紙糊大士爺及其儀式的探討：以新埔枋寮義民廟2009年中元為例

A Study of the Paper-made Dashiye and Ceremony：An Example of the 2009 Hsinpu Yimin Festival

嚴苹菁(Ping-Jing Yen)

指導教授 ： 羅烈師

國立交通大學/客家文化學院/客家文化學院客家社會與文化學程/碩士(2011年)

https://doi.org/10.6842/NCTU.2011.00051

摘要

本論文以2009年枋寮義民節祭典儀式之紙糊大士爺為觀察對象，論文包含兩大主軸，一為紙糊大士爺的製作過程，另一則為描述祭典中大士爺從開光迄火化的整體儀式過程，並據此討論大士爺的儀式意涵。
關於紙糊大士爺方面，首先勾勒新竹縣糊紙藝師傳承圖像，描述新埔、關西地區糊紙行業及其發展，並比較各家糊紙作品之特色。其次，以圖文並列方式，呈現紙糊大士的糊紙工具、材料、零件及製作技巧和步驟，詳述製作大士爺臉部、剖竹做骨架及組合過程，探討紙糊大士爺之裝飾配件及其意涵。
關於大士爺相關儀式方面，本文觀察並記錄義民廟義民祭典儀式，聚焦於祭典中之大士爺從紙糊完成後，歷經開光、鎮守、出位與火化四個階段。在這個歷程中，大士爺經和尚「開光點眼」，成為普度祭典中鎮守廟門的「鬼王」，管理普度會場，至儀式最高峰之天廚正供結束後，大士出位，最終火化。
從開光賦予生命，終以火化結束其儀式角色，糊紙形式的大士爺相當巧妙地表達了大士爺短暫的形貌；而這也使得相關的民俗技藝產業得以投入大士爺之紙糊行業，從而豐富了普度祭典文化的內涵。
最後，本文藉由觀察糊紙大士工藝的長期變遷，一窺糊紙技藝的傳承與創新，進而提出糊紙工藝的保存及未來發展之走向。

關鍵字

糊紙 ； 大士爺 ； 中元祭典 ； 普度 ； 義民廟

並列摘要

This study observes the paper-pasted Dashiye in the 2009 Fangliao Yimin Festival rituals. The research contains two themes: 1) the production process of the paper-pasted Dashiye, 2) the overall ritual process from Dashiye’s Opening of the Eyes to Cremation; this is used to discuss the ritual content of Dashiye.
In regards to the paper-pasted Dashiye, this paper delineates the picture of inheritance of the Hsinchu County paper-pasting craft, and describes the paper-pasting industry in Hsinpu and Guanhsi and its development. With both image and text, this paper then describes the paper-pasting tools, materials, components, as well as manufacturing techniques and steps for the paper-pasted Dashi, providing a detailed description on the process of producing the Dashiye’s face, cutting bamboo to make the framework and the process of assembly, and explores the accessories of the paper-pasted Dashiye and their significance.
In regards to rituals relating to Dashiye, this study observes and records the Yimin Festival rituals of Yimin Temple, focusing on the Dashiye of the ritual after the completion of paper-pasting, and passing through the four stages of Opening of the Eyes, Guard Position, Departure from Position, and Cremation. In this process, Dashiye “has its eyes opened” by the monks, and became the “ghost king” that guarded the temple gates, managed the site of the Deliverance ritual, and after the climax of the ritual, the solemn dedication to the Heaven God, Dashiye departs from its position and is ultimately cremated.
From animating Dashiye by putting in pupils of its eyes to terminating its ritualistic role by cremation, the paper-pasted Dashiye intricately expresses its short-term appearance. This also allowed related folk craft industries to devote themselves to the paper-paste business of Dashiye, which enriched the content of the Deliverance ritual culture.
Through the observation of long-term changes of the craft industry of paper-pasted Dashiye, this study has gained a glimpse into the heritage and innovation of the paper-pasting craft, and in turn, proposes ideas on the preservation of the paper-pasting craft and directions for future development.

並列關鍵字

paper-pasting ； Dashiye ； Ghost Festival ； Deliverance ； Yimin Temple

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