臺灣孔子祀典人文暨儀序空間廟學解構後的衍變

The Evolution of Confucius Ceremony after the Temple-School System broke down in Taiwan

臺灣自十七世紀，釋奠禮均承清制系統。一八九五年廟學解構後，原設於廟西北的「瘞燎及迎送神」空間，受民間信仰對空間應用神格化的影響，改於廟南，成為臺灣祭孔圈的特殊現象。一九六八年受中華文化復興運動的影響，在臺北孔廟首行「復明制」的祭孔禮樂改進，並將「進退班動線」加入對應民眾參與的朝向；但臺南則仍維持原清制，形成臺灣祭孔禮樂「南清、北明」的發展。彙析歷代對釋奠「儀序空間」的應用，概可分為「唐宋」及「明清」兩大類型。韓國成均館的空間運用，屬「唐宋」系統，設三位獻官各行一個獻禮；臺灣各地則偏「明清」之制，設一位正獻官及四至八位分獻官，一起行三個獻禮。以上臺韓兩地的異元發展，分別見證釋奠古禮作為「世界文化遺產」千古一線的歷史脈源。

The Confucius Ceremony in Taiwan dates back to the Ching Dynasty, 17th century. After the Temple-School System broke down in 1895, the Position of Burying and Incineration usher in and escort out the Spirit in Confucius Ceremony was relocated to the south of the temple from the northwest due to the folk religion’s apotheosizing of the spatial configuration, and, therefore, became the special phenomenon of Confucius Ceremony in this island. With the tide of Chinese Culture Renaissance in 1968, Taipei Confucius Temple initiates the amended Ming Confucius Ceremony and adds the line to face the people of attending the ceremony when the Presenters took their designated positions that differs from the Ching Confucius Ceremony in Tainan and consequently leads to south Ching and north Ming Confucius Ceremony phenomenon in Taiwan. When it comes to the application of Ritual Characters and Spatial Configuration, there are mainly the Tang-Sung and the Ming-Ching two types. The Ritual Spatial Configuration of Sung Kyun Kwan (成均館) in Korea, with three Presenters performing respectively three Presentations, is the Tang-Sung type. While the Ritual Spatial Configuration in Taiwan, with one Principal Presenter and four to eight Collateral Presenters performing three Presentations together, is the Ming-Ching type. The dissimilarity between Korea and Taiwan witnesses the historical thread of Confucius Ceremony as the Intangible Cultural Heritage through all ages.