美濃地區客家「還神」祭典與客家八音運用之研究

The Research of “Wan-Shen” Ceremonial Exercise and Hakka Ba-Yin” Music In Mei-Nong Area.

圖書

學位論文
民俗傳說

「還神」有寫作「完神」，「還神」有「祈福」「還福」，許願後「還願」之目的。本研究以「還神」之名稱之。在客家地區的歲時祭儀與生命禮俗中，舉凡結婚、喜慶、歲時節慶、神佛聖誕日，或是庄頭庄尾伯公在年初的新年福與年底的還福，都會以「拜天公」敬神與行「三獻禮」的「還神」祭典，來敬神與祭祖。 大家熟知的「拜天公」祭典，也就是客家人所謂的「還神」祭典之一。客家人的「還神」祭典，除了行「拜天公」的敬神儀式，還要行「三獻禮」的祭祀禮儀。完整的客家「還神」祭典，在傍晚時要「結壇」先向天神稟告，晚上準備「少牢」與「五牲」之牲禮行「拜天公」的敬神儀式，最後再行三獻禮的敬神或祭祖儀式。有些廟堂不結壇行「拜天公」的敬神儀式，改以請誥或誦經法會方式行之，最後再行「三獻禮」祭典，這些在美濃客家地區也都稱之為「還神」祭典。 晚上很晚了還聽到客家八音的聲音，可能是廟堂、伯公壇或祖堂在行「還神」祭典。「還神」祭典通常是在晚上十一點以後開始，現在會提早開始行禮，但是結束時還是要在晚上十一點以後。 客家人的「還神」祭典要有客家八音樂團在旁，配合祭典之進行演奏客家八音音樂，美濃地區的客家八音團，一直堅持以傳統四人組型態演奏八音音樂。客家八音始終與客家人的生命禮俗、歲時祭儀活動無法分割，所以美濃地區的客家八音團團員，除熟悉客家八音曲調也要熟悉客家人的各項禮俗儀式，才能與各項祭典禮俗作完美的配合。客家八音活化了客家「還神」祭典，也賦予「還神」祭典生命力。 美濃地區「還神」祭典的儀式依中國傳統祭祀禮儀行之，敬奉品雖然不豐盛，簡單中每一項都隱含著極深厚的內涵、意義與目的存在。 本論文以一步一腳印的方式，選擇摘錄高屏地區客家人各種不同性質之「還神」祭典，將祭典儀式與客家八音之運用情形忠實之呈現，一則可以從中了解當地或該禮生之行禮方式，也可互相比較對照，作為祭典之參考資料。
“Wan -Shen”could also be “Wan-Shen”. It serves a function as “praying for happiness or good fortune”, and also to reach the purpose of fulfilling a vow. This article is entitled “Wan -Shen”. As part of a Hakka culture in celebrations, from wedding, annual festivity to the celebration of Buddha’s birth and even the”Shin-Nian-Fu”in the beinging of the year and the” Wan -Fu”in the end of the year of every”Ba-Gung”belongs to the village, people use both “Bai-Tian-Gung” and “San-Shian-Li” as the ceremony of “Wan -Shen” to worship their Gods and to commemorate the ancestors. The well-known “Bai-Tian-Gung” ceremony is one of so-called “Wan -Shen” in Hakka culture. Besides “Bai-Tian-Gung” worshiping process, there are also “San-Shian-Li” commemoration service during the “Wan -Fu” ceremony. In a complete Hakka “Wan -Shen”, “Jie-Tan” is at a stage where people report back to their God at dusk in a praying manner. “Shau-Lau” and “five kinds sacrifices”, then, are prepared at night for the initiation of “Bai-Tian-Gung”. Finally, “San-Shian-Li” and the worshiping of the ancestors and Gods are done. However, there are certain temples would skip “Jie-Tan” and ” Bai-Tian-Gung”, instead, they would chant and pray, and “San-Shian-Li” to make a conclusion. Both of them are known as “Wan -Shen” in Hakka, Mei-Nong district. When you hear Hakka’s traditional music “Ba-Yin” in the late night, it possibly “Wan -Shen” is in process taking place at a “an ancestral hall” or “Ba-Gung”temple or an ancestral temple . “Wan -Shen” is usually begin after eleven at night. Nowadays people start the ceremony even earlier to begin bowing, but still, it never ends before eleven. Hakka’s “Wan -Shen” always have to go with the band that specifically plays “Ba-Yin” when “Wan -Shen”is being performed. Hakka Ba-Yin Music Troupe district choose to stick with the tradition of “Hakka Ba-Yin Music Troupe” which always consist of 4 band members. The Hakka Ba-Yin Music Troupe were never being able to separated from the Hakka cultural ceremonies and annual commemorations; and, because of this tightly connected relationship between the two, the band members are highly understand their cultural and were always being able to produce the perfect melody alongside every festivity. Hakka’s “Ba-Yin” music plays a very important role in “Wan -Shen”. It not only vivifies the ceremony itself, but also renders a new energy and life into it. In Mei-Nong district, “Wan -Shen” ceremonial exercise follows the Chinese traditional scared ceremony. The offerings were not considered to be rich, but there are deeper intentions and meanings behind every single item on the altar. This research was done step by step and precisely present with every detail available. It focuses on the Hakka groups in southern Taiwan and look into the “Wan -Shen” ceremony from different aspect and various angles; Hence, for the readers.

臺南市
國立臺南大學臺灣文化研究所

2007-06

245

中文

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