臺灣「觀音佛祖」的身世與崇拜圖式的成立：從艋舺龍山寺談起

方令光。〈臺灣「觀音佛祖」的身世與崇拜圖式的成立：從艋舺龍山寺談起〉。《民俗曲藝》191 (2016.3): 153-217。

Fang Ling-kuang. “On the Origin and Pattern of Cult of Guanyin Buddha in Taiwan: A Case Study of Monga Longshan Temple.” Journal of Chinese Ritual, Theatre and Folklore 191 (2016.3): 153-217.

Abstract

艋舺龍山寺是臺灣地區首屈一指的觀音道場，它主祀的「觀音佛祖」則是民間非常重要的神祇。該寺的觀音信仰源自大陸，來臺後卻產生質變，並發展出新的崇拜圖式，進而影響其它寺廟。針對以上現象，本文結合田野、圖象和俗文學的考察，嘗試表明以下論點：一、受《香山寶卷》、《南海觀音全傳》、《西遊記》、《龍華科儀》等俗文學作品影響，臺灣民間普遍認為妙善公主出家修道，成了觀音菩薩。人們相信觀音的法力無邊，力量與地位相當於佛，足以收服十八羅漢等脇侍，所以又尊稱祂為觀音佛祖。二、臺灣的觀音佛祖已非傳統佛教定義的菩薩或佛，而是神通廣大的神明。傳統佛典不是臺灣民間建構觀音佛祖信仰的基礎，不斷渲染觀音擁有無邊法力、完美慈悲的俗文學作品才是人們崇拜觀音佛祖的關鍵。三、臺灣民間為觀音佛祖和脇侍設計了兩種新型神龕，這些神像和神龕的組合，就是信眾為觀音崇拜創造的新圖式。四、新圖式來自俗文學作品的啟發，體現臺灣民間的集體思維，充滿了本地色彩。五、艋舺龍山寺引領、推動了新圖式的流行。新圖式像一個歷史的切片，不僅體現該寺發展觀音信仰的微妙情境，也折射出臺灣民間觀音信仰的多元性與創造力。

The Monga Longshan Temple is the most important temple that worships Guanyin Buddha in Taiwan. Though originating from China, the popular belief in Guanyin underwent qualitative changes and developed a new type of cult in Taiwan. The new pattern of worship gradually spread to other temples. Based on my investigation from fieldwork, pictorial materials, and folk literature, I propose the following arguments. First, influenced by works of folk literature, such as Xiangshan baojuan, Nanhai Guanyin quanzhuan, Xiyou ji, etc., Guanyin followers in Taiwan generally believe that Princess Miaoshan who had left her home in search of spiritual cultivation eventually became Avalokiteśvara Bodhisattva. Because her omnipotence and status equal those of a Buddha, she subjugated the eighteen arhats and others who later became her retinue of aides, and is referred respectfully as Guanyin Buddha. Second, The Guanyin Buddha of Taiwan is not a bodhisattva or Buddha in the Buddhist sense, but an omnipotent deity, whose image is not constructed from traditional Buddhist scriptures. It is a work based on folk literature that constantly highlights her almightiness and benevolence that serve as the critical factors of the Guanyin cult. Third, Guanyin followers in Taiwan invented two new types of shrines for Guanyin Buddha and her retinues. The combination of the statue of the deity and its shrine is a new pattern for the Guanyin cult. Fourth, this new pattern is inspired by folk literature, embodying people’s collective consciousness and rich in local colors. Fifth, the template shrine of Monga Longshan Temple led to the popularity of this new pattern of worship. The new pattern of cult is like a piece of history, which embodies the subtle circumstances of the Guanyin cult in Taiwan and reflects its diversity and creativity.