《民俗曲藝》第205期（2019.9）
目錄
以廟宇為中心之社會的形成 (The Emergence of a Temple-Centric Society) 專輯（I）
Introduction / John Lagerwey
The Emergence of a Temple-Centric Society / John Lagerwey
The Rise of a “Temple-Centric” Society in Putian in the Song and Later Transformations of the Ritual Sphere / Kenneth Dean and Zheng Zhenman
The Rise of Northern Chinese Regional Temple Cults: A Case Study of the Worship of King Tang / Barend J. ter Haar
〔研究論文〕
隱形的無生老母：新加坡先天道宗教網絡與變遷 / 戚常卉
〔研究紀要〕
霹靂日系布袋戲：《Thunderbolt Fantasy東離劍遊紀》的演藝特質 / 吳明德
摘要
John Lagerwey. “The Emergence of a Temple-Centric Society.” Journal of Chinese Ritual, Theatre and Folklore 205 (2019.9): 29-102.
勞格文。〈以廟宇為中心之社會的形成〉。《民俗曲藝》205 (2019.9): 29-102。
Abstract
While it is now agreed that lineage China, in which villages were organized around ancestor halls, did not really become a prominent part of the landscape, even in South China, before the mid-Ming, far less attention has been paid to the fact these same villages—as well as market towns and county seats—were from the Song on increasingly organized as territory around temples of the popular religion, as opposed to earth god altars or Buddhist and Daoist monasteries. Starting in the Northern Wei, when the state first decreed the creation of such monasteries in every county, monasteries had been the prime religious institutions receiving state funds. But with the takeoff of title granting to popular local gods from the eleventh century on, while monasteries continued to enjoy state support, they increasingly could not compete with the god temples of popular religion. One result was that religious festivals, both in villages and in market towns, came to be organized around the local temples, and involve parades of the gods throughout the territory they protected and policed. Pilgrimages to selected temples, or circulation of gods among networks of villages, also came to be widespread. Another result was the rise to prominence of local gods served by spirit-mediums and of local Buddhists and Daoists who came to be worshiped pretty much like any other local god (Dingguang, Chen Jinggu). Closely linked to these changes are the increasing prominence of popular forms of Buddhism (Pu’an, Yujia, Lingshan) and Daoism (the fashi) that incorporated local gods and even found ways to work directly with spirit-mediums.
Kenneth Dean and Zheng Zhenman. “The Rise of a 'Temple-Centric' Society in Putian in the Song and Later Transformations of the Ritual Sphere.” Journal of Chinese Ritual, Theatre and Folklore 205 (2019.9): 103-59.
丁荷生、鄭振滿。〈以社廟為中心：宋代莆田社會儀式空間與後期的演變〉。《民俗曲藝》205 (2019.9): 103-59。
Abstract
This essay discusses the central role of local communal temples in Putian society during the Song. The importance of Buddhist monastic estates in this period is also emphasized, as are several different paths to the establishment of lineages and ancestral halls. While the Song was a period of extraordinary achievements in Neo-Confucian studies, there were many areas of the Putian plains where this influence was not strongly felt, and where alternative sub-cultures developed around village level shentong (神童) spirit mediums and local temples. And in areas with strong lineages the inscriptional record in the temples indicates that the literati also had important roles in their home village temples, often composing inscriptions, serving on temple management boards, and contributing to restoration campaigns. Thus the scholar literati continued to play important roles in village level worship associations in addition to their ritual activities within their own lineage halls. The article reveals the complexity of the ritual sphere in Putian in the Song, while also briefly tracing some of the subsequent transformations of society and local communal religion in later periods.
Barend J. ter Haar. “The Rise of Northern Chinese Regional Temple Cults: A Case Study of the Worship of King Tang.” Journal of Chinese Ritual, Theatre and Folklore 205 (2019.9): 161-213.
田海。〈中國北方區域廟宇信仰的興起：湯王信仰的個案分析〉。《民俗曲藝》205 (2019.9): 161-213。
Abstract
One of the cults that arose in the tenth century CE is that for King Tang, the mythological founder of the Shang dynasty. Although several places claimed to have his grave, the new cult did not stem from his grave or any other place that can be reliably associated with the Shang dynasty. Instead his cult was based on a pilgrimage to a pond or lake in the hills of southeastern Shanxi which never ran dry, but most likely did not belong to the historical territory of the Shang. His cult is one of a number of highly prominent northern Chinese cults that are all situated around more or less inexhaustible sources of water. The rise of such cults with a strong local social organization seems to be a substantially new phenomenon of the late tenth century and after. In this article I try to put these and other claims on a more secure footing. First I look briefly at the contemporary observations of the prominent bureaucrat Yuan Haowen 元好問 (1190–1257) on the local cults of his time and his region of provenance, as well as at another prominent northern Chinese cult, that for Lord Guan or Guan Yu. Then I try to specify claims about the timing of the rise of the cult for King Tang more precisely in terms of chronological and geographical distribution.
戚常卉。〈隱形的無生老母：新加坡先天道宗教網絡與變遷〉。《民俗曲藝》205 (2019.9): 215-64。
Chi Chang-hui. “The Invisible Eternal Mother: Xiantiandao’s Changing Religious Networks inSingapore.” Journal of Chinese Ritual, Theatre and Folklore 205 (2019.9): 215-64.
Abstract
先天道是三教合一的教派，茹素禁慾，以無生老母為先天最高神明，齋堂正殿則奉祀觀音為後天主神。清帝國視為邪教的叛亂團體，遭到官方迫害。同治年間往海外傳教。跨域傳教的成果十分驚人，在新加坡的先天道東初派的齋堂網絡與馬來西亞、印尼、泰國、香港等地也建構跨地域（殖民地獨立之後跨國）宗教網絡。選擇在新加坡開荒傳教的先天道東初派經歷文化與地理空間斷裂的去地域化歷程，在被打破的空間場域重構宗教組織，進行再地域化的進程。然而進入二十一世紀後，今日新加坡先天道各分堂呈現的不是宗教性質的同一，而是差異。各齋堂的日常宗教實踐雖還是在先天道的宗教帷幕之下，有象徵性質的類似，卻在實踐的內涵上有極大的差異。筆者將此宗教現象視為宗教世俗化的一種模式。本文以皮爾斯符號學的符號形構（semiosis）過程分析到海外傳教，建立宗教網絡連結，進入再地域化的過程中，先天道東初派宗教網絡共享的宗教符號無生老母退場，宗教網絡連結點的齋堂經營者不再藉助既定的教義去看待他們所面對的世界與個人的宗教修行，重新詮釋先天道。
吳明德。〈霹靂日系布袋戲：《Thunderbolt Fantasy東離劍遊紀》的演藝特質〉。《民俗曲藝》205 (2019.9): 265-312。
Wu Ming-te. “The Japanese Style Puppetry of Pili: The Characteristics of the Performing Arts of Thunderbolt Fantasy: Dongli Jianyou Ji.” Journal of Chinese Ritual, Theatre and Folklore 205 (2019.9): 265-312.
Abstract
2016年夏天，霹靂與日本動畫界名人虛淵玄（1972–）合作推出《Thunderbolt Fantasy東離劍遊紀》布袋戲，口白分日語版與臺語版兩種，日語版委由日本專業聲優團隊配音，臺語版則由「八音才子」黃文擇（1956–）的兒子黃匯峰（1979–）一人擔綱所有男角演出。日語版於2016年7月8日起在日本首播，臺灣則由「巴哈姆特動畫瘋」與「愛奇藝」臺灣站進行聯播；臺語版則於2016年7月13日至9月30日在臺灣發行販售，共13章、每章23分鐘。這部臺、日有史以來首部合拍的布袋戲，一推出即得到年輕觀眾的一致好評，收看非常踴躍，一掃霹靂2015年《奇人密碼》慘賠的陰影。本文特以《Thunderbolt Fantasy東離劍遊紀》與霹靂劇集比較，先考述臺日合作拍攝源由及混搭磨配狀況，再進一步析論《Thunderbolt Fantasy東離劍遊紀》的劇本營構、人偶妝扮與拍攝、口白配音等這三大方面的演藝特質，以了解其殊異與成功之處。
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