上元節,又稱「元宵節」、「燈節」、「小過年」,是漢人春節期間最後一個慶典活動,源於中國漢代君王所定之正月 15 日天官生,禮祀泰一(天帝),放燈火;以及上元日在宮庭與寺院「燃燈表佛」的習俗。此後道教「天官大帝」與佛教「燃燈表佛」習俗互相融合,流傳民間,隨著華人社會傳播,保存完整的歲時年節祈福慶典。每到上元之夜 (元宵),士族百姓、道佛寺廟一律掛燈,歷經各朝各代蔚為元宵燈會佳節及祈天官賜福的慶典行事,這樣的歲時節慶於清代隨移民傳入臺灣。
臺灣的上元節蘊含既深且廣的民俗內涵,例如,以米圓、供品祭祖祀神求福求圓滿,謂之「祭春」;台南有「摸春牛」討吉利;客家地區家戶加祈門神。上元夜(俗稱「元宵」)燈會中,「燈」有光明與添丁的涵意,傳統社會婦女於燈下行走祈求「鑽燈腳生卵葩」,伴隨著猜燈謎活動。謎語的隱寓詼諧逗趣,是一種特殊的文學藝術。「乞龜」民俗,向神明擲筊討得麵、米製成的龜,求長命百歲、家戶平安、添丁發財,求得者來年須加倍奉還。源自祈求天官賜福未來一年的精神,衍伸出多元面貌、活力十足的上元節民俗,因具有強烈的地方特色,許多已登錄為民俗文化資產,例如重要民俗「馬祖擺暝」,被當地人視為最重要的過年活動;知名的「平溪天燈節」、「鹽水蜂炮」,每年都有許多來自各地的民眾前往參與;還有場面壯烈的「炮炸肉身寒單爺」、「馬鳴山五年千歲吃飯擔」的平安繞境活動、「海豐巡男丁(燈)」等,難以盡述。
上元節民俗有向神明祈求、酬謝神明等各種目的,在當代社會中,除了傳統意義的延續,更承載著臺灣的飲食文化、民俗藝術的傳承,發揮文化傳承和地方認同的功能。如元宵的賞燈、飯擔的油飯,以及具在地特色的供品等料理及擺設裝飾;因應現代需求而生的以麵線、沙其瑪、金幣堆置而成的神龜的製作和裝飾美學;燈會的燈籠與花燈製作工藝等,保留傳統的同時也不斷進行創造。此外,乞龜與還龜生生不息的循環、全家團圓逛燈會的娛樂;結合廟會祭儀、提燈遊街、猜燈謎的社區活動;聯合遶境、改運、送喜、食福等民俗活動,由地方廟宇輪流舉辦的文化祭;各縣市輪辦的臺灣燈會等,各地的上元節民俗,經由文化資產保存與社區居民維護的共識,與時俱進,成為凝聚在地認同的力量、發揮教育意義、牽繫著人與人的關係,召喚遊子每年返鄉,重複實踐,延續著各地獨特的上元節民俗文化傳統。
Also known as “Yuanxiao Festival”, “Lantern Festival”, and “Little New Year”,Shangyuan Festival is the last celebratory activity of Han people during the LunarNew Year. The festival originates from the Han Dynasty when the emperor designated January 15th as the birthday of Tian Guan, and the god of heaven was worshiped with bright lights. There was also the custom of “burning lamps as offerings to Buddha” in the imperial palace and temples on January 15th. Subsequently, the Taoist “Tianguan Great Emperor” and Buddhist “burning lamps as offering to Buddha” custom became integrated and popular among the people. Widely spread in Chinese communities, the annual festival and ritual custom have been comprehensively preserved throughout history. On the night of Shangyuan Festival, lanterns are hung by the nobility and ordinary people, as well as Taoist and Buddhist temples throughout various dynasties in history, transforming into the Lantern Festival and a celebratory ritual praying for blessings from the gods. This annual festival was introduced to Taiwan in the Qing Dynasty by immigrants.
Taiwan’s Shangyuan Festival conveys in-depth and wide-spread folk customs, including the following: Round rice dumplings and offerings are provided to the ancestors and the gods to pray for good fortune and fulfillment, which is also called the “spring ritual”.In Tainan, there is a tradition of “touching the spring ox” for good luck. In addition, families in the Hakka region would pray to Menshens, the guardians of entrance thresholds. In the traditional society, on the night of the Shangyuan (commonly known as Yuanxiao) Lantern Festival, women would walk under the lanterns, seeking to “crawl under the lantern to give birth to babies with testicles” because the lantern symbolizes brightness and additional male offspring. There are also lantern riddle activities, which is a special type of literary art and the riddles often have hidden meanings and witty puns. The “begging for a turtle” folk custom is a process of asking for gods’ permission using divination blocks, seeking turtles made of flour and rice, symbolizing longevity,peace in the family, wealth, and giving birth to baby boys. Those whose wish come true must double their offerings in the following year.
The original spirit of praying for the gods’ blessings for the coming year has evolved into diverse customs full of vitality embedded with strong local characteristics, many of which have been registered as folk cultural assets. For example: The Matsu Islands Bei-Man custom of making offerings at night is regarded as an important New Year activity by the locals. The popular Pingxi Sky Lantern Festival and Yanshui Beehive Fireworks Festival attract many participants from all over the world every year. In addition, there are the spectacular Bombing Lord Handan activities, the Maming Mountain quinquennial Wang-ye Feast and peaceful parade activities, Haifeng Three Mountains King Temple Baby Boy Welcoming Ceremony, and many more.
The Shangyuan Festival customs serve various purposes including praying to the deities for blessings, and giving thanks to the deities. In contemporary society, in additionto heritage continuance, the festival also serves to pass on cultural traditions in food,folk art, as well as local identity. Examples include visiting lantern displays, enjoyment of steamed glutinous rice, as well as appreciation of various offerings, cuisines, and decorations with local characteristics. In response to the current requirements of the faithful, the festival also features the creation and aesthetics of divine turtle shapes, made by stacking together noodles, sachima dessert, or gold coins together, and the making and craftsmanship of lanterns for the Lantern Festival, preserving the tradition with endless creativity.
Furthermore, there is the iterative cycle of begging and returning of turtle-shaped pastries or bread, and the whole family entertainment of visiting the Lantern Festival. Communities may also integrate temple fair rituals, street parades with participants carrying lanterns, and lantern riddle activities. There are local temples that take turns organizing cultural festivals, which integrate the elements of folk customs such as pilgrimage, fortune modification, sending joy, and eating blessings. The Taiwan Lantern Festival, which is hosted in turn by counties and cities, and the Shangyuan folk local customs of each region, are protected under the cultural asset preservation system and maintained through the consensus of community residents, evolving with the times to become a force unifying local identity. These cultural traditions are educational,linking people’s relationships and calling on wandering natives to return to their hometown. Year after year, such unique Shangyuan Festival folk cultural heritage is practiced and passed on to the descendants.
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