famous in Yuan Dynasty had been blamed because of being appreciated by Shundi who lost his power since long time。 Showing the materials concerned， this article will put forward that the dance adapted by the Borgiji’s emperor was performed not only in the palace but also in the areas of Zhedong， Zhexi and the northwest border area。 It was played on the occasion of banquets and temple fairs during Ming times and still could been seen among the Mongolian tribes the people of that believe in Lama even in Qing Dynasty。 The dance originated from the story about the Bodhissatava who declined the carnal lure by Tianmo。 It might represent two： one was the morality on which the Bodhissatava resisted temptation， and the other was the godliness with which Tianmo tempted the god。 There ware not only something of the ancient South Asia civilization， but also something from the Us Tsang branch Buddhism。 And the parability in the custom culture with the minority in Kuizhou and Taiwan would be result of ‘ going on the different ways and arrived in the same place’ happening in the separated districts。
＇1＇běi jīng，中華書局標點本，一九七七年，頁918、919、4583。
＇2＇鄭州，中州古籍出版社任崇嶽箋證本，一九九一年，頁95。
＇3＇上海古籍出版社《中國古典文學叢書》標點本，一九八二年，頁161、162。
＇4＇《四部叢刊續編》景印明刊本，頁12上、下。
＇5＇《四庫全書》本，頁19下、24下。
＇6＇濟南，齊魯書社《四庫全書存目叢書》影印天啟汲古閣《詩詞雜俎》本，頁270上、下、272上。
＇7＇臺北，文海出版社《明人文集叢刊第一期》影印萬曆刊本，頁111、113、120。
＇8＇《四庫全書》本，頁11上。
＇9＇《四庫全書》本，頁10下、11上。
＇10＇《四庫全書》本，頁1下、2上、下。
＇11＇《四庫全書》本，