臺灣「赤山龍湖巖」課誦儀軌音樂探析

Since it first was introduced to China, Buddhism has been passed down, developed and evolved to wield a strong influence on Chinese culture. It has been a long time since the Buddhist ideology influenced China, and Buddhist temples could be found everywhere to worship gods, sermonize the public, and promote the Buddhist ideology and rituals. In addition, with the publication of the Buddhist classics, Buddhism has been spread and promoted, which forms a systematic Buddhist culture in the civilian life. Recently, some Buddhist groups have established Buddhism academies, published Buddhist publications. Moreover, with mass media and the Internet to publicize and promote Buddhist ideology and thoughts, Buddhism has not only been rooted in China but also spread overseas. The development of Buddhism in Taiwan could be dated back to the Ming Dynasty, coming to Taiwan with the early immigrant from Fujian, which has now become a part of life customs and formed an important religious culture in Taiwanese civilian life. Chi-shan-long-hu-yan, located in Liujia, Tainan, Taiwan, was established more than three hundred years ago, and is one of the earliest temples in Taiwan, and the very first religious base for worshipping Guanyin, the Bodhisattva. This temple was established by Yong-hua Chen, a general under Koxinga, and invited a Zen master, Can-che (also named Ze-can) from Fujian to station as the first founding master. Now the chief abbot of the temple, Master Shen-fu, is the eleventh abbot. Chi-shan-long-hu-yan was also the site for Tian-di-hui (a Chinese fraternal organization) established by Yong-hua Chen as well as the starting place for Triad (Chine e Freemasonry), which makes this temple (yan) more significant historically and culturally. This paper will begin by introducing the historical background and cultural significance of Chi-shan-long-hu-yan. Secondly, the ritualistic music of the Buddhist monastic practice and its function will be analyzed. Thirdly, lun-guan (sermons and lessons) of morning and evening Buddhist monastic practices, and the procedures, lyrics, tunes, and melodies of fanbai (the Buddhist hymns) of the chanting rituals in the Buddhist meditation groups will also be analyzed. Finally, the ritualistic music for chanting and recitation will be discussed, which continues the contexts of the traditional Buddhist music and blends the fanbai form with Taiwanese folk music culture. Hopefully, the materials of this research will provide reference for researchers in the related fields.