糧船說｜ High Island of Time

流程簡介

整個儀式遵從古時皇帝出巡的儀式、排場。

啟程：出海巡遊前，需擲聖杯請示天后娘娘出巡時間，獲得聖意批准後方能啟程。

請神與準備：工作人員會為神輿簪花掛紅，並掛上薑和碌柚葉等辟邪驅穢之物。
潔淨之道：天后娘娘所經之路，均會鋪上紅地毯並進行清潔，禁止他人隨意踏足。
戲班先上演賀壽、加官、送子，亦有醒獅、麒麟助興。
「緣首」將天后的「行身」請出廟外，安放在神輿上。
兩旁有人撐起羅傘，喃嘸先生跟隨其後，一邊誦經，同時有人敲鑼擊鼓，拿著「天后元君」、「污穢勿近」、「肅靜迴避」等「巡牌」。
巡遊路線：船隊會護送天后前往伙頭墳洲和火石洲之間的海域，此為昔日糧船灣漁民出海捕魚的路線。

意義：超度孤魂及視察海面

「坐駕船」的船頭會豎立「大士王」，用以監察前來接受施捨的孤魂野鬼。
天后座駕船上的師傅會為亡靈誦經超度，祈求「陰安陽樂」，社區平安。
在海域中撒下冥鏹、飯菜，並放下紙船供海上孤魂乘坐。

回程：在海上擲聖杯，需擲聖杯請示天后娘娘回程時間。

天后娘娘回到糧船灣，戲班再上演賀壽、加官、送子，醒獅表演、漁家舞表演

Timeline

The entire ritual follows the ceremonial rites and pageantry of an imperial procession in ancient times.

Departure: Before setting out for the sea patrol, the departure time must be confirmed by casting moon blocks (poe) to seek Tin Hau’s instructions. The procession can only depart after obtaining divine approval.

Inviting the Deity and Preparations: Staff members decorate the sacred sedan chair with flowers and red ribbons, and hang items such as ginger and pomelo leaves to ward off evil spirits and cleanse impurities.
The Path of Purification: The entire route that Tin Hau (Goddess of the Sea) will pass is covered with red carpets and cleansed. Others are strictly prohibited from stepping on these areas.
The opera troupe first performs birthday blessing plays, promotion-themed pieces, and child-bestowing operas, accompanied by lively lion and unicorn dances to add to the festivity.
The ten “Yuen Sau (Ritual Leaders)” reverently invite the processional statue of Tin Hau out of the temple and place it onto the sacred sedan chair.
On both sides, people hold up ceremonial umbrellas, with Taoist priests (nam mo masters) following behind, chanting sutras. At the same time, some beat gongs and drums while carrying patrol placards inscribed with phrases such as “Tin Hau Yun Kwan” (Goddess of the Sea), “Impurities Keep Away”, and “Silence and Respect”.
Procession Route: The fleet escorts Tin Hau to the waters between Fo Tau Fan Chau and Fo Shek Chau, which follows the route that fishermen from Leung Shuen Wan historically took when going out to sea.

Significance: Liberating wandering souls and inspecting the sea

The bow of the “lead vessel (ceremonial boat)” displays an effigy of the “King of Ghosts” (Tai Si Wong), which oversees the wandering spirits coming to receive offerings.
Taoist priests (nam mo masters) aboard Tin Hau’s vessel chant sutras to liberate the souls of the departed, praying for “peace for both the spirits and the living” and the well-being of the community.
Spirit money, rice, and vegetables are scattered into the sea, and paper boats are released for the wandering souls at sea to ride.

Return Journey: Moon blocks (poe) are cast at sea to seek Tin Hau’s instructions regarding the return time.

Upon Tin Hau’s return to Leung Shuen Wan, the opera troupe performs birthday blessing plays, promotion-themed pieces, and child-bestowing operas, accompanied by lion dance performances and fishing folk dances.

糧船灣天后海上出巡

天后出巡是糧船灣天后誕慶典的重頭戲之一。當日，水陸居民會「請神出海」，天后行身坐上「座駕船」，在糧船灣海域一帶巡航，象徵天后巡視海域、庇佑漁民。參與船隻掛滿彩旗，鼓樂齊鳴，氣氛隆重。巡遊結束後，恭迎神像回廟安座，村民齊聚廟前酬神祈福。整個過程不僅展現出宗教傳統，也呈現出以海為家的地方特色。

船隻與儀仗隊形

主船隊有四艘船：天后娘娘坐在「坐駕船」，前方分別有「第一拖頭」、「第二拖頭」、「第三拖頭」。
其他數十艘船隻跟隨，掛滿旗幟。，上寫「風調雨順」、「國泰民安」等祝詞。
船上有舞獅及漁家舞，並燃放鞭炮營造節慶氣氛。

儀式場景

巡遊期間，整個海面遍佈掛旗船隻，鼓聲與鞭炮聲不絕。
龐大船隊：由半百艘船組成盛大船隊，過千人参與，伴隨天后元君出海巡遊。
居民們在岸邊及船上進行舞獅、舞麒麟、扇子舞及漁家舞表演，並在陸上舉辦扒龍舟活動，現場歡呼聲此起彼落，氣氛熱烈。
天后娘娘回廟後，戲班再上演神功戲，演戲酬神；居民在廟前戲棚用膳。
全程洋溢祈福與感恩氛圍，展示漁村傳統延續。

糧船灣天后海上出巡

天后出巡在農曆三月二十二日（正誕之前一天）上午舉行。
由糧船灣居民組成的船隊參與。
太平清醮的一部分，天后座駕船上的師傅會為亡靈誦經超度，祈求「社區平安。
龐大船隊：由半百艘船組成盛大船隊，伴隨天后聖駕出海巡遊。
神聖禁忌：船到之處，閒雜人等需肅靜迴避，其他船隻（包括水警）均禁止在天后船隻前方駛過，以示最高敬意。
鄰近沿海地區的居民與善信也會駕船或乘艇前來觀禮。
居民即使搬離糧船灣，也會回鄉參加或幫忙準備儀式。

Leung Shuen Wan Tin Hau Sea Parade

The Tin Hau Sea Parade is one of the highlights of the Leung Shuen Wan Tin Hau Festival celebration. On this day, the land and water communities “invite the deity to patrol the sea.” The processional statue of Tin Hau is placed aboard the lead vessel (ceremonial boat) to cruise the waters around Leung Shuen Wan, symbolising Tin Hau inspecting the sea and blessing the fishermen. The participating vessels are decorated with colourful flags, accompanied by the sounds of drums and music, creating a solemn and grand atmosphere. After the parade concludes, the statue is respectfully welcomed back to the temple and reinstalled. Villagers gather in front of the temple to offer thanks and pray for blessings. The entire event not only showcases religious traditions but also embodies the unique local character of a community that calls the sea its home.

Boats and Procession Formation

The main fleet consists of four vessels: Tin Hau (Goddess of the Sea) is seated in the “lead vessel (ceremonial boat)”, preceded by the “First Tugboat”, “Second Tugboat”, and “Third Tugboat” respectively.
Dozens of other vessels follow, decorated with flags inscribed with auspicious phrases such as “Fung Tiu Shun Yu” (favourable weather) and “Kwok Tai Man On” (peace and prosperity) .
Onboard, there are lion dances and fishing folk dances, and firecrackers are set off to create a festive atmosphere .

Ceremonial Atmosphere

During the parade, the entire sea surface is dotted with flag-decorated vessels, accompanied by the ceaseless sounds of drums and firecrackers .
A grand fleet: A magnificent procession of over fifty vessels, with more than a thousand participants, accompanies Tin Hau (Goddess of the Sea) on her sea patrol.
Residents perform lion dances, Hakka unicorn dances, fan dances, and fishing folk dances both on the shore and aboard the vessels. Dragon boat rowing is also held on land, with cheers rising one after another, creating a lively and enthusiastic atmosphere.
After Tin Hau returns to the temple, the opera troupe performs ritual Cantonese opera as an offering to the goddess; the residents dine in the temporary theatre shed in front of the temple.
The entire event is imbued with an atmosphere of prayer and gratitude, showcasing the continuity of the fishing village’s traditions.

Tin Hau Sea Parade

The Tin Hau Sea Parade is held on the morning of the 22nd day of the third lunar month (the day before the main festival).
The fleet consists of vessels crewed by residents of Leung Shuen Wan.
As part of the Tai Ping Ching Chiu (Purification Ritual), Taoist priests aboard Tin Hau’s lead vessel chant sutras for the salvation of wandering souls, praying for the “peace and safety of the community”.
A grand fleet: A magnificent procession of over fifty vessels accompanies the sacred statue of Tin Hau on her sea patrol.
Sacred taboos: Wherever the vessels pass, all bystanders must observe silence and keep clear. Other vessels (including Marine Police launches) are prohibited from crossing in front of Tin Hau’s boat as a sign of utmost respect.
Residents and devotees from nearby coastal areas also sail or take boats to witness the ceremony.
Even residents who have moved away from Leung Shuen Wan return to their hometown to participate in or help prepare for the rituals.

糧船灣天后信仰

天后信仰起源於福建莆田，隨着航海貿易的發展傳入廣東沿海、臺灣與澳門等地。天后，又稱媽祖，原名林默娘，糧船灣居民尊稱祂作「媽（粵音：馬）娘」、「阿媽（粵音：馬）」。傳說天后通曉天文地理、醫學與天氣，能洞察災禍，化解危難。糧船灣的漁民亦是虔誠的天后信徒，他們在出海捕魚前，必會向天后娘娘祈求風調雨順、平安歸來。因為海上風浪無常，這份信仰與依靠成為他們生命的一部分。糧船灣天后宮興建年份雖無確切記載，但據信已有逾四百年歷史，甚至有說法認為其歷史可追溯至五百年前。廟內現存最古老的文物為鑄造於乾隆六年（西元1741年）的銅鐘。歷經多次修繕，至今香火不絕。每年農曆三月二十三日天后誕，居民在此期間舉行盛大的慶典。糧船灣的天后誕醮會分為大屆（雙數年）和小屆（單數年）。小屆只會在農曆三月廿二晚上進行道教法事，由喃嘸師傅誦經和化掉大士王（即鬼王）; 三月廿三白天的賀誕活動則包括舞龍、舞獅、舞麒麟和抽花炮。大屆的安排和小屆相似，但更具規模，居民會舉行太平清醮、天后海上出巡與神功戲，延續過百年信仰與社群凝聚的力量。

糧船灣的天主教信仰始於二十世紀初。1910年，傳教士在遠離傳統天后宮的北丫村建立了龍船灣天主堂。教堂選址於北丫，不僅因為該村人口較多，也希望能服務當地的客家人，神父更需學習客家話以便傳教。

然而，由於糧船灣居民崇拜天后，傳統信仰根深蒂固，天主教在此地的傳播並未大規模取代原有信仰。直至1930年代，全村僅有數戶家庭（約五至六戶，十餘人）領洗。儘管教友人數不多，小堂仍扮演著重要角色。除了宗教功能，它也曾兼作村中學堂，讓村童有機會讀書識字。戰後至1950、60年代，范賚亮神父等傳教士會定期乘船到訪，主持彌撒並與村民分享物資（如自製麵包），成為村民的集體回憶。

隨著1960年代起村民陸續遷往市區或海外，北丫村逐漸荒廢，龍船灣天主堂亦於1970年代末停用。時至今日，小堂建築已破爛不堪，屋頂倒塌，但從殘留的拱柱和琉璃瓦花窗中，仍可窺見其當年中西合璧的建築風格，見證著這段短暫而獨特的宗教交流歷史。

Tin Hau Worship in Leung Shuen Wan

The worship of Tin Hau (Goddess of the Sea) originated in Putian, Fujian, and spread along the coast of Guangdong, as well as to Taiwan and Macau, with the development of maritime trade . Tin Hau, also known as Matsu, was originally named Lin Mo Niang. Residents of Leung Shuen Wan respectfully call her “Ma Neong” (pronounced in Cantonese) or “Ah Ma” (pronounced in Cantonese). Legend has it that Tin Hau was well-versed in astronomy, geography, medicine, and weather patterns, and could foresee disasters and resolve perils.

The fishermen of Leung Shuen Wan are devout followers of Tin Hau. Before setting out to sea, they always pray to Tin Hau for calm seas and a safe return. As the winds and waves at sea are unpredictable, this faith and reliance became an integral part of their lives.

Although there are no precise records of when the Leung Shuen Wan Tin Hau Temple was first built, it is believed to be over 400 years old, with some suggesting its history may date back 500 years. The oldest existing artefact in the temple is an ancient bell in the sixth year of the Qianlong reign (1741 AD) of the Qing Dynasty. Having undergone numerous renovations, the temple continues to attract worshippers to this day.

Every year on the 23rd day of the third lunar month, the Tin Hau Festival is celebrated here with grand festivities. The celebration of Tin Hau Festival on High Island is divided into two scales: a “big festival” in even-numbered years and a “small festival” in odd-numbered years. A small festival will only perform Taoist rituals at the 22nd night of the third lunar month, with “nahm mouh” master chanting sutras and burning the King of Ghosts; the celebration on the 23rd day of the third lunar month encompasses dragon dances, lion dances, Hakka unicorn dances, and a Fa Pao Ballot. The arrangements for the big festival and the small festival are similar, but the big festival is grander and includes Tai Ping Ching Chiu (Purification Ritual), a Tin Hau Sea Parade, and Cantonese opera performances, sustaining over a century of faith and community cohesion.

The Catholic presence in Leung Shuen Wan dates back to the early 20th century. In 1910, missionaries established the Lung Shuen Wan Chapel in Pak A Village, which was consecrated by Bishop Dominic S. G. The site was chosen not only because Pak A was one of the larger settlements but also to serve the local Hakka community, with priests learning the Hakka dialect to facilitate their mission.

However, the deeply rooted worship of Tin Hau among Leung Shuen Wan residents meant that Catholicism did not extensively replace the traditional faith. By the 1930s, only a few households (approximately five to six families, around a dozen individuals) in the village had been baptized.

Despite the small number of faithful, the chapel played a vital role. Besides its religious functions, it also served as a village school, providing local children with an opportunity to learn to read and write. In the post-war period and throughout the 1950s and 60s, missionaries like Fr. Valeriano Fraccaro PIME would regularly sail to the village to say Mass and share provisions (such as homemade bread) with the residents, creating lasting collective memories for the community.

As villagers began to migrate to urban areas and overseas from the 1960s onwards, Pak A Village was gradually abandoned, and the Lung Shuen Wan Chapel fell into disuse by the late 1970s. Today, the chapel structure is dilapidated and has collapsed. However, remnants such as arched pillars and glazed tile windows still offer a glimpse of its once unique, Chinese-Western architectural style, bearing witness to this brief yet distinctive chapter of religious exchange.