| Summary: | 碩士 === 國立臺南大學 === 台灣文化研究所 === 96 === The ritual instruments of temple''s honor guard, which originated in national ceremony system in China''s feudal ages, are having a long history and still keep using. However, because the relative researches and studies are having less, and it''s also a little known to most of the ordinary people, the content and context of culture on the part of this cultural artifact has never been clear. Therefore, this study goes through the reviews and discussion on historic documentary to explore the development and change of the ritual instruments of temple''s honor guard, and collects data by means of field study and records the entire substantial image to investigate its current situation in Tainan area. Based on these research results, the main purpose of this study is to understand the source, features and characteristics of forms, designing and manufacturing, overall condition of the ritual instruments of temple''s honor guard, and analyze its inner thought and sort hidden within.
According to the research results, the source of ritual instruments of temple''s honor guard contains not only the origin of national ceremony system in China''s feudal ages but also the conception of "honor guard of gods", "parades of effigies", "Nuo (儺) plays", and the prodding of "honor guard in sacrificial rites", "knighting for gods from government", "folk drama". Under these processes of development, the ritual instruments of temple''s honor guard were spread widely in folk temples, and were introduced into Taiwan in early Ching dynasty. But the results of investigation on current situation in Tainan area disclosed a fact that the ritual instruments of temple''s honor guard are not exact and clear as the honor guard for national ceremony system in feudal ages, the main principles to decide what content, amount, features of forms should ritual instruments of temple''s honor guard have is up to temple members and carpenters. Due to most people don''t know the details, temple members and carpenters must make sense of it by interpreting themselves. Based on these various "interpretant", the ritual instruments of temple''s honor guard become a significant "sign" to temple members, carpenters and other people, so they can keep designing, creating and using it continuous until now. There are some kind of using ways has developed for now, such as a non-tangible space decorating for "house of gods" and "hierophany space"; and the holding in religious parade by dramatic dressing during a "abnormal mode".
In the conclusion of this study, the ritual instruments of temple''s honor guard are not suddenly contributed from one place, in one time or by one reason, but accumulated into a cultural production by diversified cultural factors under different space and time backgrounds. Consequently, this development process can be a rich "the social life of things".
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