柯榮三。〈五股開臺尊王過爐十座駐駕公廟碑文調查與探賾〉。《民俗曲藝》231 (2026.3): 159–212。
Ko Jung-san. “An Investigation of Inscriptions from Ten Temples Hosting the Wugu Kaitai Zunwang Handing Over the Censer Ceremony.” Journal of Chinese Ritual, Theatre and Folklore 231 (2026.3): 159–212.
Abstract
五股開臺尊王過爐遶境範圍，涵蓋雲林、嘉義十三庄，境內有十座「公廟」為神尊駐駕處。所謂的「華南學派」（South China School）主張「進村找廟，進廟看碑」，有助於掌握漢人村落歷史發展、信仰狀況、社會人群。本文借鑑所謂的「華南學派」研究思路，全面調查十座「公廟」碑記。
眾多公廟整修年代與過爐呈現正相關，部分碑記則承載過爐民俗盛典記憶。據〈靖興宮重建略記〉（1961）鑴〈五股開臺尊王選詩〉鸞詩，以及「五股開臺尊王國姓公百年文物」文宣摺頁載1947年肆房股柯主文爐主當選證書，可將「開臺尊王」神明聖號出現年代，從1965年上推至1961甚或1947年。然而，該張摺頁也非全無可商榷處，據〈聯美村保延宮興建籌備委員會〉（1974）、〈大埤鄉聯美村保延宮重修樂捐芳名〉（1991）碑，刻有敬獻「五股開臺尊王第一頂神轎」之許安然、顏子兩人大名，可見「第一頂神轎」年代，斷非摺頁所言1863年，亦非前人專書所云1923年。神轎上「歲次癸亥年（1983）端月吉旦，五房股大有爐主重新油漆」題記，應是「重新油漆」年代，並非神轎製作之時。然而，「第一頂神轎」製作於何時？仍無可考，期待日後更多文獻出土，或有機緣訪問熟知內情者，方可確知。
The Wugu Kaitai Zunwang Handing Over the Censer Ceremony covers
a pilgrimage route that spans thirteen villages across Yunlin and Chiayi. These
villages are home to ten temples where the deity Kaitai Zunwang is enshrined.
The South China School of historical anthropology advocates “entering villages
to find temples, and entering temples to examine stele inscriptions” as a means
of gaining insights into the development, religious practices, and social
structures of Han Chinese communities. This study draws on that approach to
conduct a comprehensive investigation of the inscriptions found in these ten
temples.
For example, systematic research on these inscriptions reveals
that many periods of temple renovation and reconstruction clearly coincide with
the Handing Over the Censer Ceremony. Moreover, according to a poem inscribed
on a 1961 stele at the Jingxing Temple plus related documents, the appearance
of the title “Kaitai Zunwang” for Koxinga can be traced back to 1947.
Additional data can be found in a stele inscription at the Baoyan Temple
recording the names of donors Xu Anran and Yan Zi, which confirms that the
“First Wugu Kaitai Zunwang Palanquin” does not date back to 1863 or 1923, as
some have claimed. A closer examination of inscriptions on the palanquin itself
suggests that determining its exact date of production remains uncertain. Only
with the discovery of additional historical records or the opportunity to
interview individuals familiar with this matter can its precise origins be
verified.
Also in Journal
of Chinese Ritual, Theatre and Folklore:
柯榮三。〈臺灣歌仔冊編寫人「歌仔先」梁松林、蔡碖事蹟的考索與調查〉。《民俗曲藝》213(2021.9): 145-75。
Ko Jung-san. “A
Biographical Study of Two Taiwanese Kua-á
Lyricists Liang Songlin and Cai Lun.” Journal of Chinese Ritual, Theatre and
Folklore 213 (2021.9): 145-75.
https://ritualtheatreandfolkloreat.blogspot.com/2021/09/blog-post_16.html
柯榮三。〈「照廈門原本改良」：博德利圖書館藏閩南歌仔冊封面圖象及其出版網絡〉。《民俗曲藝》207 (2020.3): 173-213。
Ko Jung-san. “Revisions of Original Copies from Xiamen: The Cover Images and
Publication Network of Minnan Songbooks in the Bodleian Library.” Journal of Chinese Ritual, Theatre and
Folklore 207 (2020.3): 173-213.
https://ritualtheatreandfolkloreat.blogspot.com/2020/03/blog-post_23.html
柯榮三。〈善人‧善書‧善念――陳江山及其《精神錄》的版本流傳與思想探源〉。《民俗曲藝》190 (2015.12): 129-89。
Ke Jung-san. "Philanthropist, Morality Books,
and Benevolent Thought: An Analysis of the Editions, Circulation, and
Philosophical Thinking of Chen Jiangshan’s Jingshen
lu." Journal of Chinese Ritual,
Theatre and Folklore 190 (2015.12): 129-89.
http://ritualtheatreandfolkloreat.blogspot.tw/2016/02/blog-post_16.html
柯榮三。〈番平千萬不通行？—閩南「過番歌」中的歷史記憶與勸世話語〉。《民俗曲藝》179 (2013.3): 185-222。
Ke Jung-san. "Never Go to Nanyang? The Historical
Memories and Exhortation in the Keh-huan-gua
from Southern Fujian." Journal of
Chinese Ritual, Theatre and Folklore 179 (2013.3): 185-222.
http://ritualtheatreandfolkloreat.blogspot.tw/2013/04/blog-post_4032.html#more