江柏煒。〈「祠墓合一」的文化景觀：都市化歷程中的新加坡雙龍山五屬義祠之變遷〉。《民俗曲藝》220 (2023.6): 261-305。
Chiang Bo-wei. “The Cultural Landscape of ‘Integration of Cemetery and Ancestral Hall’ of Hakka Immigrants in Singapore: A Case Study of Ying Fo Fui Kun Ancestral Temple in Urbanization Processes.” Journal of Chinese Ritual, Theatre and Folklore 220 (2023.6): 261-305.
Abstract
東南亞華人移民社群所組織會館或社團，多數奠基於地緣、業緣及血緣連結的特性，而這些組織一開始即是義山（公共墓地）、廟宇的社會形式及功能而存在。新加坡客家移民及其所屬鄉團、會館、祠廟眾多，這些複雜的社會分類與整合，一方面呈現了早期新加坡客家移民的多元來源；一方面也說明相對於其他優勢方言群，客家移民必須以多層次結盟的模式來擴大自身社群利益的歷史現實。本文以新加坡應和會館所屬的雙龍山五屬義祠為例，探討其在新加坡都市化中逐步形成的「祠墓合一」的文化景觀，以及這樣的變遷如何成為客家社群的整合機制及新加坡本土華族論述的實踐。首先，本文引介新加坡客家社群多元分類及整合的歷史過程；接着討論十九世紀中葉起，客家義山隨着移民的增多不斷擴增且遷併，最終於1970年代雙龍山五屬義祠及其新義山建成，並如何成為國家的「模範墳場」文化景觀的過程；第三，從祭祖儀式來看，雙龍山五屬義祠整合了祠祭與墓祭，並從血緣認同的祭祖轉向地緣移民社群的總祠、總墳。最後，重新理解「祠墓合一」作為移民的精神家園，以及結合有形與無形文化遺產的文化景觀，是一種新加坡本土華族（客家）論述的具體實踐。
Most overseas Chinese associations in Southeast
Asia organized by immigrant communities are based on regionality, occupation,
and consanguinity. These organizations originally assumed the social functions
of public cemeteries and temples, with many Hakka associations in Singapore
fully demonstrating complex forms of social classification and integration. These
phenomena reflect the fact that early Singapore Hakka immigrants came from
different ancestral homelands, and also show that they had to combine with
other organizations to expand their interests. This paper focuses on the
Cemetery and Ying Fo Fui Kun Ancestral Temple in Singapore to discuss the
cultural landscape of the “Integration of Cemetery and Ancestral Hall” by Hakka
immigrants in urbanization processes, and how such changes have become
integration mechanisms of Hakka communities as well as practices of Singapore’s
native Chinese discourse. First, the paper introduces the historical processes
of multiple classification and integration of the Hakka community in Singapore,
and discusses the Hakka Yishan (public cemetery) that has been expanding and
relocating with the increase of immigrants since the middle of the 19th
century. The paper then analyzes how the Cemetery and Ying Fo Fui Kun Ancestral
Temple became the “model cemetery” in the cultural landscape during the 1970s.
Third, it reveals how, from the perspective of ancestor worship ceremonies, the
Cemetery and Ying Fo Fui Kun Ancestral Temple integrated temple and tomb
sacrifice while also shifting from blood-identified ancestor worship to the
general temple and grave of the geographical immigrant community. Finally, this
paper rethinks the “integration of Cemetery and Ancestral Hall” as the
spiritual home of immigrants, and the cultural landscape as combining tangible
and intangible cultural heritage, a specific cultural practice of Singapore’s
native Chinese (Hakka) discourse.
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