台灣普度宴看生之研究

A Study of Taiwanese Pu Tu Feast and Visual Immolations

郭家冶(Chia-Yeh Kuo)

指導教授 ： 江韶瑩

國立臺北藝術大學/文化資源學院/傳統藝術研究所/碩士(2007年)

摘要

普度宴在普度場合具有重要的存在性。對鬼神而言，是豐盛的佳餚；對世人而言，不但作為避免鬼魂作祟的媒介物，更是具有求平安、過厄運、吉祥增福的內在意義。整個普度儀式中若沒有擺設普度宴與相關祭品，恐怕不能順利完成整個儀式過程。然而現今祭拜過程因為人事物的變遷與傳統知識的斷層，讓普度宴的擺設遭到簡化或是面目全非，使得這項值得研究的祀宴文化將會越來越難考究。
看生，是普度宴中重要的擺設，是民間普度和醮典中的特色，融合雕、編、塑、糊、繪藝的綜合性民俗工藝作品，也是飲食文化中的供食藝術。製作的過程以食物為工藝材質，也因為食物不易存放的因素，難以保存下來，並隨著普度宴遭到忽視也逐漸沉疾。近年來政府單位與民間團體再度提倡看生在普度的存在性，但重點卻放在看生的裝飾藝術美感，使得原本另一度化眾生的深層涵意被掩蓋下來，如何再呈現最初的意義，是本文問題意識所關切之要點。另外從工藝的角度看待看生的發展，原就具有歷史性、地方性、傳承性與變異性等特色，所發展出的多元性格以及相關文化、信仰脈絡與社會使用情境，亦是本篇論文關切的重點。再者，製作看生所使用的材料及其工序、工法也因為時代的改變與原料的改良，而有巨大的改變，今昔異同的問題，也是筆者亟欲探尋的。
本文以文獻解讀與整理分析普度宴與看生的歷史傳統，並以實際田野觀察，以社會人類學、民俗學與民族誌的方法了解現況與應用，探討社會情境和文化脈絡。歸結研究內容有五：（一）探究普度宴的脈絡發展與其產生之背景因素。（二） 呈現普度宴的實質/象徵意義，建立其在普度儀式場合中的重要性。（三）探討並分析看生工藝的內涵精神、造型圖像、符號裝飾的象徵意義。（四）建立台灣看生藝師的脈絡與發展。（五）探討看生工藝在現今台灣文化所扮演的角色、地位及其現況。期能一窺台灣普度宴與看生之文化全貌。

關鍵字

普度宴,看生,漢食,飲食文化,普度

並列摘要

This thesis examines the diminishing religious tradition, Pu Tu feast, and its special offerings, visual immolations. During a Pu Tu ceremony which is held regularly in lots of temples around the island, followers prepare a sumptuous feast for gods and ghosts, trying to avoid ill fortunes and pray for good luck. Yet as time passes, the settings of Pu Tu feasts have been simplified or totally changed, which makes it difficult to do any further studies. Meanwhile, visual immolations, the characteristic offerings usually shaped into traditional characters are also gradually overlooked due to the fact that they are hard to preserve. Those immolations are folk crafts combining the skills of weaving, sculpting, painting, and pasting and are mostly made from flours or other ingredients that get rotten easily. Recently, though, the government and the local groups seem to encourage those traditional folk arts, they still regard the works as decorations rather than objects that carry deeper inner meanings.

The study used a social history approach which is mainly based on the analysis of research data collected from archival documents. It shows the way Pu Tu feasts are held today by interviews and the author’s observations of various religious ceremonies through fieldwork conducted in Taiwan. Furthermore, it examines the process of making visual immolations, including the materials and duration, and compares the differences between the process nowadays and in the past.

The major results of the thesis are as follows: (a) the brief history of Pu Tu feasts; (b) the significance of Pu Tu feast in the ritual ceremonies; (c) analysis of the inner meanings of the folk crafts, visual immolations;(d) the development of visual immolation craftsmen;(e) the current status of visual immolations in Taiwan. All of these outcomes are aimed to have more insight of Pu Tu feasts and visual immolations, the traditions that both exist for a long time in Taiwan.

並列關鍵字

Pu Tu Feast, Visual Immolations, Chinese feast,Dietary Culture,Pu Tu

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