當代台灣文創產品的文化淵源：以電音三太子、好神公仔與龍圖騰為例

An Investigation into the Cultural Origins of the Contemporary Cultural Creative Products (CCP) in Taiwan: Electric-Techno Neon Gods, How-Shen (Good Gods) Deity Doll and Chinese Dragon Totem

柯亞先(YA-HSIEN KO)

指導教授 ： 黃克武

香港珠海學院/研究中心/中國文學及歷史研究所/博士(2014年)

摘要

本研究以電音三太子、好神公仔與龍圖騰為例，探究「當代台灣文創產品的文化淵源」。研究結果顯示：
一、代表性文創產品攸關的各神衹之起源十分多樣化，分述如下：(一) 哪吒：傳說人物，最早見於北涼 (西元401-439) 的《佛所行讚》。(二) 文昌帝君：是歷史人物 (張亞子) 結合自然崇拜 (文昌宮六星) 而成，據元代馬端臨《文獻通考》記載：梓潼神張亞子，仕晉 (西元265-420)，戰沒，人為立廟。(三) 月下老人：是自然崇拜 (月神) 之衍生，首見於唐代李復言《續幽怪錄》的〈定婚店〉篇。(四) 武財神趙公明：傳說人物，其來源有二：1. 東晉陶潛所著《搜神後記》云其為秦代人 (西元前221-前206)，得道于終南山。(2) 漢代之《典籍實錄》云其為上古「日之精」。(五) 龍神：龍是傳說中的動物或圖騰。本研究採擷西元前5400 年－西元前1000 年為止的考古遺址，經彙總、整理與分析之後，並未發現任何明顯而直接的證據，可以證明完整「龍圖騰」造形的產生，是因為族群融合的緣故；亦即中華龍圖騰是「原生圖騰」的可能性很高。龍神信仰可概分為兩個體系：水雨龍神 (包括水神和雨神)與后土龍神 (涵蓋山神在內的土地之神)。水神方面，正史中最早出現「龍王」這個名詞的是《北史．西域傳》。雨神方面據《舊唐書》記載，唐代時始納五龍祠為「小祀」。后土龍神的淵源則應是來自「社稷之祀」。
二、神衹職能不變者只有月老，自唐代以來就扮演類似「媒人」與「判官」兩者複合的角色。隨著時間的推移，神衹職能均會有所調整或改變，如梓潼神張亞子由唐代的「戰神」身份，轉為宋代「掌管科舉考試」的文昌帝君。
三、神衹角色之轉化受膾炙人口小說的影響至深，研究結果發現：(一) 小說的敘述影響了民間信仰：如月老信仰是因唐代《續幽怪錄．定婚店》而起。(二) 民間信仰成為小說故事之一環，再由小說的敘述影響了民間信仰，兩者「交替影響」：如趙公明自東晉以迄明代（歷經一千年左右），其職能均為「掌管瘟疫、疾病或死亡」的有關事務，後來受明代神怪小說《封神演義》的影響轉變為「武財神」。
四、自漢代以迄清代，有的神衹曾被列為朝廷正祀（文昌帝君、龍神），有的始終被視為淫祀（哪吒太子爺、月老、武財神趙公明）。日據時期因1936 年「皇民化運動」並進行寺廟整理的影響，對於中華神祇的寺廟進行焚燬神像的迫害行為，造成台灣民間信仰的浩劫。
五、今日台灣道教蓬勃發展，信眾會準備各種供品奉祀神衹，這些供品均含有吉利的諧音或隱喻，是台灣特有的文化產物，值得文創產品故事行銷者深入瞭解。

關鍵字

文化創意產業 ； 哪吒 ； 文昌帝君 ； 月下老人 ； 財神龍圖騰 ； 龍神

並列摘要

This study uses the following cotemporary Cultural Creative Product (CCP) cases to investigate into the cultural origins and background leading to the creation and development of these CCP figures: Electric-Techno Neon Gods, How-Shen (Good Gods) deity dolls, and Chinese Dragon totem. The study results are summarized in the following:
(1) The cultural origin and myth behind each CCP varies widely: some evolved from worshiping a nature object, some were derived from famous heroes and supernatural beings in old sayings; others might come from famous historical figures in conjunction with Chinese constellations mythology or from the stories of Chinese folk religions.
(2) The said responsibility of each deity usually evolved along the historical timeline. For example, Wenchang Dijun was worshiped as a heroic worrier spirit in the Tang Dynasty (618 – 907 AD), known as Zitong Deity who was later transformed into a God that blessed scholars and exam takers during the Song Dynasty (960-1279 AD) when the Imperial Examination was greatly expanded. The only one exception was Yue-Laou, whose role as the god of match maker and judge has not altered much since Tang Dynasty.
(3) The roles of deities were found to be greatly influenced by the contemporaneous novels. In the meantime, popular novels also wove folklore stories into their main topics. Therefore, both popular novels and folklore tales influence each other significantly.
(4) Some deities, such as Wenchang Dijun and Dragon God, were elected to be included in the royal temple and received official offerings since Han Dynasty (~200 BC), which increased its influence to civilian culture and custom. However, during the period of Japanese invasion and Immigration to Taiwan (1874 - 1945) a large number of folklore temples and cultural practices were purposely destroyed by the invaders, which caused a huge damage to the custom and CCP in Taiwan.
(5) The Taoist temples flourished nowadays and became very popular in Taiwan. Worshipers usually prepare various offerings for their respected deities; many of which embed connoted luckiness, some also with good fortune verse. These artifacts are unique cultural products developed and evolved in Taiwan, which will have significant impact to the local Cultural & Creative Industry.

並列關鍵字

Cultural Creative Product (CCP) ； Cultural and Creative Industry (CCI) ； Chinese Dragon Totem ； Dragon God ； Wenchang Dijun ； Yue-Laou ； Cai Shen ； NeZha The Third Prince ； Electric-Techno Neon Gods ； How Shen deity dolls

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