Chuyên luận uy nghi đánh chuông–khánh trong trai giao: thời khắc, số tiếng, phối tụng, tên các thần chung (độ mệnh, trường sinh, tiêu ma, phục tà…). Thái Thượng Đạo Quân tuyên bố mọi trai tiệc đều có thể dùng chung khánh để triệu chân, nhiếp ma, định nghi. Bổ sung «nhạc khí – uy nghi» cho khoa nghi Linh Bảo.
Ứng dụng: Quy chuẩn đánh chuông khánh trong trai đàn; tra tên thần chung, thời khắc.
南北朝至隋唐灵宝威仪经，以太上道君答智德真人为体裁，专论斋醮集众时敲钟击磬的制度。分「圣众/凡众」皆可击钟；详列大罗、玉清、上清、太清、四梵、三界诸天神钟名号（如度命、消魔、反魂、集仙琼钟等）；规定世间铜铁钟的角数、悬于左方、击法（初急缓疏三下→八下→二十四槌→十二槌）及「非时不得妄击」之罚；并附十二时祝颂与常鸣钟磬偈，使钟声应十二时、开悟群生、节度礼诵。
⚡ Ứng dụng: 道观斋醮与课诵时按六时/十二时击钟节磬，整法服祝诵后集众，不得妄击失节。
🔗 Liên quan: 洞玄靈寶自然齋儀；玉音法事；靈寶領教濟度金書
The text proves that bells and chimes are not mood-setters but acoustic legal instruments: their tones enact hierarchical summons and dismissal of spirits, so ritual authority is literally sounded into the space; without correct 威儀 of metal sound, liturgical words lack executive force.
1) Use a single consistent tone (bowl/bell) to open and close any personal cultivation session—never random ambient music mid-practice. 2) For charts heavy in Metal, deliberate metal-sound practice can either refine or over-sharpen; match strike count to whether Metal is useful or hostile. 3) Before annual resolution or oath-like intentions, strike a clear sequence to 'open court,' state intent, then close with chime—mirroring 威儀. 4) Treat scattered mind as failed acoustic boundary; re-establish with three measured tones before visualization.
Unlike texts focused on writs or visualizations, this scripture isolates the acoustic layer of ritual power. It is more juridical-hierarchical than musical aesthetics texts, and more concrete than abstract 'harmony of qi' theory.