中國漢代以來，孔廟久經崇奉，並於唐初形成「廟學合一」制，遍立天下。其中的象神樣式，長期以塑、畫和木主並行。明初洪武帝始令首府南京太學孔廟撤像設、立神主，嘉靖九年更通令天下文廟撤像立主。後者因實施範圍廣大，對於官紳士夫造成不小的衝擊，各地固以奉命行事為常，實則可見種種蓄意護像的行動，設法以隔牆、土埋、水流等方式保全聖像，庶幾免於褻瀆。至於嘉靖帝何以大動作改革孔廟舊制，除了受先祖洪武的啟發，亦混雜「大禮議」期間君臣相爭產生的心結難解，尤值得注意的是嘉靖帝對於佛教像設的高度憎惡。由於中國古禮立「木主」以棲神，外來的大乘佛教則採雕塑、繪畫的方式呈現神佛形象，孔廟之去像設主，正突顯「漢族古制／夷狄之法」文化類型上的差異，嘉靖帝也因此視之為「辨華夷之防」的關鍵所在。然而若純就功能論的角度出發，本文以為，於今孔廟已面對社會大眾廣為開放，生動具體的「像設」易於打動參觀者的情感，其心理效應顯然優於素樸寫意的「木主」。務實考量當代孔廟管理維護的花費和空間成本，似不妨回歸過往的公式：「正殿雕塑，兩廡畫像，兼設木主」，折衷於禮制沿承和視覺傳達之間。

Confucius temples were gradually established and worshiped since the Han dynasty. During the beginning of the Tang period(dates), the temples had been further combined with the imperial academies to form one single system. This led to a substantial growth of Confucius temples all over the empire . Historically, images or statues in the temples were either sculptures or paintings of Confucius, until in the Ming period(dates), Emperor Hong Wu(dates) had ordered to replace these images with spirit tablets in the Confucius temple of the Imperial Academy(Guozijian) in the Capital Nang jing. In the ninth year of Jia Jing period, the Emperor further expanded this order to all Confucius temples in the empire, causing agreat impact on elite class in all corners of the Ming empire. While for the most part local temples seemingly followed suit. There had been intentional efforts by some to protect the historical images of Confucius from being completely replaced. The creative measures adopted for this purpose include hiding images behind walls, burying them underground, or shipping them offshore, to protect the historical images from being desecrated or damaged. The reason for this departure from the old tradition during Jia Jing period can be found in the inspiration by his predecessor Emperor Hong Wu, and the rich Han tradition. There is also some emotional complex about this order on Jia Jing’s part. Da Li Yi, the long and intense debate between Jia Jing and his subjects in the beginning of his regime which has led to the order. Most importantly, Jia Jing very much disliked the Buddhist tradition of revering images of the Buddha. While ancient Chinese typically used wooden tablets to represent the spirits, Mahayana Buddhism uses both sculptures and images for worshiping. Replacing images with spirit tablets must be seen as a measure to highlight the cultural differences between Han Chinese and Barbarians, which Jia Jing had been proud to emphasize and advocate. This article also argues from the functionality of the Confucius temple, as the important memorial temple open to the scholars and the elite. Beautiful and vivid images may work better in enhancing the atmosphere and inspiring deeper spiritual experiences, than simple and humble statues. In order to manage the temple in a more economically way, while maintaining the respected integrity of the temple, the author argues, the main temple should house the main statues, while the sub sections of the temple may display images, as well as other wooden tablets. This would ensure both the continuation of ancient way of temple display, as well as the enhancement of aesthetic and spiritual experiences for all Confucius temple worshippers.

孔廟;嘉靖;木主;像設

Confucius temple, Jia Jing, Spirit Tablet, Image