何兆華。〈貴州施洞苗族的儀式專家與歷史〉。《民俗曲藝》188 (2015.6): 109-76。
Ho
Zhaohua. “Ritual Specialists and
History in Shidong Miao Society, Guizhou
Province
Abstract
本文以貴州省黔東南州台江縣施洞鎮苗族的民族誌田野資料，描述苗人如何通過三類的儀式專家互補地處理生命中不同的困境。當苗人在生活上遭遇厄運、身染怪病、婚姻觸礁、或無子嗣等問題時，首先會找女性儀式專家（神婆）來舉行算命的儀式，這種儀式稱為「問路」，目的在尋找問題的可能癥結；找出徵兆後，凡是鬼怪、祖先、龍的問題，找男性儀式專家（鬼師）來處理；若是陰陽、日子、風水的問題，則找地理師傅解決。神婆以其陰性—生、冷、陰暗的特質，可讓鬼附身。鬼師以其陽性—熟、熱、明亮的特質，成為剋制並管理鬼的專家。地理師傅則以其文明、神聖的、陽剛的特質，成為詮釋並執行道法的載體。透過三者儀式的反身性，複雜地表達出施洞苗人在歷史處境之下，反抗、隔離、同化與附庸同時並存的概念。其中，神婆以地方上傳說有靈力的鬼王「勾兩」為媒介，表達反抗帝國力量。但地方上的居民，認為人鬼殊途，雖然需要神婆用鬼來查探事由，但卻又不希望因此引來災禍，既然神婆已讓鬼附身，因此必須用「土地菩薩」把神婆與「勾兩」鎮守住，以維持平靖。反之，鬼師用「以鬼治鬼」、「以苗治苗」的方式，管理鬼和祖先。不同於勾兩，鬼與祖先生前都曾經是親人，只是現在人鬼殊途。龍則是祖先死後埋在墳地後幻化成的靈力，是我群內的「異類」，透過血祭與共食的方式，一方面隔離、驅趕鬼，但同時又企圖利用鬼把野外龍的生命力引入家中，以興旺家戶、發財發富。另一方面，施洞苗人的宇宙觀中，認為中國皇帝握有生命、土地與財富。透過地理師傅用陰陽五行的算計來「造命」、風水觀測後尋找寶地，以便在帝國的保護之下，得以獲得今生與來世的好命與富貴。以上現象除了說明施洞苗人的宗教生活的多元與混雜性外，也提供一個理解中國西南苗人在歷史化的過程中，如何藉由儀式與生活來應對不同力量糅雜與拉扯的過程。施洞苗族的案例，可做為理解此區域與文化的另外一扇視窗。
This paper presents an ethnographic study of the
relationship between ritual specialists and local history in Miao 苗 communities located in Shidong 施洞 Town (southeastern Guizhou Province). It describes how
three different types of ritual specialists complement each other in their
practices as they help people cope with life’s struggles. When facing a
problem, Shidong Miao will invite a female spirit medium (wuk zangs dliangb; shenpo 神婆 in Chinese) to
perform a divination ritual known as “asking the road” (wenlu 問路) in order to discover the source of the
problem. If the cause is discovered to be a ghost, ancestor, or dragon, they
will ask a male spirit medium (ghet xangs
dliangb; guishi 鬼師) to perform an exorcism. However, if the
cause stems from an imbalance of yin 陰 and yang 陽, events taking place on an inauspicious date, or
improper geomancy (fengshui 風水), people will invite a ritual specialist known as a “ghet xangs did lix” (dili shifu 地理師傅, literally “master of earthly principles”) to solve the
problem. The first type of ritual specialists are considered to embody the
characteristics of yin (raw, cold,
darkness), and are able to transform themselves into vessels capable of
containing ghosts. In contrast, the second type take on the characteristics of yang (cooked, hot, brightness), and are
able to use ghostly forces to control other ghosts. Finally the third type of
ritual specialist utilizes characteristics of civilization, sacredness, and
masculinity to act as interpreters who carry out the principle of “dao 道” according to ideas of yin-yang and the Five Elements (wuxing 五行). The reflexive expressions of these three kinds of ritual performances
demonstrate the complexity of local history, particularly the Shidong Miao
people’s memory of resistance and isolation. At the same time, they also reveal
ideas of assimilation or submission to imperial power.
During her rituals, the female spirit medium expresses
the power of resistance by embodying the spirit of the powerful ghost known as Ghet liangl 勾兩, a mythical figure who could sprint and fly, inspiring
terror in the Chinese emperor, who ordered him put to death. However, while
this may be necessary for the sake of the ritual, allowing both the medium and
the ghost possessing her into the village is considered dangerous, so villagers
also worship an earth god (tudi pusa 土地菩薩) for protection. In contrast, due to his ability to use
ghosts to control ghosts, the male medium displays his administrative status in
Miao society. In contrast to female mediums, who are possessed by mythical
ghosts, male mediums deal with the communal dead, who are divided into three
categories: those who die peacefully and become ancestors; those who die
outside the community and become ghosts; those who inhabit tombs and become
transformed into dragons, spirits possessing great magical power yet also
reflecting “otherness”. The male medium’s rituals isolate and drive away
ghosts, while also incorporating more positive spiritual forces, for example by
pulling a dragon into a villager’s house in order to bring fortune and
fertility. Finally, by using yin and yang, the Five Elements, and fengshui, the dili shifu are able to create good fortune and change one’s
destiny. The phenomena described above reveal the diversity and complexity of
religious life in Shidong Miao society, while also providing a window to
understand processes of historization, thereby allowing us to trace how the
Shidong Miao have negotiated different conceptualizations of power through
ritual performances and in daily life.
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
何兆華。〈當「做花」成「做人」：施洞苗族非物質文化遺產之傳承與變遷〉。《民俗曲藝》185 (2014.9): 51-114。
Ho
Zhao-hua. “When 'Making Motifs'
Becomes 'Making a Person': Continuity and Change of Shidong Miao Intangible
Cultural Heritage.” Journal of Chinese Ritual, Theatre and Folklore 185 (2014.9): 51-114.
何兆華。〈施洞苗族剪紙圖像上的戲曲與女性形象〉。《民俗曲藝》177
(2012.9): 161-221。
Ho
Zhao-hua. "Theatrical and Female Figures on Shidong Miao Paper Stencil
Images." Journal of Chinese Ritual,
Theatre and Folklore 177 (2012.9): 161-221.
何兆華。〈找吃找穿的時間：貴州施洞苗人曆法實踐中的我群建構〉。《民俗曲藝》166
(2009.12): 7-59。
Ho
Zhao-hua. "Time for Food and Clothing: The Construction of In-Group in the
Shidong Miao Calendar." Journal of
Chinese Ritual, Theatre and Folklore 166 (2009.12): 7-59.