制度性與在地化：臺南府城靈寶道壇《獻供》科儀音聲中行為的發生和表現

作為臺南靈寶道壇齋、醮儀式中對神明進呈物品的《獻供》科儀逢午必獻，將現行的科儀解構，不論是在齋或是醮，儀式均可分成前、後兩個部分複合組成。前者為具神聖性與制度性的齋壇或道場科儀，有其歷史上的傳承與淵源，道壇為豐富演法內容不使重複，在主體獻供文有〔七獻〕、〔九陳〕、〔九陳答白〕和〔九大羅〕的區分和運用。後者則是科儀傳播到民間後的民俗化與在地化的表現，依實地調查，此部分相較其他的道場儀式在行儀上有著較大的可發揮空間，常顯出高功腹內的涵養──宣行中曲韻、曲辭的組織運用，和唱曲的表現功力──提供了高功展技的舞台。道教儀式透過唱、唸等音聲與身體行動，作為貫穿科儀的媒介及手段，音聲行為於此，除扮演對儀式的輔助和催化的角色，更是實踐儀式的必要條件，本文擬從《獻供》科儀音聲中行為的發生和表現，為其所反映出的現況以及科儀承載的信仰內涵作中心討論和說明。

關鍵字

獻供；獻敬；七獻；九陳；九陳答白；音聲

並列摘要

In the jiao and zhai ceremonies of Tainan Lingbao altars, rites called ＂offerings＂ performed to present offerings to deities consist of the first and the second parts. The first is a sacred and institutionalized ceremony, transmitted from a historical origin. Altars can pick from a broad repertoire of texts to carry out this part, including texts called qixian, jiuchen, jiuchendabi and jiudaluo. The second part is the result of a process of folklorization and localization. Observations from the field show that this part offers the officiating priest a stage to show off his skills through variations in melodies, lyrics and performance, more than is usually possible in other rites. By varying the way in which certain parts are sung or recited and by using specific bodily movements, the way a rite is performed plays its part in expressing the meaning of the rite. This means that sounds and movements do not just play an auxiliary or catalyzing role, but are essential elements in the practice of a rite. By analyzing the musical behavior and performance of the Offering rite, this paper will discuss the current situation of the rite and its religious connotations.