祀孔人文暨禮儀空間之研究—以臺北孔廟為例

中國自古以禮治國，禮儀思想不僅建構在人與人、人與事的關係，也建構在對祖先及聖賢的崇祀禮儀，數千年來一直影響中國人的人生哲學，祭祀至聖先師孔子的釋奠禮，即源自中國古代的祭祀禮儀。孔子神位原依古制，坐堂內西楹東向。739（唐開元27）年，孔子被封為文宣王，賜穿王者袞冕之服，祭祀改用帝王規格的「宮懸樂」，廟內的孔子神座也因此調整為南向，改變了長達一千二百餘年（B.C.478－739）尊孔子於西的舊制。自此以後，祀禮原「強調左右階，讓神道於右」的傳統觀念逐漸淡薄，影響了往後祀儀空間的結構發展。 20世紀廟學解構後，祀孔禮樂又經歷重大的變革：中國大陸歷經文革破壞後，祀孔禮樂形同瓦解；臺灣各地，前半世紀在日人統治下禮樂雖難以周全，但民間崇祀不斷；後半世紀，臺北孔廟在中華文化復興及民主主義的背景下，作了「復明制」的禮樂改進，影響臺灣各地原循清制的禮樂發展，復因居全臺首善之都，每年隆重的祀孔古禮繫千古於一線，是今世界上僅存官方祭孔儀式中最重要的指標。本研究首先透過孔子神位的變遷，探討不同時代的釋奠儀序空間的演變；次就祭禮舞、樂、儀序的變化、承祭人文的發展，分析「釋奠儀序的結構性」及「與中國傳統禮制空間概念」的關係。再經由臺北、臺南、曲阜三地孔廟儀序空間的對比，比較釋奠禮樂「古今」及「異地」發展的異質性與同質性。最後，整理分析臺灣孔廟在殖民背景下，「承祭人文及釋奠儀序空間的變化」、「民間音樂團體與祀孔人文圈的關係」；臺灣光復後，「民主政治的發展，對人神間價值觀及釋奠儀序空間的轉換」，作為釋奠古禮無形文化財「傳承」與「保存」的見證。

關鍵字

孔子祭；祭孔；釋奠；祀孔；禮儀空間；古禮；禮樂；孔廟；佾舞

並列摘要

Chinese people have always run the country with courtesy since the ancient times. The thoughts of courtesy is not only constructed to the relationship of people-to-people or people-to-manner, but also on the worship ceremony to our ancestors and saints and sages. It has great influence on the philosophy for thousands of years. The Confucius Ceremony to worship the greatest sage and teacher, Confucius, can be traced back to the ancient Chinese worship ceremony. 　 According to the ancient system, Confucius’ tablet was originally placed in the west of the temple and faced to the east. In 739 A.D, Confucius was ennobled as Wen-Hsiuan King, and granted to wear the costume of an emperor. In addition, the worship ceremony altered to Kung-Hsiuan-Yue which was used for royalty. From then on, Confucius’ tablet began to face the south. The tradition respecting Confucius in the west finally ended after lasting for 1200 years. Afterwards, the thoughts of honoring gods in the right become thinner and thinner. It affects the structural development of the worship ceremony on ritual transpositions. Once again, the worship ceremony of Confucius underwent a great modification after the Temple-School System broke down in 20th century. Because the culture revolution broke out and destroyed Mainland China, the worship ceremony seemed to collapse there. In contrast, in Taiwan, although it’s difficult to make it thorough under the govern of Japanese people in the former half century, the non-governmental worship never stops. In the second half century, under the background of reviving the Chinese culture and democratism, Confucius Temple of Taipei made some improvements to go back to the rules of Ming Dynasty. It differed from the original ritual and musical developments which followed the systems of Chin Dynasty and be performed everywhere in Taiwan. Besides, for being located in the capital city, the impressive ceremony of worshipping Confucius every year is one of the most important official ceremonies in the world. Through the transpositions of the tablet, the first purpose of the study is to know the order and the space of the Confucius Ceremony in different times. Secondly, by the changes in the dance, music and order in the ceremony, and the development in characters, the study analyzes the relation between the structure of the Confucius Ceremony order and the transposition concepts of Chinese traditional rite. Moreover, with the contrasts among the Confucius Temples in Taipei, Tainan and Chufu, it compares the developmental homogeneity and heterogeneity in different times and places. Last, under the colonized background, the study tries to know the changes of characters and transpositions in the Confucius temples in Taiwan and the relation between the folk music groups and the character circle of worshipping Confucius. After the revival from Japan, all the democratic and political development, the concepts of value between human and god and the transpositions in the Confucius Ceremony can witness the pass on and preservation of the invisible culture wealth.

並列關鍵字

Confucius Temple ； Ritual Dances to Confucius ； the Ancient Chinese Worship Ceremony ； Confucius Ceremony ； Confucius rites ； the Space of the Confucius Ceremony ； the Original Ritual and Musical