高振宏。〈日治時期大稻埕霞海城隍祭典的組織與審查制度研究〉。《民俗曲藝》186 (2014.12): 181-229。
Kao
Chen-hung. “Study on the
Organization and Review System of the Xiahai City God’s Temple Festival during
the Japanese Colonial Era.” Journal of Chinese Ritual, Theatre and
Folklore 186 (2014.12): 181-229.
Abstract
本文透過《臺灣日日新報》中的報導，佐以田野調查，嘗試建構日治時期臺北霞海城隍祭典活動的樣貌。文中分「祭典組織」、「審查制度」兩個大面向來進行討論：第一節中討論了霞海城隍與海內派、厦郊金同順的關係，透過文獻的比對來梳理彼此間的糾葛關係。霞海城隍爺係由海內陳家奉祀來臺，但建廟與祭典都是由掌握當地權力的厦郊金同順的鼓吹、承辦，可是因城隍祭典所賣紙枷收入甚鉅，許多爐主借機中飽私囊，而金同順內部又一直無法提出具體的管理辦法，因此才在大正七年（1918）與海內派爆發嚴重衝突。之後雖成立祭典委員會，但實際的祭典仍是交由金同順主導，只是經過此事件之後，「厦郊金同順」這個公號已擴大到大稻埕當地紳商，不再限於原有的什貨商，但兩派心結始終未解，延續至今日。第二節則透過審查制度來勾勒霞海城隍祭典的實況。文中以為日治時期是個商業廣告盛行的時代，廣告被視為一種現代化的表徵，風潮所及，傳統廟會祭典的藝閣也被要求要具有廣告意味，因此大正九年（1920）時由乾元行發起、聘請官紳與記者進行藝閣、音樂團審查獎勵。「藝閣」審查以能結合故事（傳統）與廣告（現代）的「意匠」為高分，而「音樂團」則是以展示軒社文化品味的「旗幟文物」為高分，是一種以傳統為主、結合現代思維為輔的紳商品味。這點觀察相當程度扭轉現今多以廟會祭典為俚俗的印象，日治時期城隍祭典便在紳商階層的主導之下，展現出複合傳統文化（故事典故）與現代化（廣告）、雅與俗的面貌，與北港媽祖祭典成為當時臺灣兩大廟會典範。此外，城隍祭典也促使其他區域人口往臺北市輻輳，而祭典時廟與廟、軒社與軒社的交陪、相挺關係則促使臺北市人口往其他大小區域輻散，在臺灣島內形成區域互動，促使各區域間經濟與人群的相互連結發展。
In
this study, I make use of reports from the Taiwan
Daily News, supplemented by my field investigation, to construct the
circumstances of the Xiahai City God’s temple festival during the Japanese
colonial era. I approach the issue from two perspectives, the festivity
organization and the review system. In the first section, I compare and analyze
documents to disentangle the complicated relations between Xiahai City God
Temple, the Hainei coalition, and Xiamen Chamber of Commerce Jin Tong Shun. It
was the Chen family of Hainei coalition that brought the Xiahai City God to
Taiwan. However, the temple construction and funds for festivities were either
promoted or handled by Jin Tong Shun which wielded local power. The profits
from selling paper cangues during the temple festivals were so huge that many
representatives of the festival organization embezzled this money to line their
own pockets. Jin Tong Shun had failed to suggest effective management
solutions. As a result, severe clashes occurred between the Hainei coalition
and Jin Tong Shun in 1918. Although a festival committee was organized
afterwards, Jin Tong Shun still controlled the actual management. The only
change was members of “Xiamen Chamber of Commerce Jin Tong Shun” had expanded
from the original retail sellers to include local gentry merchants of
Dadaocheng. Yet, both sides have still held a grudge against each other up to
today.
The
second section describes the Xiahai City God’s temple festival through the
review system. The Japanese colonial era was a time when advertisements
prevailed. Advertisements were considered an indicator of modernization. Under
such circumstances, traditional festival palanquins were required to carry
advertisements as well. In 1920, the Qianyuan Company took the initiative and
invite officials, gentlemen, and news reporters to rate and give awards to the yige festival palanquins and musical
troupes. Festival palanquins that featured a combination of traditional stories
with modern advertisements won the higher scores. Whereas, judges for musical
troupes showed a preference for banners and artifacts that best embodied the
troupe’s sophistication. The competition represented a taste of the gentry
class that gave priority to tradition, with an integration of modern innovation.
This observation serves to reverse the existent prejudice that temple festivals
tended to be vulgar in taste. The City
God Temple