阮偉華。〈臺南關大駕初探：以西羅殿與米街忠澤堂大駕為例〉。《民俗曲藝》223 (2024.3): 277-318。
Juan Wei-hua. “Kuan tuā kà in Tainan: A Preliminary Study of the Xiluodian and Rice Street Zhongzetang.” Journal of Chinese Ritual, Theatre and Folklore 223 (2024.3): 277-318.
Abstract
「關大駕」是臺南相當盛行的信仰儀式。大駕是由四人所扛，無轎頂僅以紅布覆蓋的藤轎，行進方向由神明作主指示，扛駕人員配合之。關大駕的高峰是在民國六○至八○年代（1972–2001），而後不少宮廟因時代變遷、產業形態改變，人員逐漸忙於加班或輪班而減少關大駕，乃至停關。雖然可惜，但約於民國一百年（2011）開始，些許宮廟已慢慢復甦或是開始關大駕，復振逐漸失落的信仰儀式。
關大駕通常在晚間進行，從站駕到神明坐駕，短則一至二小時，長則三至四小時，也有站了四小時後神明未降駕者。再者，大駕的行進路線全由神明主導，因此無人可以準確預測當天關大駕的時長與路線。此外，大駕出門必為要事，並非熱鬧慶典，且擁有「跨境辦案」特權，隨時都能在路上辦事，因此廟方通常不會大張聲勢的宣布大駕出門時間。綜合以上所述，「神秘」、「低調」、「不確定性」讓關大駕相關的研究論文少之又少，甚至可說是一星半點。
筆者以田調臺南市眾多關大駕之廟宇為基底，爬梳關大駕緣由、運作方式、特點，解構大駕的組成、空間、功能，並以同為家族祀神開基的西羅殿與米街忠澤堂之大駕為例，分析兩間宮廟關大駕之異同。最後，筆者亦會提及現今關大駕所面臨的處境及可能的因應之道。
Kuan tuā kà has been a prevalent
ritual practice in Tainan. The tuā kà is a rattan-made sedan chair covered with a red cloth
and carried by four bearers. During the 1970s to 1990s, the practice of kuan
tuā kà reached its peak. However, due to changing times and the
transformation of industrial structures, people became increasingly busy
working shifts or doing overtime, which caused a decline the frequency of kuan
tuā kà; in some locations it even ceased to exist. While this is
regrettable, thankfully around the year 2011 certain temples restarted or began
their own traditions of kuan tuā kà.
Kuan tuā kà is usually held at night.
It can take at least 1-2 hours and at times as many as 3-4 to wait for the
deity to descend (the deity’s arrival is deemed impossible after 4 hours have
passed). In addition, the route of the tuā kà procession is decided by
the deity; therefore, no one can predict how long this ritual event will last
or where the procession will go. In addition, the deity can use tuā kà to deal with important
matters and can solve troublesome cases on the spot, at times even crossing
local boundaries. Owing to the seriousness of these rites, temples typically
will not release this information to the public or in advance. To sum up,
features such as mysteriousness, low profile, and unpredictability increase the
difficulty of researching the kuan tuā kà, not to mention writing
academic papers about it.
Based on field research, this paper aims to
investigate the origin, procedures, and features of kuan tuā kà, so as to deconstruct the tuā kà’s components, space, and
functions, while also analyzing the similarities and differences of the tu
kà at temples known as the Xiluodian and Rice Street Zhongzetang. The paper
will conclude by assessing the situation of the tu kà today, and
possible measures to cope with current problems.