| Summary: | 碩士 === 國立中興大學 === 台灣文學研究所 === 97 === This thesis intends to discuss significance of three important local events in
Li-Tou-Dian: “The Second Goddess of Holy Mother Returns to Hsitun to Visits
Relatives”, “Tzu-Hsing Drama in Wanho Temple”, and “Wearing of Wooden Sandals
to Footstep on Pangolin in Litoudian.” The research methodologies used mainly are
“qualitative analysis”, in which literature review and field studies were utilized to
cross-examination; and further analyzed inductively. This research took these three
local events mentioned above, and went through series of processes such as historical
literature recording, photographs taken in the activities, videotaping, activity
documentation, and so on, in attempt of keeping a reflection to the relevant on-going
events. Also, depth interviews were taken and conducted by interviewing
commissioner of the temple committee, neighboring residence, and general publics
that participated in the activity in order to understand and echo with the local cultural
rituals.
Chapter 1 of this thesis includes introduction to motivation, research purpose,
research scope, and methodologies based on the discussion of events on “The Second
Goddess of Holy Mother Returns to Hsitun to Visits Relatives”, “Tzu-Hsing Drama in
Wanho Temple”, and “Wearing of Wooden Sandals to Footstep on Pangolin in
Li-Tou-Dian.” Also, research method such as literature review and field studies
were used in cross-examination of the data in order to further analyze and conclude
inductively. Chapter 2 mainly explains how Li-Tou-Dian was developed as the
earliest farmland in Taichung area. This section describes how ancestors had
deductively developed so many representative cultural rituals and custom in the early
migration and how the custom had diversely developed with variation in different
areas as a result of having its uniqueness in local culture. Chapter 3 elaborates how
the religious belief was brought in to Taiwan from homeland along with migration for
seeking a suitable residence, and how Goddess of Holy Mother became the
mainstream belief assists the development of industry and demands for worshippingsculpture production. The sculpture of the Second Goddess of Holy Mother in
Wanho Temple was made in Chiaching Calendar 8. There was a legend of a noble
lady Liao in Hsitun Tayu area possessed by the Goddess when the opening disclosure
ceremony was taken place, and that legendary Goddess sculpture had made the local
people with Goddess closer than ever. Chapter 4 describes the one and the only one
local drama of “Tzu-Hsing Drama” kept by Wanho Temple in Taiwan; the Drama has
been 184 years, of which the original 12 families had expanded to 28 families and
rotate in turn to perform the drama to show thanks to the worshipping Goddess.
Since the performance of the Drama is rotated in turn, there are different needs to be
fulfilled to each hosting family’s “Three Offering Ritual” prior to the opening of the
Drama with the musical played by Nantun local Peikuang Musical Band called
“Chinglehsuan”. The Tzu-Hsing Drama was played to entertain deity in the early
time, has now shifted to one of the local events for entertainment. Chapter 5
describes one of the most valuable local culture in Li-Tou-Dian, that is the “Wearing
of Wooden Sandals to Footstep on Pangolin in Li-Tou-Dian” in commemoration to the
Duanwu (Dragonboat) Festival. According to the Fengshui, Li-Tou-Dian is the
rarely seen Pangolin Cave, where is important for corps and farming; but since
Pangolin has the tendency of winter hibernation, people need to make loud noise to
wake him up in order to make the corps to grow up, and to further bring local
harvesting and development. Chapter is the conclusion. Early residents and
ancestors passed the rituals to us as it is accumulation of local customs and featuring
life, which is also the inheritance of ancestors’ intelligence and the deductive
development by the locals. The rituals and local events and customers are “the
living history”, and those cultural activities are often seasonal, localized, and
continuously developed, we generally call it “intangible cultural asset”. It is
expected that this research thesis will record and preserve the important culture and
activities in Li-Tou-Dian.
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