《儀禮》士人寢廟空間及儀式交涉之研究——以冠、昏、喪、祭四禮為中心

Abstract

《儀禮》所載禮儀無一不在宮室之間展開。宮室絕不止於提供物理空間的意義，尤其是作為「典範」存在的《儀禮》宮室，其存在本身即已融入天地運行的法則，物理空間之上有其象徵意義與倫理意義。中軸對稱、深進平遠的寢廟空間為儀式提供了層次分明的展演場域，在行禮場合中，參與者根據身份、角色被嚴格規定具體居處位置、朝向、移動路線。靜態處所或是儀式進程中的動線，甚至物品擺放位序都蘊含豐富的空間意義，人如何在宮室之中行禮如儀，也是在「與天地參」的思考中選擇的自處方式的呈現。 以冠、昏、喪、祭四禮分視之，宗廟的布局與運用賦予冠者「二次降生」的神聖空間，給予其超出當下地位的尊重；始於女家宗廟，成於夫家宗廟，昏禮的「分離」、「過渡」與「聚合」狀態以及「敬慎重正」的禮義通過每一階段的空間安排具象化；喪禮動態進程通過位置的「每加以遠」，象徵逝者逐步離開平生坐臥的宮室，而親屬的位置分布呈現以尸體為中心的差序格局；祭禮通過祭祀空間的營造、顯化、使用與復原，強化人祖的連結，讓神惠在祭祀場合中均勻傳遞。靜態的文字記錄中，實能觀察與理解動態的人員活動。如此則能一定程度上消解《儀禮》與當今時代的屏障，讓今人得以與古人揖讓進退於其間。

All rituals recorded in Yili (儀禮) take place within palaces. These palaces are far more than mere providers of physical space, particularly in Yili, described as the paragon. Their very existence have already include the the principles of the operation of the universe. Beyond their physical spatiality, they possess symbolic and ethical significance.The residential space and ancestral temples, Qin and Miao, characterized by axial symmetry and layered layout, provide a clearly hierarchical stage for ritual performances. In ritual processes, participants’ specific positions, orientations, and movement routes are strictly prescribed according to their status and roles. Static locations, movement paths in ritual processes, and even the the place and the order of objects all embody rich spatial meanings. How individuals perform rites within places also manifests the ways of self-positioning they choose, informed by the notion of “stand in tripartite unity with heaven and earth”. Viewed separately from the perspective of the the Four Ceremonies: Coming-of-age, Marriage, Funeral and Ancestor Worship Ceremony. The layout and utilization of Miao grant the initiate of the Coming-of-age ceremony a sacred space of "secondary birth," endowing them with respect beyond their current status. Originating in the bride’s Miao and culminating in the groom’s, the wedding ceremony’s states of “separation” “liminality” and “ncorporation” as well as its ethical essence of “reverence, prudence, solemnity, and rectitude,” are materialized through spatial arrangements at each stage. The dynamic progression of funeral, marked by a “gradual distancing” in positions, symbolizes the deceased’s gradual departure from the chambers they once inhabited, while the positioning of relatives forms a “differential mode of association” centered on the corpse. Ancestor worship ceremony, through the construction, manifestation, utilization, and restoration of ritual spaces, strengthen the bond between the living and ancestors, ensuring the even distribution of divine blessings within the venue of ancestor worship ceremony. Through static textual records, readers can observe and comprehend the dynamic activities of participants. In this way, it becomes possible to bridge the gap between Yili and the present age, allowing modern people to envision interacting with the ancients, Spanning several millennia of time and space.