tendon with the drum arrow to sing in tune. When singing the lyrics of the empress, we should also increase the gongs and drums. A drummer can play four or six musical instruments. He holds the board in his left hand and grasps the change of beat speed. His right hand taps the piano with bamboo chopsticks (drum arrow), and bamboo chopsticks also tap flat drums, gongs and drums.

In the early days, because the location of singing opera was not fixed, the drums sang opera door by door along the village, so the drums were small, light and easy to carry. Later, the drum gradually developed into a flat drum about one and a half inches high and seven inches in diameter. By the end of the Qing Dynasty, the instruments that sang the lyrics of Wenzhou drum had undergone major changes: "Niu Qinjin" was the main instrument, followed by Pinggu.

Niu is from Wenzhou. Inspired by the tinkling sound of the cotton violinist knocking on the tendons on the cotton bow, Ryan artists tried to temporarily wrap three or five tendons around the feet of a small table and play a simple scale to accompany them. This is the prototype of the tenon piano. Later, Peng Ayuan, a local artist in Ruian, fixed the beef tendon on a board and hung it on the table to play when singing, which was convenient and accurate in scale, and officially created the beef tendon piano. Because of the beautiful and fresh timbre of the piano, artists competed to imitate it, and gradually improved it to five strings and seven strings. After liberation, it continued to be improved and increased to 17 strings. It is equipped with turbine and scroll bar, which is convenient to adjust and has a wide range. It is also divided into high-pitched piano and low-pitched piano, so Jinniu piano has become a unique accompaniment of Wenzhou drum lyrics.

The content of Wenzhou drum ci exudes a strong folk flavor. There was no written copy of the early Wenzhou drum ci, only the master handed it down. "Biography of Zhao Lianqin" records: "This biography (Biography of Southern Tour) has more than 20,000 sentences, which were passed down by the master from mouth to mouth and learned by the brain." Wenzhou drum ci began with singing a folk story and gradually developed into a whole word, with the content still dominated by legendary stories familiar to the people. The earliest long drum lyrics are Twelve Red, and there are Gao E, Wu Sanchun, Wang and others adapted from Wenzhou folk stories. In the mid-Qing Dynasty, with the influx of drum lyrics into cities, scholars also participated. Some drum lyrics were adapted from ballads of pingtan, such as Sleeping Gun and Jade Dragonfly. However, in Wenzhou, the most influential folk stories are "Niangniang Ci" and The Journey to the West, telling the story of Chen Jinggu.

2. Chen Jinggu's Legend and Belief As the highlight of Wenzhou Drum Ci, "Niangniang Ci" originated from Chen Jinggu and his legend.

Chen Jinggu, also known as Chen Jinggu and Chen Jingu, is commonly known as Chen Fourteen. According to legend, she was born in Linshui Town, Gutian County, Fujian Province in the Tang Dynasty, so she was called Mrs. Linshui. There are many other honorifics, such as Mrs. Big Milk, Mrs. Chen, Queen Chen, Mrs. Shunyi, Notre Dame Shuntian, Notre Dame Fairy, Mrs. Nantai Zhuhua, Notre Dame and so on. Fujian folks often call them nannies and nuns. Most people in southern Zhejiang call it "the Fourteenth Empress of Chen". In Taiwan Province Province, she is one of the wives of three mistresses and is called Chen Dainai by the people. The legend is summarized as follows:

On the Empress Dowager's Flat Peach Festival, Guanyin competed with other immortals in Tianzhu, pointing to a dripping well, which was eaten by Chen Chang's wife, Ge Shi, in Linshui Village, Gutian, Fujian. On the fifteenth day of the first month of the Tang Dynasty (766), she gave birth to a daughter, who was born with a strange fragrance and was named Jinggu. Born on 14th night, it is also called Jinggu, and its common name is 14th. Guanyin lost her white hair by mistake, fell into the world, turned into a white snake, and killed creatures. Chen Chang's family inherited the Maoshan method, and Yang Chen, a fellow countryman, went out to exterminate insects for the people. Chen couldn't come because of gangrene on his back. He sent his second son Fatong and his third son Fatong to clear the snake, but Fatong was swallowed by the snake and escaped. At the age of seventeen, Jinggu vowed to go to Lushan Mountain to study law in order to get revenge. When I came back, I passed through Wenzhou, Pingyang and other places, collecting demons, catching monsters and killing people along the way. Later, I heard that the white snake essence harmed the good people in Fujian. Jinggu built a Dharma Hall in front of the White Snake Cave, laid Lushan Mountain as the Dharma Hall, cut the white snake into three sections, and the snake turned into a woman to escape. One year there was a drought and all the seedlings withered. Chen Jinggu was pregnant in March, so she was born in Chen Fu and went to beg for rain. If it really rains, it will benefit everyone. At this time, the white snake disguised as Jinggu returned to the house and stole the fetus and ate it. Jinggu flew back from the clouds and chased him angrily. The white snake fled into the Linshui Cave (now Gutian County), and Jinggu sat on the head of the snake, making it never leave the cave. Finally, Chen died at the age of 24 by sitting on a snakehead.

Chen Jinggu's belief originated in the Tang Dynasty. By the Ming Dynasty, the legend of Chen Jinggu had further developed and had a relatively complete story. Legend has it that Guanyin cut her nails and was reincarnated as golden light because of the mortal snake demon. She went to Fuzhou to cross the Chen family and gave birth to Jinggu. Her brother and sister were taught spells by strangers, and when they caught a demon in Linshui Village, Gutian County, they were trapped by snake spirits. When Jing Gu was seventeen years old, she went to Lushan Mountain to study Buddhism alone. Later, she saved the two phases and cut the snake demon into three sections. But the devil still flew to other places to continue to do evil. Jinggu vowed: "You can preach evil, so can I." Later, because it was difficult to save the Queen of Tang Dynasty, she was named "Mrs. Guo Xian, the British Emperor in Dutian Town". The above legend not only retained the image of midwife, but also revealed Chen Jinggu's inner world of killing snakes and exorcising demons. From the birth of Jinggu, the study of dharma and exorcism were centered on "removing snakes", which laid the basic framework for the development of legends and gradually transitioned from midwives to exorcists.

The Qing Dynasty is the development period of Chen Jinggu's legend. Through folk oral inheritance, it also enriches the plot of "snake hunting" and "snake cutting", and describes many stories of Chen Jinggu's elimination of other demons, emphasizing her exorcism function. Among them, what the Qing people want is "Don't Remember Fujian", which can be said to be the representative work of Chen Jinggu's legend. He synthesized, rendered and enriched the folklore, and became the first long legendary novel reflecting Chen Jinggu's deeds in China. During this period, after word of mouth, the legend of Chen Jinggu became more tortuous and richer in content, and Chen Jinggu's image of exorcism became more and more prominent. Therefore, there is a folk saying in Fujian that Mazu is literate and Jinggu is martial. The image of Chen Jinggu described in the southern Zhejiang female mantra is also "taking off the Luo skirt and wearing a goddess skirt, wearing an iron helmet and armor, holding a magic knife Mo Ling and riding an iron horse to save the good people." At this time, Fujian, Taiwan Province, Zhejiang and other places have built many ladies' temples and held various competitions. During the Daoguang period, the Lady's Temple near the water was very popular, and "Eight Min worships more". People who beg for children, rain and plague are praying "to be like a ring." It can be seen that at that time, Chen Jinggu's functions and godhead were much broader than before, and she had evolved into a multifunctional goddess.

In the late Republic of China, Chen Jinggu's belief became more prosperous in the eastern coastal areas of China. People from all over the country have come to the birthplace of Chen Jinggu's belief-from Fuzhou to Gutian-to worship or respectfully invite pilgrims to go back and build temples. There are two routes for the spread of Chen Jinggu's belief: one is to the south, that is, to southern Fujian, and to cross the sea to Taiwan Province Province, Southeast Asia and North America; The second is northward, that is, first spread to northern Fujian, and then spread from northern Fujian to neighboring southern Zhejiang.

The southern part of Zhejiang borders on the northern part of Fujian, and it is also a dialect area of Min dialect. Chen Jinggu's belief gradually moved south and spread rapidly in southern Zhejiang, covering more than ten counties. According to historical records, there were several floods in Wenzhou during the Song, Yuan and Ming Dynasties, especially in the second year of the Northern Song Dynasty. Many coastal residents in Wenzhou have died, and Minnan dialect is still spoken in many places in southern Zhejiang. Chen Jinggu's belief was also introduced into southern Zhejiang. For example, in the Qing Dynasty, only Yongjia, nanxi river and Ren Gang passed through Shangtang and Xiatang, and there were temples or shrines for Chen Siniang along the 70-mile waterway. There is a saying in folk bamboo slips that "the word spirit is everywhere" Among the large and small local temples in Oujiang River Basin, Chenniangniang Temple has the most names. In Wenzhou, there are Taiyin Palace, Niangniang Palace, Guangying Palace, Yongrui Palace, Kunyuan Palace, Fengnan Palace and qixia temple. Every year on the fifteenth day of the first month or the tenth day of October in the summer calendar, barren women often go to the palace together and ask Chen Shi Niang for a child to rest. There is also the custom that women compete for rice, flour and peaches. There is Haisheng Palace by the river, and Chen Fourteen is the goddess. In order to commemorate her, people often ask drummers to sing "Niangniang Ci" by the river. In the 1940s, there were hundreds of Taiyin Palace dedicated to Chen Jinggu in Ruian County alone. Pingyang has Shunyi Hall, commonly known as Taiyin Palace, also known as Linshui Palace, one in the north of Jingming Temple, one outside the north gate, one in the small bridge and one in Renbai Bridge. In the south of Pingyang, there are three temples: Ferry, Sundian and Xianggang, which are dedicated to Chen Fourteen, and the temples are still there. There is a Lady Shunyi Temple in Lishui County, south of He Mingjing in Xitaipingfang, the county seat, dedicated to Chen Jinggu. The original temple is magnificent and the incense is flourishing. In old Chuzhou (now Taizhou), on the 14th day of the first month, many women came here to worship, drink bath water and beg for children. There are fourteen temples of Chen in qingtian county, all over the country, all of which are dedicated to Poseidon. Other She people, such as Taishun, Cangnan and Wencheng, also have this belief, commonly known as "wet nurse", "nun" and "big milk". For example, in Dingxian County, Fujian Province, she villages such as Fuliu, Ruiyun and Caibao all have their mothers' families, and some she families also write the words "Sacrifice to Chen, Lin and Li" in red paper with incense burners under their skirts. In the past, every time I begged for rain, cure diseases and children, I had to ask the empress to bless me. At the same time, among the She people, "Maid Song" and puppet show "Lady Play" are popular. By the 1980s, there were more than 30 Niangniang Palace rebuilt or reconstructed in the suburbs of Wenzhou. In 200 1 year, the author went to Dongtou County and Chashan Town in Wenzhou to participate in the local people's activities of offering sacrifices to the 14th Queen Chen, and watched "Ode to the Queen" sung by Ryan artists.

Third, singing "Niangniang Ci" is called "Niangniang Ci" by the people, also called "Jing Ling". Biography of Southern Tour has a long history, and it is said that it appeared in Jiaqing period of Qing Dynasty. A Qing poet Zhao Yun said in "Come to Me": "During the reign of Daoguang in Jiaqing, Bai Mensong sang the best ... singing big words all year round ... all year round. ( 1 )"

Niangniang Ci is usually sung in temples. Guo Zhongyue, a poet in A Qing, once wrote in "The Ci of Zhi Zhu in Oujiang": Ask neighbors to burn incense together, and ... sing the goddess in the blind village. (2) Since it is "gathering neighbors to burn incense together", the place where they go is naturally Guan Gong Temple. At that time, there were many temples in Wenzhou, such as Tianfei Palace, Lingmen Sun Palace, Oubei Madao Palace, Qidu Shangsha Palace, Luoxi Palace, Jingzhou Sun Palace and so on. Dongyue Hall in Eight Immortals Building, Xihe Hall in Xinhe Street, Xiandawang Hall outside Jinshi Gate, and No.4 Camp in Bailifang are all key places to sing Niangniang Ci. Year after year. There is another sentence that can prove it: "Sing big talk, sing big talk, how many chrysanthemums will bloom in September, and the lights should be filled with fragrant flowers and the flags of the 14th Empress Shaping".

Singing Niangniang Ci has a very solemn and unique ceremony. From "Mr. Please" to "Mr. Jie", as well as the lyrics, are closely combined with religious beliefs. And these are exactly what other parts of speech do not have. Different places have formed the custom of singing in different seasons. Please sing big words. There are always those "leaders" who will make an appointment with the singer in advance, otherwise they will ask the singer to leave and go elsewhere. Therefore, they will always find a Taoist who can see the "heaven", choose an auspicious day, and go to them early to ask the lyricist to sing. Moreover, Mr. Lyrics came with great style, and the pick-up and drop-off was solemn. Before liberation, some artists who sang big talk rode cars and some rode horses. When they arrived at the altar (where they sang big talk, a solemn name), they were greeted with guns, which was lively and solemn. According to the memory of the late old artist Zhao Lianqin, his master Zhou Deshou and his masters sang big words in the sedan chair in their early years. There is also an artist named Yan Cong who rides a horse and takes stable boy and his disciples. When they arrived at the altar, the crowd greeted them with guns.

Singing is usually in the afternoon and evening for seven days and seven nights. When I started singing, I put a string of firecrackers and three firecrackers (firecrackers and firecrackers in Wenzhou are different). In the Niangniang Palace or temple, lanterns are hung, incense tables and prayer altars are set up, some of them also have a mountain view, and a paper snake demon is wrapped around the post, which the king and the king will hold, and a paper horse watch will be set outside. In front of God, there are usually four tables with many sacrificial offerings and rice figures: Chen Guren, old people and young people, six sisters and nine sisters, and those who are both civil and military.

At the beginning of each performance, the artists sang big words, dressed in robes (some even wearing Taoist robes), stood with their hands folded, and sang "Please God" and "Ba Shen Curse", asking God's blessing and praying for heaven and earth. Then artists sing Eight Immortals, Drum Poems, Auspiciousness and Reading Paper as the opening, usually in the morning. At the beginning of each scene, we should sing Eight Immortals, Drum Poems and Treasure Scenes, and then sing the text. At the end of each game, we should put God in place.

When the singer sang "Sonnets of Hell by Chen", the artist knelt down and sang. After the audience silently burned incense, the artist sat down and continued to sing. The empress said, "Every time the Buddha comes and goes, the audience will burn incense and paper horses, calling them Buddha names."

On the afternoon of the third day, she sang "Chen Fourteen Takes Demons to Wenzhou", which is called "The Empress Goes to the Altar". Twenty or thirty people from the altar head organized a wedding procession, carried the coffin of Buddha, and led the deacons at full speed, opening the way for gongs, suona trombones, gongs, drums, cymbals, harps and flutes. Taoist priests dressed in Taoist robes went to the artist's stage to receive the command flag of Empress Chen, the so-called "Shining Command Flag of Fourteen Empresses". Holding dragons (horns), swords, bells, etc., they led the welcoming team to meet Chen at the Oujiang River. Taoist priests introduced Chen here everywhere like tour guides. When they arrived at the altar, everyone in the audience lit incense in their hands to show their respect. There are three sacrifices and three blessings in the altar, and the Taoist priest prays.

Finally, there will be a ceremony to receive the consumption and send it to St. In other words, a ship made of paper puts all the evil spirits that are harmful to people into the cabin, and Shen Niang (Chen XIV) sends heavenly soldiers to escort them to the oceans and rivers to destroy the disaster. Ten to twenty people led by the first official, carrying paper boats with swords and steel knives around their waists, were escorted by Taoist priests to burn them at the Oujiang River to ward off evil spirits and welcome the auspicious, and sent the saints back to the palace. It is far from Oujiang River, and this ceremony was held by the nearby river. But this last ceremony, women and children are not allowed to attend and watch. At this time, an altar of "Jing Ling" was full.

Fourthly, the interaction between Niangniang Ci and Wenzhou folk beliefs. Wenzhou drum ci was born in Wenzhou and has become an indispensable part of Wenzhou people's daily life. The enduring popularity of Niangniang Ci in Wenzhou is not a historical accident, but has a profound historical origin. As some scholars have said, "Wenzhou Drum Ci is an important pillar of the spiritual life of the lower classes in southern Zhejiang, and it has a very prominent position in the cultural structure, just like traditional Chinese opera."

Wenzhou, far away from the Central Plains, has always been called the land of barbarians. Ou Yue believed in ghosts and gods in ancient times. According to Jiajing's "Zhejiang Tongzhi", "Eastern governors believe in ghosts, and ancient customs believe in ghosts." There is also a record in Yongjia Lewen: "In the past, the king of Dongou believed in ghosts and gods, and his style has not changed so far. Therefore, the custom of seeking God for illness and rewarding God is constant all the year round." Lu You said in "Wild Temple": "There are many ghosts and gods in Ouyue, and there are many temples on the shore of mountains and peppers. Temples are resolute, tall and mighty are called generals, gentle and honest are called Lang, shy and dignified are called Basking, and tolerant and gorgeous are called Aunt ... ",and it is said in Yongjia Nanxi Zhi Zhu Ci.

The tradition of ancient Ou Yue's belief in ghosts and gods is the soil of Wenzhou Niangniang Ci and the hotbed of its development.

Folk beliefs need many carriers, material and immaterial, which cannot be neglected. The timely appearance of Niangniang Ci has become the best intangible cultural carrier of Wenzhou folk beliefs.

First of all, it has the function of blessing and eliminating disasters in people's minds. "China's traditional culture has always had a pragmatic and utilitarian tendency. This tendency is manifested in the characteristics of faith, that is, most believers believe in their own gods for their own utilitarian purposes. When worshipping God, believers must seek something from God, and it is enough for believers to achieve the function of' praying for the disaster' there." Talking big has just such a function. In "The Truth of Clean Water", the lyrics sang "Clean water is scattered, and disaster goes to happiness; The sky opens and the sun and moon grow bright; Second, the ground is cracked, and all the herbs are hidden; Three fragrant Beidou, four longevity people. " "Misfortune will bring happiness" is exactly what people want. "The sky is open, and the sun and the moon are clear." People hope to come early in the morning and the weather will be fine, so that Wenzhou people, a farmer, can work in the fields. "Hide all the hundred herbs" is also in line with people's psychology that weeds are overgrown in the field and the growth of crops is affected. I hope to "hide all the hundred herbs" and the crops will grow fast. And longevity is also people's treasure and hope for life.

It is also the hope that the "ghosts and gods will prolong their lives" in the curse of heaven and earth. Among them, Baoxiang can be said to reflect everyone's hopes. Excerpts are as follows:

Old people in Shanghai live a long life, with light hands and feet and strong bodies. With Foer coming together, their lives will increase again. Initiated by middle-aged parents, they go out to send tender willows in the east wind, and when they come home, the golden apricots are full of red trees, which is smooth all year round.

The murderer avoided the distance, met with pleasure, protected his youth, and protected his adulthood. He did not get married and sent his husband and wife, and his son was not allowed to send a jade unicorn. He gave birth to a man who should send a long-lived son and a woman to join in the fun.

Keeping six clean roots has nothing to do with early adulthood. School study is progressive, and you can study hard at night;

Ensure that craftsmen are healthy, proficient in technology, create wealth and make money, and fair trade is always safe.

Baotian soil sheep harvest, grain Qingfeng; The mountains are shaded by trees, the tops of trees are turned into gold, pigs, cattle and six livestock are flourishing, chickens, ducks and pig heads are swarming, all diseases of flying disasters and coughs dissipate, and all insects are far away from the oceans and rivers.

Bao Xiang Fang Qingji, every family is corning, and every family is happy. You don't need to pray more, and you don't need to be more savvy to show Buddha.

Niangniang Ci also combines Taoism in China and applies Taoist rituals to make its singing mysterious. Taoism has been popular in Wenzhou for a long time. Tao Hongjing, a famous Taoist in Jin Dynasty, lived in seclusion in Taoshan, Wenzhou.

Secondly, the spread of Chen's Fourteen Biographies in Wenzhou requires the joint efforts of material culture and intangible culture: it requires both extensive construction of temples in various places and easy-to-understand forms of communication. Artists associate "Chen Fourteen monster hunt" with Wenzhou's specific region and human history, making it interesting and credible, thus making Chen Jinggu's belief spread rapidly. Thus, when "Taiyin Palace" and "Niangniang Temple" appeared like mushrooms after rain, Niangniang Ci came into being and stood out among Wenzhou drum ci.

At the same time, Niangniang Ci itself has got the best inheritance and development opportunities.

In the process of reciting the legend of Chen Jinggu, Niangniang Ci not only has the function of entertaining gods, but also enhances the function of entertaining people. The role of entertaining gods: the places where Niangniang Ci is sung are all in temples. At the beginning of the chorus, there were ceremonies such as "asking God", "Xuan paper" and "beating the Eight Immortals", and then there were ceremonies such as "pressing the position" and "sending the saints". There were many sacrifices and incense on the Eight Immortals table. Every time after singing the Buddha, the audience will burn incense, listen silently, call the Buddha's name and kowtow to pay homage. When singing "The 14th Birth of Chen" and "Wandering in Hell", the artist will kneel down and sing. These ecstatic ceremonies also coincide with the folk belief consciousness, so they are welcomed by the masses. Entertainment function: Zhang wrote in "Diary of a Lonely Garden": "Singing the story of fourteen demons of Chen Ji, the audience was surrounded by men and women, and there were more than a thousand people, young women, dressed in colorful clothes, shaking a round fan, sitting naked until five make a new start." The important reason for this is that it has a strong entertainment function. This entertainment function is embodied in the story, music and popularity of drum lyrics.

In addition, the props played by the empress are also worth mentioning. For example, the mystery of drums is also one of the reasons why Wenzhou people choose drum words. Drum is the main instrument of Wenzhou drum ci, so it is called drum ci. Drums are mysterious in performance and can connect hearts. Big drums are used for big talk, and flat drums are used for ordinary lyrics. With a big drum, the drums are loud and thunderous. It can exorcise evil spirits, just like the big clock in the temple. Drum is also very originated in drum ci. In the sissy lyrics, they sang: "In the middle of the month, Luo Luoding is yin and yang, and Kirin is cowhide; Guangbo Stone has ready-made drums and sings three tones and six boards. " Moreover, there was an early teacher, "Professor Zushi hit God with one stroke and three strikes". The secret of drumming lies not only in "striking three deep gods", but also in "inviting the Buddha to descend for 33 days and inviting the hell to descend for 18 times", and drumming can also be "listening to the Taiping drum in the Yang world, the bumper harvest of grain, listening to the Taiping drum in the Yin world, releasing the crime of eighteen important places, listening to the Taiping drum, ensuring the safety and health of men and women, and reading the article of the old mountains and rivers. Drums can not only invite the Buddha to heaven, but also release the ghost of Yan Jun, ensuring peace. This kind of drum became the "French drum".

In a word, Niangniang Ci has formed an interactive relationship with Wenzhou folk beliefs in the development process. The reason why Niangniang Ci is popular among the people is that it popularized and publicized the story of Chen Jinggu. Chen Jinggu's belief is widely known and deeply rooted in people's hearts with the help of Niangniang Ci.