江趙展。〈「教派化」與「民間信仰化」之間：戰後淡水行忠堂之變遷與新形態〉。《民俗曲藝》221 (2023.9): 273-333。
Chiang Chao-chan. “Between Sectarian Religion and Local Cult:Transformation and New Forms of the Tamsui Xingzhong Tang Phoenix Hall in Postwar Taiwan.” Journal of Chinese Ritual, Theatre and Folklore 221 (2023.9): 273-333.
Abstract
「教派」（sectarian religions）與「民間信仰」（local cults）長期作為華人宗教研究的分類架構，然而應如何適當的區別二者？本文嘗試透過「宇宙觀」、「組織化程度」及「儀式種類╱類型（特別是文字傳統、口語傳統之差異）」作為判別標準；若上述程度越完善，則可視為往教派化發展；反之則向民間信仰化邁進。
不過鸞堂並不容易在此二分法以及單向發展的框架下被歸類。因此筆者嘗試捨棄非A即B的架構，並以北臺灣著名的鸞堂—淡水行忠堂—作為個案，將其置於「教派—民間信仰」的光譜中做觀察。其中筆者發現，鸞堂是一種既可轉變為教派，又可朝向民間信仰發展的中介性（liminal）宗教組織。
在教派化的歷程中，戰後行忠堂曾透過再版過往鸞書及短暫成立「淡水孔學會」等方式發展，但此過程僅為曇花一現。大約與此同時，亦可發現行忠堂的扶鸞也隨着社會變遷，從原先的「不開言」轉向與乩童相近的「開言」形態，呈現一種「民間信仰化」的趨勢。之後，該堂也藉由納入「拜斗╱建醮」與「誦經團」所構成的「法會」作為其主要的儀式。而法會中所具有的綜攝性質（syncretism）也再次將朝向民間信仰化發展的鸞堂，帶入了另一種中介性的新形態。
The distinction between sectarian religions and local
cults has long been used as a classification framework in studies of Chinese
religions, but what is the best way to distinguish between the two? I propose
three types of criteria for achieving this goal, namely cosmology, degree of
organization, and ritual category/type (especially differences between literary
and oral traditions). If a religious group develops in the direction of these
criteria, it may be viewed as becoming sectarian; if development occurs in the
opposite direction, it could become a local cult.
However, it has proven extremely difficult to
classify phoenix halls using this dichotomous framework. Therefore, this paper
attempts to transcend such a framework by means of a case study of the Tamsui
Xingzhong tang, a famous phoenix hall in northern Taiwan. The data presented in
this paper reveal that the history of this hall has been marked by development
towards becoming both a sectarian religion and a local cult, which marks it as
a liminal religious organization.
In terms of sectarian development, clear examples
include the Xingzhong tang republishing its early spirit-writing texts and
establishing the “Tamsui Confucian Organization”, but these trends proved
short-lived. Other developments took place around the same, including spirit-writing
rituals changing from “non-speaking” to “speaking” forms similar to
spirit-medium rites. Later on, the Xingzhong tang adopted the practice of
“dharma ceremonies” (fahui) consisting of “Dipper Bushel
Ceremonies/Daoist Offering Ceremonies” (lidou fahui/jianjiao fahui),
with scripture chanting troupes (songjing tuan) playing increasingly
important ritual roles. The resulting syncretic nature of these rites has moved
this phoenix hall into another liminal state of existence.