The She ethnic group, one of China's smaller ethnic minorities, is rich in unique history, culture, and traditions. Primarily residing in the mountainous regions of Fujian and Zhejiang, with communities scattered across Jiangxi and Guangdong, they have developed a distinctive geographic distribution. Over a long historical process, the She people have created their own language, arts, and lifestyle. Their folk songs, known as She songs, are melodious and captivating, their dances are uniquely expressive, and their clothing is vibrant—especially the "Phoenix Costume" worn by She women, a treasure among ethnic garments. During festivals, She people gather to sing, dance, and celebrate together, continuing the heritage of their ancient culture. Although their population is relatively small, the She occupy an irreplaceable position within the larger Chinese national family. Their culture and history add a unique dimension to the diversity of Chinese culture. In modern society, the She people are actively integrating while steadfastly preserving their ethnic characteristics, showcasing the distinctive charm of She culture.
Origin of the Name "She"
The She ethnic group, a minority with a distinctive history, culture, and traditions, has a name rooted in profound historical significance and ethnic characteristics. Here is a detailed explanation of the origin of the name "She."
Throughout history, the She people appeared under various names in historical records. In earlier times, they were generally referred to as “Man,” “Man Liao,” “Tong Man,” or “Tong Liao.” These terms often carried a mix of regional and ethnic references and failed to accurately reflect their unique ethnic identity.
As history progressed, however, a more accurate and symbolically meaningful name—“She Min”—began to appear in records by the late Southern Song Dynasty. This term is closely linked to the She people's agricultural practices. Traditionally, they employed a method of farming called slash-and-burn cultivation, characterized by extensive, labor-intensive farming relying on simple tools to clear land and plant crops. The character “畲” (She) in ancient Chinese came to mean “slash-and-burn farming,” vividly capturing the She people’s agricultural lifestyle.
By the late Southern Song Dynasty, the term "She Min" became established in historical records as the She people’s designated name. This name not only accurately reflected their agricultural practices but also embodied their industrious, self-sustaining spirit. Following the establishment of the People’s Republic of China, the government officially recognized the She as a distinct ethnic minority, formally designating the group as the “She ethnic group.” This name has since become a symbol of the She people’s identity and pride.
Origin of the She Ethnic Group
The She ethnic group, one of China’s most unique minorities, has long been a focal point of academic interest regarding its origins. Among various theories, the most widely accepted are the She-Yao common origin theory and the theory that they are descendants of the ancient Yue people.
The She-Yao common origin theory suggests that the She and Yao ethnic groups share a common ancestry, both tracing back to the “Wuling Man” people from the Han and Jin dynasties. This view finds support in historical records, cultural traits, and totem worship. Both the She and Yao people have similar legends of Panhu, and the two groups share four major surnames—Pan, Lan, Lei, and Zhong—which are frequently mentioned together in historical texts. Furthermore, the linguistic and cultural similarities between the two groups add support to this theory.
On the other hand, the theory of ancient Yue descent posits that the She are direct descendants of the ancient Yue people. This is based on the similarities in geographic distribution, folklore, historical records, as well as farming methods and customs between the She and Yue people. Some suggest that the She may be descendants of figures from the Spring and Autumn period, such as King Goujian of Yue or Fan Li, or that they may have descended from the “Shan Yue” people of the Han and Jin periods, tracing the roots of the She back through history.
However, the origin of the She ethnic group is neither fixed nor purely linear; it may encompass a blend of various ethnic and cultural elements, resulting in the unique ethnic identity we see today. Although there is no academic consensus on the exact origin of the She people, this diversity and inclusivity contribute to the richness of She culture, making it an important part of China’s multicultural heritage.
Regardless of their origin, the She people, through their hard work and ingenuity, have created a distinct culture and tradition, making an enduring contribution to the prosperity and development of the Chinese nation.
Distribution of the She Ethnic Group
The She ethnic group, a uniquely distinctive minority in China, exhibits a pronounced regional distribution. They are primarily concentrated in the provinces of Fujian and Zhejiang, with smaller populations scattered across Jiangxi, Guangdong, Guizhou, Anhui, and Hunan.
In Fujian and Zhejiang, the She population forms significant ethnic communities. Fujian has the largest She population in China, widely distributed across counties and cities such as Fuzhou, Sanming, Zhangzhou, Ningde, and Longyan. In Zhejiang, the She population is also notable, primarily concentrated in over ten counties across Wenzhou, Lishui, and Jinhua. Notably, Jingning She Autonomous County in Zhejiang is the only She autonomous county in the country, serving as an important showcase of She culture and a source of pride for the She people.
Outside of Fujian and Zhejiang, smaller She communities reside in Jiangxi, Guangdong, Guizhou, Anhui, and Hunan, where they contribute a unique cultural dimension to the local ethnic diversity.
Geographically, the areas inhabited by the She are predominantly in the hilly regions of southeastern China, with rolling mountains and dense hills, offering abundant natural resources and a unique ecological environment. This terrain has not only shaped the She’s distinctive production methods and economic lifestyle but has also nurtured the group’s rich cultural traditions and folk customs. Thus, the She’s distribution reflects their historical migration patterns and their close, interdependent relationship with the natural environment.
She Literature
She literature and arts are vibrant and diverse, with mountain songs holding a central place as a cultural treasure of the She people. Sung in the She language and passed down orally, these folk songs embody the She people's wisdom and emotions. During festivals, celebrations, while working in fields, or visiting friends and family, the She people love to express their feelings through song, creating vivid scenes of ethnic charm.
Among the She’s long narrative poems, *Gao Huang Song* is particularly well-known. Also called *Pan Gu Song*, *Dragon King Song*, or *Panhu King Song*, this seven-character epic consists of three to four hundred lines. In mythological form, it vividly tells the legendary story of the She ancestor Panhu, who performed great feats and fathered descendants with the surnames Pan, Lan, Lei, and Zhong. This work reflects the She’s early religious beliefs, totem worship, and deep reverence for their ancestors.
She folk songs come in various forms, including solos, duets, and choruses, each with its own style. Unaccompanied mountain songs, known for their free-spirited and rustic charm, are especially loved by the She people. “Double tone,” or two-part harmonies, known locally as *Shuang Tiao Luo*, is another popular singing style among the She, captivating listeners with its beautiful, harmonious melodies.
Notably, the She people have also depicted the legends of *Gao Huang Song* in a series of illustrated scenes called the *Zutu*, or “Ancestral Chart.” This ten-zhang-long cloth scroll (approximately 33 meters) meticulously illustrates over 40 scenes from the epic in colorful detail, making it a cherished cultural heirloom for generations.
In summary, She literature and arts, particularly through the unique form of mountain songs and their deep cultural meanings, showcase the She people’s creativity and wisdom. They are a brilliant jewel within the multicultural heritage of the Chinese nation.
She Handicrafts
She women are known for their industriousness and simplicity. Not only are they skilled in agriculture, but they also excel in weaving and embroidery. She handicrafts are diverse, colorful, and distinctive, with ribbon weaving and bamboo crafts receiving particular praise.
Ribbons, also known as *he shou jin dai* or flower belts, are a skill young She girls learn from their mothers. The ribbons feature various patterns and tasteful color combinations, and the intricacy of the weaving reflects the skillfulness of the girl. She girls often give beautifully woven ribbons or embroidered handkerchiefs to their beloved as tokens of affection, symbolizing deep meaning.
Bamboo crafts, another highlight, utilize the abundant bamboo found in She regions, crafted into items by the skillful hands of She women. The *douli* (bamboo hat) is a standout item, featuring delicate patterns and fine craftsmanship, often adorned with red and white ribbons and colorful beads that emphasize the strong ethnic character of She craftsmanship, highly favored by She women.
In addition to ribbons and bamboo crafts, She women’s clothing is also highly distinctive. Their tops are often embroidered, especially those from Fuding and Xiapu in Fujian, which are known for their intricate embroidery on collars, lapels, panels, and cuffs, with floral, bird, dragon, and phoenix patterns. The “Phoenix Costume” is the most prominent attire for She women, symbolizing auspiciousness and beauty.
Other She handicrafts include bamboo and straw-woven items, such as bamboo hats, mats, straw hats, and grass mats, which are also popular in the market. The bamboo hat, with its pointed top and round brim, is affectionately called *jian zai li* (“pointed hat”) for its lightweight and nimble design. Among the daily items made by the Chaozhou-Shantou She are unique goods like *hu xue* (calabash shoes) and wooden clogs, which are still sold on the market today as part of She cultural heritage.
She Dance
She dance is closely tied to religious rituals and serves as a crucial medium for cultural transmission. During major She ceremonies, dance is an indispensable element, merging with religious rites and rituals to form a unique cultural and religious landscape.
*Chuan Shi Xue Shi* is a She ritual held to honor ancestors and transmit cultural heritage. In this ceremony, the life of Panhu, the She ancestor, is depicted in scrolls called *Zutu* (“Ancestral Charts”), and dances are performed to express reverence for the ancestors. Based on mythology, this dance incorporates elements of totem worship and religious symbolism, evolving into a folk dance unique to the She culture.
In She society, boys undergo a coming-of-age ritual called “learning from the master” at the age of sixteen, marking their transition into adulthood and becoming true members of the She community, known as “Hong Shen Ren” (“red-body people”). Those who complete this rite are believed to gain auspicious blessings, acquire the ability to transmit teachings, and even hold positions in the heavens after death. This ritual not only bestows the young men with a noble status but also symbolizes respect for ancestors and dedication to preserving She culture.
*Doing Good Deeds* is another She dance ritual performed as a memorial ceremony for deceased relatives, aiming to guide the spirits and express mourning. In this ritual, shamans dance with ritual tools, paying respect to the departed and expressing gratitude to ancestors.
Additionally, *Da Huang* is a shamanistic dance with a special place in She culture. It is performed to drive away evil spirits and bring healing to the sick through the dance and ritual movements of shamans, offering hope and relief to those suffering from illness.
While She ritual dances may contain elements of superstition, they play an essential role in the She’s historical, cultural, and ethnic heritage, forming an important part of cultural preservation and development.
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She Language
The She people, a unique ethnic group, have their own language, which belongs to the Sino-Tibetan language family and shares similarities with Cantonese spoken in Guangdong. Since the She originated from Guangdong, their language shows phonetic and tonal resemblance to Cantonese, reflecting a deep-rooted regional cultural connection. Interestingly, She language also closely resembles the Hakka dialect of Chinese, highlighting cultural integration between the She and Han populations.
However, the She language is not entirely uniform. In Guangdong’s Haifeng, Zengcheng, Huiyang, and Boluo regions, some She communities speak a language similar to the Yao people’s *Bunu* language (belonging to the Miao branch), providing significant insights into the She’s ethnic origins. Although the She have no unique written script and commonly use Chinese characters, they are fluent in the local Chinese dialects, showcasing the adaptability and inclusiveness of She culture.
In Guangdong’s Chao’an district in the Phoenix Mountains, She people mainly speak Teochew or Hakka, but historical records indicate that they once spoke a language similar to the Miao branch spoken by She people in Haifeng, Huiyang, and other areas. Furthermore, the traditional tones of the She people in Ningde, Fujian, closely resemble those of the Yao, further demonstrating the cultural kinship between the two groups.
Linguistic kinship often reflects close ethnic relations. The many linguistic similarities between the She and Yao reveal a deep historical and cultural connection, with this linguistic proximity vividly illustrating their ethnic ties.
She Customs and Festivals
The She people, with a history spanning centuries, have undergone numerous migrations and cultural integrations, forming a unique lifestyle and cultural heritage. Living close to the mountains and utilizing natural resources, the She people maintain a simple yet harmonious way of life. In daily life, the hearth and the fire pit are essential sources of warmth. Especially during the cold winter months, the family gathers around the fire pit to keep warm, sharing moments of family unity and warmth in this cherished scene of She family life.
Over time, the housing of the She people has also gradually improved. In earlier days, they built simple homes from materials available in mountain valleys, using thatch for roofing, bamboo for fencing, and reeds for windows and doors. As living standards rose, more She people began constructing small, multi-story houses, not only improving living conditions but also reflecting the progress and development of their cultural heritage.
In terms of cuisine, She people have developed distinctive tastes and habits. Living in mountainous areas with limited rice fields, their staple foods typically include sweet potato mixed with rice, while pure rice dishes are reserved for honored guests. They enjoy ingredients like dried shrimp, seaweed, and tofu and have a particular fondness for *rice wine* and *barley wine*. These foods and drinks not only satisfy their palates but also carry deep cultural meaning.
The She dietary culture includes several taboos. They avoid eating dog meat and snake meat, and children are discouraged from eating eel. When eating, they avoid using chopsticks to tap on bowls, and it is forbidden to eat cat meat. When serving guests, tea should not be offered with one hand, and on the dining table, empty bowls are avoided. It’s also customary to leave a small portion of food on the plate as a sign of courtesy. On the first day of the New Year, it is considered bad luck to drink vegetable soup, reflecting both respect for tradition and cultural continuity.
The She people also have unique festival foods. *Pickled ginger* and *salted vegetables* are popular She delicacies, often made with ingredients like chili peppers, ginger, and radish, creating a fresh and distinctive flavor. On the Dragon Boat Festival, She people make a type of dumpling called *Gu Jiao*, which is an indispensable holiday treat. On the third day of the third lunar month, they prepare *Wu Fan* (black rice), which is made by soaking sticky rice in a paste made from young leaves of the black rice tree, giving it a rich black color. This dish is believed to protect against ant bites and symbolizes good fortune and health.
As a vital part of folk tradition, the culinary culture of the She is an invaluable cultural asset. Unlike mineral resources that are constant, these cultural practices require preservation, celebration, and transmission. Only through continued appreciation can we ensure this cultural heritage flourishes with renewed vitality in the modern age.
Traditional She Attire
The She people, an ethnic group rich in cultural heritage, wear traditional clothing as vibrant and profound as their customs. In She cultural traditions, clothing is not only a necessity of life but also a symbol of ethnic identity and heritage.
She attire emphasizes a deep blue color, reflecting both reverence for nature and an aesthetic unique to their people. The fabric is often handwoven hemp, a sturdy and simple material that embodies the She people's hard-working spirit and down-to-earth lifestyle.
While She men's attire has evolved over time to resemble that of the Han people, incorporating modern styles, She women's clothing in areas like Eastern Fujian and Southern Zhejiang retains a distinct ethnic flair, adding a unique visual appeal to the landscape.
She women’s clothing often features intricate borders along collars, cuffs, and right lapels. These fine embellishments add beauty to the attire and reflect the She women's attention to detail and artistry. Additionally, She women traditionally wear short trousers with leg wraps—a style that allows ease of movement and demonstrates their practicality and resilience.
The hairstyles of She women are especially notable. Unlike the Han people, She girls' hairstyles radiate youth and vibrancy. They often wrap red woolen threads into their hair, braiding it into a long plait and coiling it on top of the head, achieving a look that is both stylish and deeply representative of their ethnicity. Married women wear a *phoenix crown*, the most distinctive element of She women’s attire. This headpiece is made from a delicately crafted bamboo tube wrapped in red cloth, with a one-foot-long, one-inch-wide red silk ribbon hanging down, symbolizing good fortune and happiness. Women of different ages—young, middle-aged, and elderly—adorn their hair with black, blue, or red wool threads to denote age and social status.
The phoenix crown is also decorated with a circular silver ornament, from which three small silver plaques hang over the forehead, known to the She people as the *dragon bun*. This headpiece not only serves as adornment but also holds cultural and historical significance. According to legend, the phoenix crown and silver ornaments represent the honor bestowed upon Panhu, a mythical ancestor of the She, who married an imperial princess as a reward for his valor.
In addition to the phoenix crown, She women wear a silver hairpin, silver necklaces, silver chains, silver bracelets, and earrings, all of which shine brilliantly in the sunlight and beautifully complement their vibrant attire. Traditional She clothing showcases not only the She people’s aesthetic values and craftsmanship but also stands as a vital representation of their cultural identity and heritage.
She Marriage Customs
The She people, with a rich historical background, also have unique and ancient marriage and family customs. Monogamy is the prevalent marriage principle among the She, reflecting both their respect for marital bonds and their commitment to family life.
She marriage customs are imbued with distinct ethnic characteristics. Following the principle of exogamy within clans, the She people typically marry within the four primary surnames—Pan, Lan, Lei, and Zhong. This custom not only preserves clan purity but also fosters close connections among families. Although clan-based exogamy was traditionally significant, historical discrimination once discouraged marriages between the She and Han people, enforcing strict boundaries. However, since liberation and the implementation of policies promoting equality, intermarriage between the She and Han has become increasingly common, enriching both cultures through mutual exchange.
In ancient times, She youth enjoyed the tradition of free love, and marriages often originated through song exchanges, a poetic and romantic custom cherished by She ancestors. However, with the rise of feudal landlordism and the influence of Han marriage practices, She marriage customs were disrupted. By the pre-liberation period, arranged marriages and dowry transactions were widespread, causing many young people’s unions to be driven by financial interests rather than love. Fortunately, these practices were eradicated after liberation, and today’s She youth are free to choose their partners, restoring romance and happiness in their relationships.
In She society, the practice of *zhao zui* (taking a son-in-law into the bride’s family) is also common. This arrangement is often chosen by families without sons as a way to ensure continuity. Even in families with sons, sons may still join their wives’ families, while daughters stay in their natal home to “bring in a son” (marry a son-in-law into the family). This distinctive marital practice reflects the She’s emphasis on family heritage and an open attitude toward marriage. Typically, children of these unions take the mother’s surname, although in cases where two sons are born, one may follow the mother’s surname and the other the father’s. When both spouses are only children, they may adopt a practice known as “dual residence,” spending the first years of marriage living with and caring for both families. After a period of adjustment, they eventually settle based on factors such as family finances.
This flexible approach to marriage fulfills the She people’s desire for family continuity while also showing respect and understanding for each couple’s unique circumstances.
Funeral Customs of the She Ethnic Group
The She ethnic group's funerary practice is primarily burial, retaining the custom of secondary burial (re-burial after collecting bones). Traditional and historical accounts indicate that early She funerary practices included hanging coffins and cremation. In the widely circulated "Ballad of King Panhu," it is recorded that the She ancestor Panhu "lived freely for half a year, daily drawing his bow to shoot arrows." The ballad describes how a goat fell from a rocky cliff, leading to a series of events where Panhu's body ended up hanging from a tree, and crows called out to guide the way. Due to the "high cliffs and rugged paths," they could not retrieve the ancestor's body and thus buried him among the treetops, leading later generations of the She to adopt hanging coffins as a way to honor their ancestors. During the Three Kingdoms period, records by Wu Shenying in "The Water and Soil Chronicle of Linhai" mention the "hanging coffins of humans." Here, "humans" refer to the historical "Nanman," which includes the ancestors of the She and other southern ethnic groups. This indicates that the custom of hanging coffins among the She has a long history.
Cremation is primarily referenced in some Ming Dynasty documents. For example, in "The Benefits and Ills of All the Counties," it is noted that among the She people in Guangdong, when someone died, they would burn their house and relocate. In the She community (specifically in Ningguo City), after death, the custom of "collecting gold" (referring to exhuming the bones from the coffin, placing them in a ceramic vessel, sealing it, and re-burying it) originated from this practice. The use of cremation relates to the frequent migrations of the She and their strong ancestral ties. Whenever they moved, they hoped to take their ancestors with them; thus, cremation was a practical method since the ashes are small and easy to transport. After settling down, influenced by Han burial customs, the practice of cremation was gradually abandoned in favor of burial. However, the process and details differ from Han burials, reflecting the unique characteristics of the She people. The funerary process generally consists of four steps: reporting the death, cleansing and preparing the body, guiding the spirit, and burying the coffin. Each of these steps has specific details; for instance, if a death occurs between the twenty-ninth day of the twelfth lunar month and the first day of the new year, they should not disturb anyone and should keep mourning at home for several days to avoid diluting the festive atmosphere. When reporting a death, the mourner wraps a white cloth around their arm, and passersby and vehicles should yield to them. While mourning, no tears should fall on the deceased; when the coffin is carried out, a filial child must support it, and if they encounter a ditch or bump on the way, the child must "carry the coffin" (bending to let the coffin pass over their back). A prominent feature of the entire mourning process is "using song instead of tears." Sad songs are used to express mourning for the deceased.
The current burial practice among the She has evolved from a history of cremation. Records by Bian Baodi in the Qing Dynasty's "Record of the Chieftains of Minqiao" mention similar burial practices among the She people in Xiapu, Eastern Fujian. During the Ming and Qing Dynasties, frequent migration led the She to adopt cremation as a means to easily carry the bones when relocating. The She who migrated from Fujian to Zhoushan in Zhejiang set up a "platform for the deceased" in their village, where they stacked wood to burn the body and divided the ashes into seven ceramic pots, referred to as "three souls and seven spirits," secretly burying them in seven different locations, believing that burning the body would ensure a beautiful reincarnation in the afterlife. Today, remnants of these "platforms for the deceased" can still be found in She villages in the Lishui area (formerly Zhoushan). As they settled longer and interacted more with the Han people, they gradually adopted local Han burial customs. Currently, there are three general forms of burial among the She: (1) "secondary burial," also known as "bone collection burial"; (2) direct burial of the coffin in a completed grave; (3) burial after temporarily holding the coffin to collect bones. In She villages in Eastern Fujian, Southern Zhejiang, and Eastern Guangdong, there are legends about hanging coffin burials.
Traditional Festivals of the She Ethnic Group
The She ethnic group, with its long history, boasts a rich array of traditional festivals. These festivals not only carry the joy and sorrow of the She people but also serve as important vehicles for passing down their cultural heritage and promoting their national spirit.
Among the traditional festivals celebrated by the She, significant occasions include the Fenlong Festival in the fourth lunar month, the Qixi Festival (Double Seventh Festival) on the seventh day of the seventh lunar month, the Start of Autumn, the Mid-Autumn Festival, the Double Ninth Festival, and the Spring Festival (Chinese New Year). Additionally, every year on the fifteenth day of the second lunar month, the fifteenth day of the seventh lunar month, and the fifteenth day of the eighth lunar month, the She people hold grand ancestor worship ceremonies to express their reverence and remembrance of their ancestors. These festivals and ancestor worship days form an essential part of the spiritual life of the She community.
The She place a special emphasis on traditional festivals, preparing sumptuous meals and various specialty foods according to traditional customs. Among these, glutinous rice cakes (ciba) are indispensable festive treats. Regardless of the festival being celebrated, the She people meticulously prepare ciba to enhance the festive atmosphere. For adults' birthdays, in addition to killing chickens and ducks, making ciba is also a necessary part of the celebration, symbolizing sweetness and good fortune.
One particularly noteworthy festival is "March Third." Every year on the third day of the third lunar month, the She people venture outdoors to enjoy the spring scenery and eat black rice, commemorating their ancestors and celebrating victories. Black rice is made from glutinous rice that has been dyed black using the juice from a special plant; it not only has a unique color but also carries deep historical significance. According to legend, during the Tang Dynasty, the She leaders Lei Wanxing and Lan Fenggao led the She people in a struggle against the ruling class. During difficult times, they survived by eating black rice and wild fruits. Eventually, on the third day of the third lunar month, they broke through a siege and achieved victory. To commemorate this historical event, the She people established this day as a festival, eating black rice in remembrance. During this festival, the She gather in songfields, engaging in singing contests to honor their ancestor Panhu, creating a sea of songs that envelops the She mountains.
In addition to "March Third," the Spring Festival is also a highly significant celebration for the She people. During the Spring Festival, they slaughter chickens and pigs, make ciba, and pray for good fortune and a sweet life in the new year. On the morning of the first day of the lunar new year, the entire family pays respects to their "Pangu Ancestor" and listens to the elders recount the hardships faced by their ancestors in establishing their lives. Afterward, families reunite to sing mountain songs, exchange gifts, and enjoy family happiness. Young men and women visit different villages, conveying their feelings through songs, adding vibrant youthfulness to the Spring Festival.
The traditional festivals and customs of the She not only reflect their love for life and reverence for their ancestors but also showcase their unique cultural identity and spiritual outlook. These festivals and customs are like strings of brilliant pearls embedded in the historical tapestry of the She people, shining with dazzling brilliance.
Religious Beliefs of the She Ethnic Group
The She ethnic group is a mysterious people whose religious beliefs and totem worship are deeply rooted in their cultural soil, forming an important part of their spiritual life. Within the She belief system, ancestor worship and totem worship hold significant positions, while the worship of hunting gods and snake worship further enrich the connotations of their religious culture.
The She people's reverence for their ancestors is profound. They firmly believe that the souls of their ancestors can protect future generations, which is why ancestor worship holds a crucial place in She society. During important festivals or significant family events, the She conduct elaborate ancestor worship ceremonies to express their respect and remembrance for their forebears. This practice not only reflects the She people's emphasis on familial lineage but also showcases their respect for and transmission of historical culture.
Totem worship is another notable characteristic of She religious culture. In the eyes of the She people, Panhu, regarded as the founding ancestor and supreme deity of their ethnicity, carries the historical memory and cultural identity of the She. The legend of Panhu is widely circulated among the She, depicting him as a miraculous, intelligent, and brave national hero. He not only helped the Emperor Gaoxin slay the Dog Rong leader but also fathered descendants, becoming the common ancestor of the She people. The She people illustrate Panhu's image on cloth, creating a scroll-like ancestral picture that is passed down through generations to commemorate the achievements of their ancestors and the history of their people.
The worship of hunting gods also holds significant importance among the She. Given that hunting has always played a prominent role in She life, the She people have historically revered hunting gods, praying for successful hunts and bountiful harvests. This belief not only reflects their respect and dependence on the natural environment but also showcases their courageous and resilient national character.
Additionally, snake worship is a notable highlight of She religious culture. As one of the totems of the Baiyue ethnic groups, snakes hold special significance for the She people. They regard snakes as sacred beings and harbor feelings of reverence and affection towards them. This snake worship reflects the She people's awe and veneration of natural forces, as well as their yearning for vitality and the ability to reproduce.
It is noteworthy that the She's religious beliefs and totem worship are closely linked to the Daoist Lüshan sect. In the She's Gao Huang song, there are accounts of Panwang's life and death, including his learning of Daoist practices from Lüshan sect masters, exterminating demons, and guiding the spirits of the deceased. These accounts not only demonstrate the diversity of She religious culture but also reflect the She people's acceptance and integration of Daoist culture.
In conclusion, the religious beliefs and totem worship of the She ethnic group are essential components of their cultural identity. They carry the historical memories and cultural recognition of the She people while showcasing their reverence for nature, ancestors, and life. These beliefs and worship practices enrich the cultural essence of the She and leave a valuable spiritual legacy for future generations.
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