User:Vassyana/Taoism/practices
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Nearly all forms of Chinese traditional religion involve baibai (拜拜)--bowing towards an altar, with a stick of incense in one's hand. This may be done at home, or in a temple, or outdoors; by an ordinary person, or a professional (such as a Daoshi 道士); and the altar may feature any number of deities or ancestral tablets. Baibai is usually done in accordance with certain dates of the lunar/solar calendar (see Chinese calendar).
At certain dates, food may be set out as a sacrifice to the gods and/or spirits of the departed. This may include slaughtered pigs and ducks, or fruit. Another form of sacrifice involves the burning of Hell Bank Notes, on the assumption that images thus consumed by the fire will reappear--not as a mere image, but as the actual item--in the spirit world, and be available for the departed spirit to use.
Also at certain dates, street parades take place. These are lively affairs which invariably involve firecrackers and flower-covered floats broadcasting traditional music. Street parades may also include lion dances and dragon dances; human-occupied puppets (often of the "Seventh Lord" and "Eighth Lord"); jitong (乩童 male "Mediums") who mutilate their skin with knives; Bajiajiang, which are gongfu-practicing honor guards in demonic makeup; and palanquins carrying god-images. The various participants are not considered performers, but rather possessed by the god in question.[1]
Fortune-telling--including astrology, palmistry, phrenology, and divination--has long been considered a traditional Taoist pursuit. Mediumship is also widely encountered. We may distinguish between martial forms of mediumship (like the aforementioned jitong) and more literary forms in which the possessed medium communicates messages from the spirit world by writing them with a special utensil.
Isabelle Robinet's book Taoist Meditation describes various practices given in the Maoshan texts. These include controlling bodily fluids such as urine, saliva, and the breath; visualisation practices in which various internal organs are imaginarily linked with corresponding gods and/or celestial bodies (e.g. the stars of the bei tou, the "Big Dipper"); and heavenly journeys via the Great Pole, which is reached by a limping shamanic dance called the "Step of Wu".
Many Taoists also participated in the reading and writing of books. Taoists of this type tend to be civil servants, elderly retirees, or in modern times, university faculty. While there is considerable overlap with religious Taoism, there are often important divergences in interpretation. Wang Bi, one of the most influential philosophical commentators on the Laozi (and Yijing) was in fact a Confucian.[2]
For many educated Chinese people (the Literati), life was divided into a social aspect, where Confucian doctrine prevailed, and a private aspect, with Taoist aspirations. Night-time, exile, or retirement provided the opportunity to cultivate Taoism and reread Laozi and Zhuangzi. The Literati often dedicated this period of life to arts such as calligraphy, painting, and poetry, or personal researches into antiquities, medicine, folklore, and so on.
The Vinegar Tasters (sometimes called Three Vinegar Tasters) is a popular painting (usually in scroll format) that explained Taoist ideals in relation to the Neo-Confucian school which began in the 10th century and gained prominence in the 12th century. The image depicts Laozi together with The Buddha, and Confucius. In these paintings the three are gathered around a vat of vinegar and the motto associated with the grouping is "the three teachings are one." However, see The Vinegar Tasters for an alternate interpretation.
A number of martial arts traditions embody Taoist principles to a greater or lesser extent, and some practitioners consider their art to be a means of practicing Taoism. The accuracy of these claims varies greatly depending on the particular art and/or practitioner.
