Taoist Ritual - Candidate for The Oral and Intangible Heritage of Humanity to be proclaimed in 2009/2011 ( 申報 "道教科儀" 成為聯合國人類非物質文化遺產)
受上月法國總統揚言將 "法國美食" 申報成為聯合國人類非物質文化遺產消息啟發, 本人再一次提出以上建議, 但先要了解一下何謂 Oral and Intangible Heritage of Humanity- (sources: UNESCO)
What is Intangible Cultural Heritage?
According to the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, the intangible cultural heritage (ICH) – or living heritage – is the mainspring of our cultural diversity and its maintenance a guarantee for continuing creativity.
The Convention states that the ICH is manifested, among others, in the following domains:
Oral traditions and expressions including language as a vehicle of the intangible cultural heritage;
Performing arts (such as traditional music, dance and theatre);
Social practices, rituals and festive events;
Knowledge and practices concerning nature and the universe;
Traditional craftsmanship.
The 2003 Convention defines ICH as the practices, representations, expressions, as well as the knowledge and skills, that communities, groups and, in some cases, individuals recognise as part of their cultural heritage.
The definition also indicates that the ICH to be safeguarded by this Convention:
is transmitted from generation to generation;
is constantly recreated by communities and groups, in response to their environment, their interaction with nature, and their history;
provides communities and groups with a sense of identity and continuity;
promotes respect for cultural diversity and human creativity;
is compatible with international human rights instruments;
complies with the requirements of mutual respect among communities, and of sustainable development.
The ICH is traditional and living at the same time. It is constantly recreated and mainly transmitted orally. It is difficult to use the term authentic in relation to ICH; some experts advise against its use in relation to living heritage (see the Yamato Declaration: English French).
The depository of this heritage is the human mind, the human body being the main instrument for its enactment, or – literally – embodiment. The knowledge and skills are often shared within a community, and manifestations of ICH often are performed collectively.
Many elements of the ICH are endangered, due to effects of globalization, uniformization policies, and lack of means, appreciation and understanding which – taken together – may lead to the erosion of functions and values of such elements and to lack of interest among the younger generations.
The Convention speaks about communities and groups of tradition bearers, without specifying them. Time and again it was stressed by the governmental experts who prepared the draft of the Convention that such communities have an open character, that they can be dominant or non dominant, that they are not necessarily linked to specific territories and that one person can very well belong to different communities and switch communities.
The Convention introduces, by establishing the Representative List, the idea of “representativeness”. “Representative” might mean, at the same time, representative for the creativity of humanity, for the cultural heritage of States, as well as for the cultural heritage of communities who are the bearers of the traditions in question.
See also the Preamble of the Convention for the Safeguarding of Intangible Cultural Heritage.
有了基本認識, 我們再看看近鄰韓國如何申報他們的"皇家祭祀儀式" :
Proclamation 2001: "The Royal Ancestral Ritual in the Jongmyo Shrine and its Music"
The Jongmyo Shrine in Seoul is the setting for a Confucian ritual dedicated to the ancestors of the Joseon dynasty (14th to the 19th century) that encompasses song, dance and music. The ritual is practised once a year on the first Sunday in May and is organized by the descendants of the royal family. It offers a unique example of a Confucian ritual, which is no longer celebrated in China. The tradition is inspired by classical Chinese texts concerning the cult of ancestors and the notion of filial piety. It also includes a prayer for the eternal peace of the ancestors’ spirits in a shrine conceived as their spiritual resting place.
The order of the ceremony was defined in the fifteenth century and most elements have remained unchanged until today. During the rite, the priests, dressed in ritual costume with a crown for the king and diadems for the others, make offerings of food and wine in ritual vessels. The Jongmyo Jerye is music played to accompany the rituals and is performed on traditional instruments, such as gongs, bells, lutes, zithers and flutes. The dances are performed by 64 dancers in 8 lines representing the opposing yet complementary forces of Yin and Yang as set out in the Confucian texts.The Munmu dance, accompanied by the harmonious and soothing Botaepyong music, is characterized by a first step to the left. While the Munmu dance symbolizes the force of the Yang, the Mumu dance, accompanied by Jeongdaeeop music and characterized by a movement to the right, represents the force of the Yin.
The ancestral ritual is nowadays often considered to be devoid of meaning, especially in the context of the growing importance of Christianity. However, the ritual and its music are protected through the National List of Intangible Heritage and the 1982 Law for the Protection of Cultural Property.
韓國能, 我們也能, 事在人為而已. 且看 "道教科儀"...
齋醮科儀 ( 作者 閔 智亭 )
道教齋醮科儀，始自祖天師所制《三官手書》和《天宮章本》。《三國志‧魏書‧張魯傳》說：五斗米道請禱之法為：「書病者姓名，說服罪之意，作三通，其一上之天，著山上；其一埋之地；其一沉之水，謂之三官手書」。五斗米道對天、地、水三官的信仰祭祀，與先秦時期的祭天、祭地、祭川的祭祀儀式有直接淵源，唐宋時期道教盛行的投龍簡儀式，亦是這種祭祀的演變。五斗米道已有上章儀式，《魏書‧釋老志》記載，張道陵於鶴鳴山受道，造作道書，傳天宮章本千有二百，弟子相授，齋祀跪拜，各成道法。据陏代費長房《歷代三寶記》說：張道陵造作道書，道士章醮之法始於張道陵傳教之時期。
道教齋醮科儀到北魏寇謙之天師，宣揚《雲中音誦新科之誡》，對「三張」世傳的五斗米道加以改革，在齋醮道場中配置歌樂，改舊的直誦為音誦。利用「君權神授」觀念，為皇帝「授籙」，使齋醮被上政治氛圍，道教成為與國家政治相結合的「官方道教」。《魏書‧釋老志》記寇謙之受世祖禮遇「起天師道場於京城之東南，重壇五層，遵其新經之制，給道士百二十人，衣食齊肅祈請，六時禮拜，月設廚會數千人。……世祖從之。於是新至道壇受符籙，備法駕旗幟盡青，以從道家之色也。自後諸帝每即位，皆如之」。由此可知寇謙之之「靜輪之法」，「新科之誡」皆已有詳備的齋醮儀式，而且有合乎帝王「奉天承運」受符籙即位的隆重典儀。
南朝陸修靜，進一步演出多用途的大型分類齋儀。陸修靜所制齋醮儀範約百餘卷，現知其名的如：金籙齋儀，玉籙齋儀，九幽齋儀，解考齋儀，塗炭齋儀，三元齋儀，靈寶道士自修盟真齋立成儀。這些齋儀現雖不得知其規式，然據《洞玄靈寶五感文》所記「塗炭齋」是：於露地立壇，安欄格，齋人皆結同氣賢者，悉以黃土泥額，披髮繫著於欄格，反首自縛，口中銜壁，覆卧於地，開兩腳，相去三尺，叩頭懺謝。《洞玄靈寶五感文‧眾齋法》說：道以齋戒為立德之根本，尋真之門戶，學道求神仙之人，祈福希慶祚之家，莫不由之。既於識有明闇，則入悟有利純；資力有優劣，則所任有多少。是以聖人階其精粗，分析轍轍。大體九等，齋各有法，凡十二法。一曰洞真上清之齋，有二法，其一法絕群離偶，無為為業。寂胃虛中，眠神靜炁，遺形忘體，無與道合；其二法孤影夷豁(注曰：皆與上同，但混合形神，諷經有異)。二曰洞玄靈寶之齋，有九法，以有為為宗。其一法金籙齋，調和陰陽，救度國王；其二法黃籙齋，為同法拔九祖罪根；其三法明真齋，學士自拔億曾萬祖九幽之魂；其四法三元齋，學士一年三過自謝涉學犯戒之罪；其五法八節齋，學士一年八過謝七玄及己身宿世今生之罪；其六法自然齋，普濟之法，內以修身，外以救物，消災祈福，適意所宜；其七法洞神三皇之齋，以精簡為上，單己為偶，絕塵期靈，沐浴玄雲之水，燒皇上之香，燃玄液之燭，服上元香丸；其八法太一之齋，以恭肅為首；其九法指教之齋，以清素為貴。又曰，三元塗炭之齋，以苦節為功，上解億曾萬祖，無數劫來宗親門族及己身家門無鞅數罪，拯救憂苦，濟人危厄，其功至重，不可稱量。
陸修靜齋儀到梁陶弘景，又因齋設醮，制定出醮儀。
陸、陶之後，道教的齋醮儀式越演越講究，格調區分也越加嚴格。如《靈寶玉鑒》所說：「大齋之格其品有三，一曰上元金籙，可以清寧兩儀，參贊天地，祈天永命，致國休徵，衍百世之本支，培萬年之社稷，皆天子事，非有朝旨不可為也。二曰中元玉籙，諸王公侯為之，可以固本守邦，藩屏王室；大臣將相為之可以斂福錫民，安鎮寰宇，或資以調和鼎鼐，或藉以燮理陰陽，非眾人所可為也。三曰下元黃籙，星宿錯度，日月失昏，雨晹愆期，寒燠失序，兵戈不息，疫癘盛行，饑饉薦臻，死亡無告，孤魂流落，新魂煩冤，若能依式修崇，即可消弭災變，生靈蒙福，幽壤沾恩，自天子至於眾人皆可建也。其有孝子順孫，義夫節婦，報親追遠，錫類推恩，倘竭一誠，如谷答響。故申之以三日正齋，九時朝奏」。以上三品大齋的科儀，金籙有：宿啟、啟盟、三朝、九朝、解壇、祈禳、設醮、轉經等儀注。玉籙有：九朝、資度、宿啟、三朝、轉經、判斛、濟幽等儀注。黃籙齋，經南北朝，隋、唐、宋、元、明、清不斷演進，形成多種科儀，且卷軼繁多，如《道藏‧洞玄部》所記《太上黃籙齋儀》五十八卷、《無上黃籙大齋立成儀》五十七卷、《黃籙大齋轉經儀》、《黃籙五老悼亡儀》等，此皆召天神地祗人鬼而設，追懺罪根，冀升仙界，不可思議之宏偉隆重科儀。清‧乾隆十五年和親王還重刻印過一部婁近垣勘訂的十二卷本《黃籙科儀》，此科儀卷一至九為發奏、建壇、宿啟、拜表、早朝、什朝、解壇、設醮、各項科儀；卷十為總聖位科；十一為通用文檢；十二為秘符手訣、壇圖印式、步虛散花、樂譜贊文。
齋與醮本為二義，隋、唐後合二而一，稱「齋醀」或直稱作「醮」。如唐哀帝天祐二年於太清宮建黃籙大醮，後唐長興四年於中興殿建金籙醮，宋開寶九年十月命內侍王繼恩於建隆觀設黃籙醮，宋大中祥符八年王欽若著《羅天醮儀》十卷，慶歷八年高句麗王(文宗)行北斗星醮儀，金明昌元年上清派教主秦汝達舉行金籙醮，金承安元年章宗行幸天長觀(今北京白雲觀)設普天大醮，永安五年(南宋慶元六年)修成《無上黃籙大齋立成儀》，元憲宗三年，憲宗召見全真道士王志坦舉行黃籙普天大醮，憲宗九年太乙教主蕭居壽舉行黃籙大醮，元至元元年、五年、十一年皆在長春宮(今北京白雲觀)建金籙周天醮，至元十四年張宗演天師在長春宮建周天醮，十五年張留遜建金籙大醮，元大德四年修成《靈寶領教濟度金書》，至順二年毫州太清宮、汴梁朝天宮、河南嵩山道士群集舉行普天醮。明代舉凡皇帝生日、吉慶禎祥、祈福求子，都要建醮。醮儀如：萬壽醮、生辰醮、祈年醮、啟祝醮、太平醮、度亡醮……。只明世宗嘉靖在四十五年的皇帝生涯中，就建大型齋醮十三次。明代還修成了一部《大明玄教立成齋醮儀》，對道教齋醮儀范進行了統一整理規範化，直到今天還在道教中有所沿用。
道教齋醮，歷代高道無不重視，且不說陸修靜、陶弘景、張萬福、杜光庭這些齋醮科儀編纂者，即如林靈真、寧全真、王玉陽、邱處機等，也都是於建醮者。王玉陽曾三次奉旨主持亳州太清宮普天醮，邱處機曾於金大定二十八年被金世宗指名「主萬春節醮，職高功，蒙賜巾袍」。
道教繼承民族文化，在群眾信仰和民俗的基礎上發展演繹的齋醮儀式，形成了道教多用途的齋醮科儀，大則為國祝釐、禳解災疫、祈晴禱雨；小則安宅鎮土、禳災解厄、祈福祝壽、度亡生方等等，大凡人所希求的事多有用齋醮祈禱之法。南宋朱熹云：「夫臣眾世民之家苟有災厄，而為之祈籲天地、醮祭星辰、黃冠師者，齋明盛服，露香叩首，達其誠悃，乃古者祝史巫覡薦信鬼神之遺意，蓋理之所有而亦人情之所不能免也」。
現行道教齋醮科儀，基本上是沿襲經明代整理的醮儀，但也不是照搬不來，而是根據各派、各地域的習衍而大同小異。正一道場科儀地區性更大些。全真則全國十方叢林都大致相同，但也有些小不同。所以在同一法事的做法上甲地與乙地科儀有不同處是不足為奇的。
道教齋醮有陽事陰事之分，也就是有清醮與幽醮之分。清醮有祈福謝恩、卻病延年、祝國迎祥、祈晴禱雨、解厄禳災、祝壽慶賀等等風於太平醮之類。幽事則有攝召亡魂、沐浴渡橋、破獄破湖、煉度施食等等屬於濟幽度亡之類。宮觀道眾每逢朔望及重大節日舉行慶賀、祝壽等典禮，則是宮觀常規例行道場科儀。
現行全真齋醮，有一日的，有一夜的，有一日夜的，有三日夜的，有七日夜的，最多有四十九日夜的大道場。如齋主給家中老人做壽或還受生、安宅鎮土、農忙後酬謝天地神恩、朝山進香打太平醮，大多一天了事，或上一通祈安表文了事。如為病人解厄禳星、超度亡人濟煉施食、破獄破湖、渡橋沐浴、十王轉案等度亡生方道場，大多一夜了事或一日夜了事。這些小型道場，較為簡單，屆時開壇誦經就行了。若是三天以上的道場，就要按順序逐日做多種科儀，如開壇、取水、蕩穢、祀灶、揚幡、宣榜、召將請神、安位供天等科儀，道場圓滿則有送聖回向、落幡等，每日三朝、上表、誦經、禮懺等等。在應做的法事中，科儀有繁有簡，可根據情況靈活運用。如蕩穢，就有大蕩穢和小蕩穢；上表也有大上、小上，上大表和單朝表。
還有科儀經典, 道藏都可以用作 "申遺" 佐證, 問題是有多少同道中人聯手辦妥這件盛事 !
