台灣漢人民間信仰

台灣漢人民間信仰

2024/06/19
2024/12/19
展覽頁面呈現形式
橫式
策展者
張珣
葉春榮
丁仁傑
中研院民族所博物館
展覽封面
1f32082990d576a673d364aa6d7f7378
展覽資料
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"1965年間,本所李亦園院士及王崧興先生分別前往彰化縣伸港鄉泉州厝與宜蘭縣龜山島從事田野工作,使原本以原住民或少數民族傳統社會結構為主要研究對象的台灣人類學,開始與轉型中的台灣社會產生連結,也開啟了台灣<span>漢人社會與文化研究的始頁。<br><br>此後,歷經本所同仁數十年來的持續投入研究,除了出版及發表相關專書、研究書目及研究論文外,並累積了大量田野資料及研究標本文物,目前館藏</span>台灣<span>漢人文物約有二千餘件。<br></span>", "musicName": "無", "musicTip": "聽導覽", "weight": 1, "musicText": "", "musicURL": "", "secondaryObj": { "oid": "2ced76103a9713f245064c5a0cf42fb9", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/dbd61a0f9cfceb81dc5e3ebc6948db57.jpg?itok=FSCM1F8m", "level": "secondary", "title": "龜山島上的迎媽祖儀式", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/dbd61a0f9cfceb81dc5e3ebc6948db57.jpg?itok=FPEKXQrd", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/dbd61a0f9cfceb81dc5e3ebc6948db57.jpg?itok=0QxC21lQ", "thumbBigURI": 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"台灣漢人社會與文化中,民間信仰佔很重要的一部分。目前台灣的漢人民間信仰人口粗估約達全國民眾的八成以上,舉凡生、老、病、死各個階段,無一不與其息息相關。本展示以台灣漢人民間信仰為主題,立基於人類學視野和研究人員的研究成果,重新整合館藏品及田野影像,希望在有限的展示空間及物件中,能深刻呈現民間社會的世界觀與宗教實踐,進而對漢人世界產生整體性的理解。<br><br>本展覽分為五單元:第一、二單元分別從時間及空間兩個向度,說明台灣的漢人民間信仰傳入發展歷程及其宇宙空間觀;第三至第五單元依據三位策展人的研究興趣及專長,從三個相關專題近一步剖析台灣漢人民間信仰的多樣性。", "musicText": "", "musicURL": "" }, "theme-ysenst2yhd": { "id": "theme-ysenst2yhd", "type": "theme", "sortable": true, "primaryObj": { "oid": "e4fd958df3b09083b4cd81774c1815ce", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/91a45143a481a29e61614632d2c99954.jpg?itok=rUQ1NZhV", "level": "primary", "title": "17世紀西洋書籍中的媽祖形象", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/91a45143a481a29e61614632d2c99954.jpg?itok=ZRh4jlIb", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/91a45143a481a29e61614632d2c99954.jpg?itok=HEtTNkjQ", "thumbBigURI": 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"文公、丁蘭尺/6073", "desc": "魯班和丁蘭發明了一把特殊的尺,上面有兩種刻度,因為魯班是文公,所以稱為文公尺,也稱為丁蘭尺,通稱魯班尺。 魯班尺的尺面分為上下兩個部份,上半部為文公尺;下半部為丁蘭尺。文公尺主要用途:常使用於土木、建築、門窗、架樑,疊瓦等陽宅興建之長度吉凶量度。丁蘭尺主要用途:用於建造墳墓、神位、公媽桌位、廟宇建造、墓園、立碑等陰宅的長度量度。文公尺長一尺四寸一分,以生老病死苦五字為基礎,劃分為八格,刻有財、病、離、義、官、劫、害、本;必需避凶取吉,每逢財、義、官,本四字的刻度就算吉利尺寸,稱為「有字」。丁蘭尺:只要用途,建造墳墓、神位、公媽桌位。總共有十個字,分為丁、害、旺、苦、義、官、死、興、失,財,每字分四小格,每個字以台尺為準,壹寸貳分。其含義如下: 丁:丁字: 生子,添丁。害:害字: 遇小人,傷害,災害,病災。旺:旺字: 進財,旺盛.。苦:苦字: 悲苦,損財,生病 。義:義字: 厚利,而行財運。官:官字: 升官,進財利。死:死字: 痼疾,重病,意外傷亡。興:興字: 蒸蒸日上。失:失字: 失敗致破產。財:財字: 財源滾滾。文公尺:主要用途為建築業用,或架樑,疊瓦等。亦稱魯班尺,相傳公輸班,春秋魯國人。文公尺分為八個字,為財、病、離、義、官、劫、害、本。1.財:分為財德,金童,六合,迎福,吉。財德: 有道德又有財富。金童: 財運亨通 。六合: 東成西就。迎福: 喜事連連。2.病:分為退財,訟事,牢執,孤寡,凶。退財: 財帛破損。訟事: 官非小人。牢執: 拘留或牢獄之災。孤寡: 孤獨無依。3.離:分為長庚,劫財,官鬼,失脫,凶。長更: 生離死別。劫財: 財產被奪掠。官鬼: 官司,遭小人。失脫: 遺失財物,六親失落。4.義:分為添丁,益利,貴子,大吉,吉。添丁: 生男孩子。益利: 賺大錢。貴子: 兒子生官。大吉: 事事順利。5.官:分為順科,橫財,進益,富貴,吉。順科: 考試順利,心想事成。橫財: 意外之財。進益: 遂心所欲。富貴: 名利雙收。6.劫:分為死別,退口,離鄉,財失,凶。死別: 家人早亡。退口: 家人死亡。離鄉: 離開家鄉,向外發展。財失: 賊盜或房屋內失竊。7.害:分為災至,死絕,病絕,口舌,凶。災至: 意外災禍。死絕: 家人歿落。病絕: 家人多病。口舌: 發生口角。8.本:分為財至,登科,進寶,興旺,吉。財至: 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"<span>民間神明仍具有祖先性質,仍然需要飲食,因而賦予佛教的沉檀香一種食物的想象,來供奉給神明,一如民間所說「凡人以五穀為食,神仙才以香為食」。把沉檀香當做一種象徵食物來供奉神明,表現出民間信仰中,香所具有的食物意象,香爐與爐火等等的意義叢結。<br><br></span>台灣<span>民間信仰所使用的香,大多是由香行提供。<br></span><br>香的形式可有:香枝(柱香)、香塔、臥香、丸香、香末(香粉)、香油、盤香(或稱香鐘,吊掛在廟庭前,可燒十天至一、二個月)、環香(家中或供桌上使用,可燒十數小時)以及素材(或作肅材,香木片或塊狀)⋯等。<br>", "musicName": "無", "musicTip": "聽導覽", "weight": 31, "secondaryObj": { "oid": "9f98ebcbebbbc6e88aafe0e97c830348", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/cf376df3da56d6cd324b58332ed39d0c.jpg?itok=9HZAmp6L", "level": "secondary", "title": "三界公爐/F02493", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/cf376df3da56d6cd324b58332ed39d0c.jpg?itok=BSNP1_Sq", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/cf376df3da56d6cd324b58332ed39d0c.jpg?itok=V1MboyOz", "thumbBigURI": 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"道士、法師、與乩童(及尪姨)是台灣民間宗教裡,人與超自然物(神、鬼、祖先等)之間的媒介。道士與法師是儀式專家,他們並不傳教,只負責儀式的進行,他們透過儀式、法事跟超自然物溝通。乩童則是人跟超自然物之間最直接的媒介,因為超自然物沒有肉體,所以必須藉著乩童(及尪姨)的身體來行為、說話。乩童除了被神附身時(也有些乩童並不被神附身)代神傳達旨意、回答信徒問題外,也跟法師、道士一樣執行某些儀式,如開光、祭解、擇日、開廟門、過火、點兵等。因此宗教儀式可由道士、法師來執行,也可由乩童(在神明附身時,代表神明)來執行。\n「法師」一詞被用來指涉許多種人(包括比丘在內),此處所稱的法師為南台灣所稱的法官或小法,法師在台灣北部較為少見,在台灣中南部較為常見。道士、法師所處理的儀式大約可分為廟事、私人法事、喪事三類,然而也因地域而有區別。廟事為廟方委託的建醮、禮斗、祭解、過火、放兵、賞兵、普度等等儀式,在台灣<span>北部這類的工作幾乎都由道士所承擔。法師除了無法承擔建醮的工作之外,跟道士一樣可從事各類廟事、私人法事、甚至喪事。私人法事為私人委託的祭解、補運、打城、栽花換斗、淨宅等等儀式。喪事為功德法事,北部的道士不參與喪事,因此北部的喪事都由另一種被稱為「釋教」的佛教徒處理;南部的喪事由道士負責居多,但也有法師處理。以上的說明大約如本表格:<br><br></span>除了上述的工作內容,道士、法師、乩童在外觀上最大的差別在於儀式的排場、服裝。乩童辦事時穿日常衣服,以前不穿鞋,現在不一定;操五寶時會脫掉上衣,通常打赤腳。法師因派別不同,會在腰間圍上龍虎裙或白裙,頭上綁紅巾,可能戴法眉。道士則依儀式場面的不同而穿海青、道袍、或絳衣等不同的服飾,頭上戴網巾、冠。<br>", "musicName": "無", "musicTip": "聽導覽", "weight": 47, "musicText": "", "musicURL": "" }, "basic-6372awhr6d": { "id": "basic-6372awhr6d", "type": "basic", "sortable": true, "primaryObj": { "oid": "94fa0432ef514ebf65ffe9ea035abb19", "fileType": "image", "fileURI": 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"台灣絕大多數的道士都是傳自江西龍虎山的正一派火居道士,幾乎都靠科儀、法事為生。台灣北部的道士以從事醮事以及各式私人法事為主,因為他們不從事喪事(黑事),因此被稱為紅頭道士,自稱正一派;南部的道士則以從事醮事、私人法事及喪事為主,因此被稱為鳥頭道士,也被稱為靈寶派。台灣<span>北部還有禪和、清微、瑜珈、老君等人數較少的道派。然而不論紅頭、烏頭或各派道士,都戴黑色網巾。正一派道士幾乎都是男性,禪和等派則不分男女。<br><br></span>正一派道長通常設立道壇,父子相傳。道士受雇於道長,但多半的道士仍然以道士為副業。道士之晉升道長,並無定制。台灣北部多半到天師府或其他各派宗師府奏職,台灣<span>南部則流行爬刀梯作為晉升道長之宣示。<br></span><br><span>道士科儀之最高表現為建醮。醮可分為清醮、王醮、祈安醮、慶成醮等,道士在醮典中經常要稟告上界高神,因此有時身穿絳衣、朝靴,手拿奏板(笏),身戴朝珠,非常氣派華麗。<br></span><br>台灣近一、二十年來也有前往大陸學習的全真派道士,他們作全真道士之打扮,演出全真科儀(因為學習的地點不同,演出的方式也稍有不同)。大陸北方之全真道士必須出家,但在台灣,道長通常並未嚴格要求弟子出家。<br>", "musicName": "無", "musicTip": "聽導覽", "weight": 50, "musicText": "", "musicURL": "" }, "embed_html-y69ahcwvy8": { "id": "embed_html-y69ahcwvy8", "type": "embed_html", "sortable": true, "weight": 51, "embed_html": "<div class=\"blank-horizontal\">\n<iframe id=\"muse-curation-iframe\" src=\"https://openmuseum.tw/embed/anotation/186208?scroll_dis=1\" frameborder=\"0\" scrolling=\"no\" width=\"100%\" height=\"800px\"></iframe>\n</div>" }, "basic-2soa695b1y": { "id": "basic-2soa695b1y", "type": "basic", "sortable": true, "primaryObj": { "oid": "1ba79a8e40b602707ad2eea18cc26b2c", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/ebb97820c3106181ce10971004e757dd.jpg?itok=OjEX_wmo", "level": "primary", "title": "穿著華麗的屏東乩童", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/ebb97820c3106181ce10971004e757dd.jpg?itok=ANF5C06w", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/ebb97820c3106181ce10971004e757dd.jpg?itok=E_KLSraj", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/ebb97820c3106181ce10971004e757dd.jpg?itok=rWKhFVGp", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/ebb97820c3106181ce10971004e757dd.jpg?itok=mwEcmnxj", "mfid": "ebb97820c3106181ce10971004e757dd", "musicURL": "", "musicName": "", "fileCreator": "郭清泉", "rights": "中研院民族所博物館 Museum of the Institute of Ethnology, Academia Sinica", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false }, "title": "乩童", "desc": "<u></u><span>乩童大致可分為替地方公廟服務的業餘乩童,以及在私人神壇辦事的職業乩童。業餘乩童主要的工作,是在有人到廟裡問事時,被神附身回答問題(這時往往服裝整齊),以及在廟方各式儀式慶典時操五寶以展現神威(這時赤裸上身)。私人神壇的職業乩童,則以被神附身、回答信徒問題為主要工作。某些地方(如屏東)有些乩童在廟會時會穿上華麗的衣服,或把臉塗成不同的顏色,成為當地的特色。<br></span><br>乩童以男性居多,但女性乩童亦不乏見。台灣<span>還有一種與乩童性質相近的靈媒,稱為尪姨。兩者最基本的差別是乩童被神附身,尪姨則在牽亡場合讓亡魂附身。<br></span><br>神明透過乩童講話,是神、人之間最常見的溝通方式。除了乩童以外,神與人之間的溝通也可以透過扶鸞、手轎、觀大駕等方式。台灣在過去三十幾年來興起跑靈山的會靈風潮,許多靈山派信徒到了會靈地點(如靈山、宮廟前)都會不由自主的手舞足蹈,好似乩童被神明附身,所以大家稱他們為「靈乩」。", "musicName": "無", "musicTip": "聽導覽", "weight": 52, "musicText": "", "musicURL": "", "secondaryObj": { "oid": "560982e94cd278e65fe55c06fb7e86b2", "fileType": "image", "fileURI": 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"<h3><b>策展人(依姓名筆劃排序)</b></h3><div><div>丁仁傑<br>葉春榮<br>張珣</div><div><br><b>實體展示協力<br></b>中研院民族所博物館<b><br></b>黃宣衛、曾瓊瑩、許善惠、楊雯娟<br></div><div><br><b>數位展示協力<br></b>中研院民族所博物館<b><br></b>林文玲、林宸廣</div><div><br></div><div><div><b>開放博物館協助人員</b></div><div>呂倩瑩、劉祐溥、謝佳穎</div></div><div><br></div></div>", "weight": 70 } }
張珣葉春榮丁仁傑中研院民族所博物館