There is a "Xiang Cemetery" and a "Kengkou Palace" in Luodong, South An, the former is said to be the tomb of the drama god Lei Haiqing, and the latter is the ancestral temple of marshal TianDu's faith, which is famous at home and abroad. One day in the autumn 11 years ago, at the invitation of the Kengkou Palace Management Committee, I accompanied several colleagues from quanzhou City's literary and historical circles to visit and inspect the place, and listened to the introduction of the responsible person of the management committee on the relevant situation. Today, I have the honor of being invited to participate in the "Fujian-Taiwan Drama KandaDu Marshal Lei Haiqing Faith Academic Seminar", so I did not hesitate to slightly revise the humble text and once again present the ugliness to everyone.
If there is any error, please criticize and correct it.
Phase Cemetery
Located on the west side of the road west of Kengkou Natural Village, Zhenxing Village, Luodong Town, Nan'an City, it is composed of a cemetery area and a tomb, covering a total area of about 50 square meters. The tomb sits south facing north and east, the plane is in the shape of a "wind" glyph, the triad is constructed, and the tomb mound is turtle-shaped, with an area of about 30 square meters. In front of it, a rectangular glow-green rock tombstone is erected, 0.42 meters long and 0.33 meters wide, and the three large characters of the inscription "Xiang Cemetery" are inscribed in the middle of the stele, plus a single-line arch frame with a yin carving, and the left side is the five small characters of the yin carved vertical row letter "Wanli Gengzi Li". In front of the tombstone, there is also a granite stone case (tomb table), on which a granite rock incense burner is placed, and the three characters of "Marshal Tian" are engraved horizontally. In front of the tomb, there is a small palace made of granite stone, which is 1.05 meters high and 1.36 meters wide, and the stone tombstone and stone case are inside it. The roof of this small palace is carved from a single piece of granite stone, slightly resembling a single eaves, the original has been destroyed into several sections, thrown behind the tomb, and now seen is later re-carved. The tomb was destroyed during the Cultural Revolution and rebuilt in 1988, and in 1996 a hexagonal pavilion with a heavy eaves and a spire was built on the tomb. It is said that this tomb is the tomb of the drama god Lei Haiqing, which is famous at home and abroad. In 2002, the Nan'an Municipal People's Government announced it as a cultural relics protection unit.
Kengkou Palace
It is located on the east side of the Xiang Cemetery, separated by a road and a stream. Sitting in the same direction as the tomb, only one entrance, consisting of a main hall and a worship pavilion, with an area of about 300 square meters. The main hall was originally a three-bay hard mountain style building, which is relatively simple. Renovated in the 1990s, the roof was changed to a single eaves, covered with glazed tiles, the roof ridge swallowtail, decorated with a shear double dragon pagoda; the front porch erected a pair of spallstone carved dragon columns, and decorated with many exquisite wood carvings and other stone carvings, which are more magnificent than the original. The pavilion is also built in the 1990s before the main hall, which is square, with a single eaves on the top of the hill, also covered with glazed tiles, with a dovetail roof ridge, and cut to the double dragon to the fireball, which is quite small and exquisite. In addition, a granite single-arch bridge was also built on the creek on the west side of the temple, named "Haiqing Bridge", and in 1996, the management committee of The Mengxingde Palace in Taipei donated a three-bay corridor house on the bridge, so it was also called "Daxingde Bridge". In addition, a new two-story reception room was built on the east side of the main hall. As a result, although the current Kengkou Palace is not very large, it is much larger than before. Because the history of Kengkou Palace is still difficult to determine, and the existing buildings are all new buildings, it cannot become a Nan'an municipal cultural relics protection unit together with Xiang Cemetery. However, the main deity it worships is Marshal Lei Haiqing of Tiandu and the great house and the second house from the god, which are identified as the ancestral temples of marshal Tiandu's faith, so their influence at home and abroad is not small, and the incense is continuous and very exuberant.
So, is the Xiang Cemetery the tomb of Marshal Lei Haiqing of the Drama Kanda Capital? Is Kengguchi Palace the ancestral temple of the faith of Marshal Kanda? There is such a record in the Qingqianlong "Quanzhou FuZhi", which reads: "Tian Shuai Ancestral Hall, in (Nan'an) County Zhibei Kengkou Longevity Blessed Land, Qitang Town Shuai Tian Mou." "Min Shu Copied": "The name of the god was lost, the Qiantang people, the commander of the army in Wurong, Taolin, because the town caressed its land, buried Luoxi Mountain, even with the sound of the spirit, the people through its shelter, set up a temple to worship, and then gave the temple 'Zhao Temple'." ”
The Republic of China's "Nan'an County Chronicle" also has this record, and the content is basically the same. Is the "Tian Shuai Ancestral Hall" mentioned by it a kengkou palace? If so, the Xiang Cemetery is certainly not the tomb of the drama god Lei Haiqing, and the Kengkou Palace is not the ancestral temple of Marshal Tiandu's faith. However, according to the book "Nan'an Temple View" compiled by Mr. Li Huiliang of the Nan'an Municipal Cultural Management Office, it is clearly pointed out that this Tian Shuai Ancestral Hall is "a blessed place of longevity located in Dakengkou, Fengzhou Town". Therefore, it and the pit mouth palace are two different things, and cannot be confused.
I think that the key to judging whether the Xiang Cemetery is the tomb of the drama god Lei Haiqing and whether the Kengkou Palace is the ancestral temple of Marshal Tiandu's faith is to confirm whether the drama god Lei Haiqing is a person from The South Anluodong Kengkou. Although the Tang Dynasty Yao Runeng's "An Lushan Deeds" and "Records of the Ming Emperor" record Lei Haiqing's life deeds, they do not indicate his place of origin; and the relevant old chronicles and old genealogies do not mention Lei Haiqing and his personal affairs at all. Therefore, so far, it has not been found the historical basis for lei haiqing to be a member of the Fang clan. At present, only in the newly compiled "Nan'an County Chronicle" can we see that he "lived in seclusion at the mouth of Luodong Keng". He said: "Marshal Lei Haiqing of Tiandu, a member of the Tang Xuanzong dynasty, was proficient in music, promoted to the head of the Pear Garden class, and was a favored subject of Xuanzong." During the Anshi Rebellion, he was demoted from the Capital Division as the leader of the wrong country, took refuge in the south, lived in seclusion in Luodong Kengkou, studied the "Yi" theory, Shanqi Huangshu, and set up a museum to teach apprentices, teaching song and dance. After his death, his disciples were scattered in southern Fujian and Chaozhou, and each grouped to pass on the art. Descendants of the Minchao opera class and the children of Pear Garden respect him as a drama god. ”
Although Lei Haiqing's place of origin is not mentioned here, it is said that he lived in seclusion in Nan'an Luodongkengkou, Fujian Province, because he took refuge in the south, and died here. Therefore, according to this record, Lei Haiqing can be counted as a pit mouth person. However, its record of Lei Haiqing's life and deeds is quite different from the "An Lushan Deeds" and the "Records of the Ming Emperor", and its source is probably from folklore.
There are also two different legends about who Lei Haiqing is: first, he is a person from Hangzhou, Zhejiang, who was born of an unmarried Miss Su who swallowed the milk of rice and became pregnant, so his surname is Su; first, he was originally born to Miss Su of Suxia Village in Meishan, Nan'an, Fujian Province, and was adopted as a son by an old artist surnamed Lei in Kengkou Village after abandonment, so his surname was Lei and he became a Kengkou person.
Although Lei Haiqing has his own person in history, his origin is unknown, so he has been caused by a variety of legends and given many mythological colors. As we all know, folklore often reflects the demands and aspirations of the people to a certain extent, so in the case that lei Haiqing's place of origin cannot be examined in the history, the question of who he is has to look for answers in folklore. Because the gods are man-made, as long as the basis for the legend that Lei Haiqing is a Nan'an Kengkou person can be found in history, there is no need to deny it now.
So far, although it is still impossible to find the basis for the legend that Lei Haiqing was a nan'an Kengkou person from historical documents, it can still be circumstantial evidence in the works of the famous scholar and literary scholar Yu Fan of the Qing Dynasty and in the performance customs of the Puxian opera class in the past. Yu Fan recorded in his "Tea Room Cong Banknote" that Wang Peng of the Guo Dynasty "Sleeve Sea Compilation" Yun: "Xi Pear Gardeners co-constructed the Xianggong Temple, starting from the Min people. The old saying is that for Lei Haiqing, go to the rain to save the field, called Tian Xianggong. Although this is not examinable, it is not false that the loyalty of Haiqing, the temple food is appropriate, and the ancestors of the people are not false. ”
From Wang Peng's statement that the worship of Lei Haiqing as a drama god is "from the beginning of the Min people", it can be proved that the Min people have long identified Lei Haiqing as a local, otherwise they could not enjoy this treatment, because the previously universally worshipped drama god was Tang Ming Emperor or The God of Irrigation Erlang. In addition, in the past, the Puxian Opera Class mentioned lei Haiqing as a native of Quanzhou Province in the ceremony of opening the stage (that is, before the official performance, a ceremony to invite the opera god Lei Haiqing to open the stage and step on the stage). According to the "Performance Customs" chapter of the "Chinese Opera Chronicles and Fujian Volumes", the performance customs of Puxian opera are recorded, and in the past, after the Puxian opera class sang the "Jingtai Mantra" at the opening ceremony of its stage, the whole shed artists shouted four sentences of great white (rhyme white): "My family is in Quanzhou Province, and I love gongs and drums all my life." Someone asked me to take the stage and dance. Although this rhyme does not specify that Lei Haiqing is the clan of the village in the county where Quanzhou Prefecture belongs, except for Nan'an, no other place in the previous Quanzhou Prefecture has ever said that Lei Haiqing was their clan. Therefore, since ancient times, the drama god Lei Haiqing has gained public recognition for the Nan'an Kengkou people.
Lei Haiqing was identified as a Nan'an Kengkou person, and after he became a god, he was revered as "Tian Xianggong", and the Quanzhou area was also called "Xianggongye", so this tomb located in Kengkou Village and with the tombstone of "XiangGong Tomb" should be Lei Haiqing's tomb. As for whether this tomb is the tomb where Lei Haiqing's bones are buried, or whether it is a "crown tomb", it is difficult to distinguish. Because Lei Haiqing was buried in Luoyang, Henan Province, after being killed by An Lushan, there is no record, and the folklore is different, which is difficult to believe. Therefore, this tomb is a mystery, and only archaeological excavations can reveal it. However, according to my own opinion, this tomb may be a commemorative tomb specially created by posterity for the needs of the god Lei Haiqing. As for what was buried inside, it was not known, and if there was a person buried with a crown, it was not what Lei Haiqing had originally worn. So when was this tomb built? It is still difficult to determine, but judging from the stone tombstone erected in the year of Gengzi of the Ming Wanli Calendar (that is, the twenty-eighth year of the Ming Wanli Calendar, 1600 AD), it has appeared at least in the middle of the Ming Dynasty, and it is possible that it was rebuilt at this time. Therefore, although the nature of the Lei Haiqing tomb in Kengkou is still difficult to determine, its history is still relatively long, and it is unique in the country, but it can be protected as a valuable historical and cultural heritage in the faith of Marshal Tiandu.
Is Kengkou Palace the ancestral temple of Marshal Tiandu's faith? According to the "Three Religions search for gods", Marshal Tian Du was the three brothers of Tian Gouliu, Tian Hongyi, and Tian Zhibiao in the Tang Dynasty, who undertook the edict as a musician during the first year of Tang Xuanzong's kaiyuan period. When the plague ghost appeared, they helped the Celestial Master cast a spell to remove the plague. The Celestial Master saw that they were strange, and the legislature was sent to support the Xuan Altar. As a result, Emperor Xuanzong of Tang made him "Marquis Zhaolie of Tian Taiwei Zhaolie, Marquis of Tian Erwei Zhaoyou, marquis of Tian Third Lieutenant Zhaoning", and was collectively known as "Grand Marshal of Tian Duwei". The Kengkou Palace is revered by a marshal of Tian Du, who is a court musician of the Tang Xuanzong Dynasty, Lei Haiqing, who is revered as a drama god. The Cihai Art Album describes the drama god Lei Haiqing as follows: Tang Dynasty court musician, proficient in pipa. According to the Records of the Ming Emperor, An Lushan rebels invaded Chang'an, plundered Wenwu courtiers, palace concubines, and musicians, and sent them to Luoyang, where they feasted at Ningbi Pond and threatened the musicians to play music. Ray threw the instrument to the ground and wept bitterly to show his resistance, and was dismembered by An Lushan to show the public. Wang Wei has poetry about it. In the old days, the "Marshal Tian Gong" of Fujian Puxian Opera, Pear Garden Opera and other dramas was rumored to be Lei Haiqing.
Shi Hongbao's "Min Miscellaneous Records" of the Qing Dynasty also records that " Xing, Quan and other places, there are Tang Legong Lei Haiqing Temple. In The Xinghua people, commonly known as the 'Marshal Temple', there are inscriptions of Tang Suzong sealing Taichang Temple Qing, Song Gaozong sealed the Grand Marshal, this is not seen in the transmission, the saying of the customary association; in Quanzhou, commonly known as 'Xiang Gongye', where baby sores are healed and prayed, before and after the Yuan, incense is particularly abundant. Therefore, Lei Haiqing was called "Marshal Tian Gong" in the Putian area, and "Marshal Tian Du" in the Quanzhou area, so the Kengkou Palace was also called "Marshal Tian Du Palace", and the upper forehead of his worship pavilion was written with two lines and seven characters "Kengkou Tian Du Marshal Palace".
Wang Peng of the Qing Dynasty said in the "Compilation of the Sleeve Sea": "The Co-construction of the Pear Net, since the beginning of the Min people. "Is the Kengkou Palace the earliest Xianggong Temple built?" If so, of course, it is the ancestral temple of Marshal Tiandu's faith. According to Mr. Li Huiliang, kengkou Palace "was founded in the Northern Song Dynasty"; however, it is also said that in the fifteenth year of Tang Tianbao (756), the second year of the Anshi Rebellion, Lei Haiqing was killed by the an Lushan rebels in Luoyang, Henan. According to the latter, Kengkou Palace was built in the Tang Dynasty. However, this statement should be taken from folklore, and there are contradictions in the narrative. The "Anshi Rebellion" was not put down until the first year of Tang Guangde (763), and Tang Xuanzong returned to heaven the year before (762), which could not be relied upon. Therefore, it was founded in the Tang Dynasty, or the Northern Song Dynasty, or other dynasties, and there is no solid evidence to judge it. However, I think that the Kengkou Palace most likely appeared in the "Xiang Cemetery" first, and the "Xiang Cemetery" can definitely exist at least during the Ming Wanli Period, thus proving that there was a Kengkou Palace before the Ming Wanli Period. It is understood that the Xianggong Temple of Lei Haiqing, the main ancestor of other places in Fujian, was built during the Ming and Qing dynasties, and will not be earlier than the Kengkou Palace. I heard that the area around Kengkou is a famous "drama nest" and "Taoist nest" in history, and there are Shes people surnamed Lei living in the mountains, so there are sufficient historical conditions for the first construction of the Xianggong Temple dedicated to the god of drama Lei Haiqing here and spread it to the outside world. In addition, from ancient times to the present, almost all the Xianggong Temples in various parts of the Spring Have come here to pay tribute to the ancestors on the 16th day of the first month; now even in Taiwan, there are several Xianggong Temples that have come to worship and donate funds to build the Kengkou Palace. Therefore, although the founding date of Kengkou Palace is still difficult to define, it is not an empty temple as the ancestral temple of Marshal Tiandu's belief, it can capture some historical evidence, and it has long been recognized by many Xianggong Temples. Unfortunately, today, this Kengkou Palace, which has certain historical and cultural significance, has been completely renovated, and it cannot be announced as a cultural relics protection unit by the Nan'an Municipal People's Government together with the "Xiang Cemetery".
Marshal Tian Du faith
Lei Haiqing was a Court Musician of the Tang Dynasty before his death, rich in musical genius, deep artistic attainments, and was highly valued by Tang Xuanzong, the organizer of the "Royal Pear Garden"; he died of loyalty, which was even admired and remembered by people, and it is said that he was a native of Nan'an, Fujian. Therefore, he first won the reverence of Fujian opera artists and became the ancestor god and protector of Fujian opera industry. Therefore, although Yu Fan, a famous literary scholar and scholar of the Qing Dynasty, did not fully believe in Lei Haiqing's derivation into "Tian Xianggong", he still praised it with admiration: "Although this is not examinable, it is not absurd that with the loyalty of Haiqing, the temple food is appropriate, and the ancestors of the people are not false." If the god of the old lang is worshipped, the old lang Tang Ming Emperor is not despised, and even if it is not taken. ”
As for when Lei Haiqing began to evolve into "Tian Xianggong" and called him "Marshal Tian Du"? According to local legends in Nan'an, it should have begun in the Tang Dynasty. "Nan'an Character Selection" introduced Lei Haiqing said: "The ancestral hall is at the mouth of Luodong Kengkou Village, because according to legend, when Guo Ziyi counterattacked the Anshi rebels, Lei Haiqing once manifested to assist in the battle, and the banner of 'Lei' in the sky and the upper half of the word were obscured by clouds and mist, only the word 'Tian' was seen, so the folk called its shrine 'Marshal Tiandu' House. According to Shi Hongbao of the Qing Dynasty, there is a stele in the Lei Haiqing Temple in Xinghua (Putian), and Lei Haiqing was named "Taichang Temple Secretary" during the reign of Emperor Suzong of Tang and "Grand Marshal" during the reign of Emperor Gaozong of Song. According to this, Lei Haiqing was known as the "Marshal of Tiandu" at the beginning of the Southern Song Dynasty. Although Shi Hongbao has a saying, which is also the saying of "Li Customs And Attached", the Qing Daoguang "Xiamen Chronicle" also adopts this saying, and it also says in the introduction of the Xianggong Palace in Xiamen Miaozaixi that Lei Haiqing was "posthumously named Taichang Siqing by Tang Suzong, and Posthumously awarded the Grand Marshal by Emperor Gaozong of Song". I think that no matter when Lei Haiqing became a god, it is more likely that the person known as the "Grand Marshal of Tiandu" began in the early Southern Song Dynasty. Because the peak of classical opera activities in the mainland did not begin to appear until the Song Dynasty, southern opera (including pear garden opera) and marionette play began to form in the Song Dynasty, so as the god of drama Lei Haiqing in the Song Dynasty is likely to attract the attention of Song Gaozong, and was posthumously awarded the title of "Grand Marshal", thus having the name of "Marshal of Tiandu".
In the past, opera artists believed in Marshal Tian Du, in addition to co-constructing temples in their own localities, molding idols of gods, and holding solemn sacrifice ceremonies every year on the birthday of the gods, some opera classes performed in a certain place, and if there was a Xianggong Temple in the place, they had to go to worship first; some opera classes set up their own shrines, worshiped gods or tablets, worshipped before the performance, and drank some tea offerings; and the opening ceremony of some opera classes was to invite Marshal Tian Du to come out and "step on the shed.". In short, the former opera artists believed that only by believing in Marshal Tian Du could their skills be in the flow and bless them with the success of each performance.
With the expansion of the scope of faith and the increase in the number of believers, Marshal Tian Du became the protector of the locality, the lord of the paving or village community. According to incomplete statistics, only in Quanzhou City (now Licheng District, Fengze District, Luojiang District) there used to be 94 palaces and temples dedicated to Marshal Tiandu, of which the main shrine (as the owner of the paving or village community) accounted for the majority. Due to the development of the priesthood, Marshal Tiandu also became a multi-functional deity, and even "the baby was poisoned with sores, and the prayer was repeatedly effective."
In addition, in some places, the people with the surname Lei also worshiped Marshal TianDu as an ancestral god. For example, the Fengsheng Palace in the West Street of Quanzhou's old city (present-day Licheng District) is dedicated to Marshal Tian Du, and the nearby surname Lei Shemin worships him as an ancestral god, thus treating the Fengsheng Palace as an ancestral shrine.
Although Marshal Lei Haiqing of Tiandu is a local deity, the spread of his faith is still relatively wide. In terms of drama types, not only the first formed pear garden drama (including the big pear garden and the small pear garden), the puppet drama (marionette) has worship, that is, the later formed cloth bag drama (palm puppet), gaojia opera, and dacheng opera also have reverence, and puxian opera, gezai opera (qian opera), Min opera, bamboo circus, large cavity opera, small cavity opera, Siping opera, Han opera (Minxi), Chao opera, and even Taiwan's "national opera" (Peking Opera) also have reverence. Geographically, in the former counties of Nan'an, Jinjiang, Hui'an, Anxi, and Tong'an (including Xiamen and Kinmen), to which Quanzhou Prefecture belonged, there were worshippers, and they spread to Fuzhou, Putian, Zhangzhou, Eastern Fujian, Western Fujian, Chaozhou, Shantou and other regions, and even spread to Taiwan and Southeast Asia, thus forming a large circle of faith.
Mr. Tao Yang, a well-known mythologist on the mainland, said in the "Preface" of "Chinese Folk Beliefs" written by Wu Bing'an: "Folk beliefs have always had a prominent social status and positive role in history. The people's worship of the creator god who made up for the security of mankind, the worship of the heroic ancestors who fought bloody battles with the invaders to maintain the survival of the nation, the worship of the famous craftsmen who made special contributions to the creation and invention, and the worship of the sages and patriots have become the mainstream of folk beliefs throughout the ages. The essence of these folk beliefs has the cohesion of the nation, the appeal of encouraging the people to see righteousness and courage, and the educational role of cultivating the masses' lofty moral character and dedication to the public, and so on. Therefore, the study and propaganda of the two important historical sites that are the faith of Marshal TianDu, the Yixiang Cemetery and the Kengkou Palace, are of great historical and practical significance, especially now they can play a positive role in strengthening the unity and ties between the people on both sides of the strait and promoting the early peaceful reunification of the motherland.
exegesis:
Qing Qianlong's "Quanzhou Fuzhi" volume 16 "Temple Temple View".
Nan'an County Chronicle of the Republic of China, Volume 5 "Ying Jian Zhi II".
Li Huiliang, Nan'an Temple, p. 21, compiled by the Religious Bureau of Nan'an City, Fujian Province.
Nan'an County Chronicle Compilation Committee compiled "Nan'an County Chronicle", vol. 38 "Customs and Belief Taboos", published by Jiangxi People's Publishing House.
(Qing) Yu Yue's "The Complete Works of Spring in the Hall".
"Chinese Opera Chronicles, Fujian Volumes", "Performance Customs", published by Beijing Culture and Art Publishing House.
Wang Peng's "Compilation of the Sleeve Sea", see (Qing) Yu Yue's "The Complete Works of Spring in the Hall".
Reprinted from the Quanzhou Urban Taoist Culture Research Association, Quanzhou Urban Temple Records, pp. 91-92.
"Cihai Art Fascicle" "Musician Lei Haiqing" article, revised and published by the Cihai Editorial Department of Zhonghua Bookstore.
Shi Hongbao's Min Miscellaneous Records, Vol. 5.
Page 2 of "Selected Characters of Nan'an", published by Fujian People's Publishing House.
Qing Daoguang's "Xiamen Chronicle" Volume 2 "Division, Ancestral Temple".
See Zhang Bingxi, "The Beliefs and Legends of Marshal Tian Du," Quanzhou Folk Faith Newsletter, may 1998, pp. 29-30.
See Wu Bing'an, Chinese Folk Beliefs, published by Shanghai People's Publishing House.
(Originally published in "2013 World Minnan Cultural Festival (Quanzhou) Mintai Drama Shentiandu Marshal Lei Haiqing Faith Academic Seminar Compilation", Quanzhou Art School, Quanzhou Xinhai Road Minnan Cultural Protection Center, Quanzhou Quanzhou Quanjun Fengsheng Palace Management Committee, June 2013)
This article is selected from the Quanzhou Historical and Cultural Center series "Zheng Huanzhang Literature and History Manuscripts"
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![Is there a "marshal" in the field?[fig]](data:image/gif;base64,R0lGODlhAQABAIAAAP///wAAACwAAAAAAQABAAACAkQBADs=)