臺灣「觀音媽聯」圖像研究

A Study on the Iconography of “Guan-yin-ma-lian “in Taiwan

賴文英(Wen-Ying Lai)

指導教授 ： 顏尚文

共同指導教授 ： 張勝彥

國立臺北大學/人文學院/民俗藝術研究所/碩士(2008年)

摘要

「觀音媽聯」是臺灣漢人傳統民宅正廳常見的神明圖像，以觀音為主神，並搭配媽祖、關公、司命灶君、福德正神等民間神衹，成為家宅守護神。其外在形式為眾神圖像，其內在層次則涉及信仰範疇。本論文研究之目的，希望透過對「觀音媽聯」圖像的研究，探討其圖像源流、發展脈絡以及圖像內涵，以期彰顯「觀音媽聯」圖像背後的信仰內涵與思維模式，進而理解民間信仰的內在結構，將「觀音媽聯」置於歷史發展之架構下檢視，賦予其應有的歷史定位。
「觀音媽聯」在臺灣有其時間與空間上的發展，因此本論文蒐集臺灣各博物館、文物收藏家所收藏之相關作品，以及地方志、出版圖錄等文獻資料，鋪陳出「觀音媽聯」不同時期的發展；並查訪目前仍以手繪方式製作「觀音媽聯」之畫師，擇取其中值得論述者，包括臺南、彰化、宜蘭，各代表臺灣南、中、北部，了解其地域性特色。
在研究方法上以文獻整理與田野調查為基礎，以歷史學方法整理圖像與文獻資料來建立其發展脈絡，並援引圖像學方法分析圖像結構、特徵與內涵，同時結合宗教學來探討圖像所涉及的民間信仰內涵。
本論文分緒論、「觀音媽聯」圖像源流、圖像發展、圖像分析、信仰內涵以及結論共六章。透過本論文之研究可知「觀音媽聯」與漢人傳統的年畫習俗有關，其中的眾神圖像有鎮宅平安之作用，是家堂的守護神。「觀音媽聯」以觀音、司命灶君與福德正神為圖像基本結構，此圖像結構也是其信仰的基本結構──「家宅三聖」。以家宅三聖為基礎，陸續進入家堂的眾神也反映民間的信仰觀，其中最常見的是媽祖與關公，與「家宅三聖」合為「家堂五神」，是臺灣最普遍的全國性神明。此家神體系之特色有三：一是佛教觀音進入家堂位居主神；二是以觀音、司命灶君與福德正神組成的「家宅三聖」；三是以觀音結合民間諸神衹的家神體系，形成獨特的臺灣民間信仰內涵。

關鍵字

觀音媽聯 ； 家宅三聖 ； 家堂五神 ； 家神

並列摘要

“Guan-yin-ma-lian” is the common image of God in the hall of Taiwanese Hans’ traditional residences, which mainly worships “Guan-yin” and usually accompanies with other familiar Gods such as “Mazu”、“Guan gong”、“God of the Kitchen” and “Village god” to guard our home. It doesn’t only represent the images of Gods but also the categories of faith. The research purpose is to explore its source、development and further meaning by “Guan-yin-ma-lian”, and manifest the content and the thought of faith and then understand the external structure of folk religion, finally we could inspect its contribution to Chinese culture and offer it an important position in the history.
“Guan-yin-ma-lian” had different development with the different period in Taiwan, thus in order to understand the change of development, we collected the related documents and materials from Taiwanese museums and the relative collectors, also including local literatures and publishing illustrations; we also visited the valuable painters who still elaborately portrays “Guan-yin-ma-lian” at present, including in Tainan、Zhang hua、Yilan to show the regional characteristic.
The main method is based on literature collection and field study, we also established its relation through science of History to inspect literature and illustration and the science of Iconography to analyze the structure、feature and content of the image, and furthermore incorporated science of Religion to study the content of folk religion.
We could know “Guan-yin-ma-lian” has the connection with Hans’ tradition of lunar new year's painting, whose prime function is guarding our home and blessing our safety, which is our guardian god. The basic structure of “Guan-yin-ma-lian” is “Guan-yin”、“God of the Kitchen” and “Village god”, which also the basic structure of faith -- “Three saint of home”. Sometimes it also combines “Matzu” and ”Guan gong” to become “Five gods of home”, which is common in folk religion. The system of the aforesaid has three characteristic: firstly, “Guan-yin” is the prime position; secondly, “Three saint of home” consist of “Guan-yin”、“God of the Kitchen” and “Village god”; thirdly, combined with “Guan-yin” and civil various Gods to compose the God system , and finally become a special folk faith.

並列關鍵字

Guan-yin-ma-lian

參考文獻

吳榮賜，《臺灣媽祖造像美學研究》，淡江大學中國文學系/碩士/2005。

李亦園，《信仰與文化》，臺北：巨流圖書，1978。

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于君方，〈寶卷文學中的觀音與民間信仰〉，《民間信仰與中國文化國際研討會論文集（上冊）》，臺北：漢學研究中心，1994，頁333-351。

陳清香，〈李梅樹的佛教畫〉，《鄉土、人文、藝術──李梅樹教授百年紀念學術研討會論文集》，三峽：臺北大學人文學院，2001，頁1-13。