山海經(jīng)與怪奇鳥(niǎo)獸圖卷中的異獸形象對(duì)比研究

1、I《山海經(jīng)》與《怪奇鳥(niǎo)獸圖卷》中的異獸形象對(duì)比研究摘 要本文主要以《山海經(jīng)》和《怪奇鳥(niǎo)獸圖卷》中的異獸為主要研究對(duì)象。首先把《山海經(jīng)》中出現(xiàn)的異獸形象進(jìn)行了形態(tài)歸納和總體特征的總結(jié)，進(jìn)而在此基礎(chǔ)上，將《山海經(jīng)》與日本版山海經(jīng)—— 《怪奇鳥(niǎo)獸圖卷》 中出現(xiàn)的相同異獸形象進(jìn)行了文化起源、 形象特征、繪畫方式等角度的比對(duì)。闡述了兩個(gè)版本中異獸在形象、畫風(fēng)上的差異，并追溯其差異形成的原因?！渡胶＝?jīng)》在奈良時(shí)代（710——794，相當(dāng)于中國(guó)唐朝）

2、或更早便傳入日本，在江戶時(shí)代（1603——1867，相當(dāng)于中國(guó)明、清時(shí)期）便已有據(jù)其繪畫而形成的圖冊(cè)《怪奇鳥(niǎo)獸圖卷》 出版問(wèn)世。 其中所記述的妖怪經(jīng)過(guò)了日本本土妖怪文化體系的整合以及歷史、 文化、社會(huì)等多重因素的影響之后，又雜糅進(jìn)一些民間神話傳說(shuō)，逐漸演變成了各種各樣至今仍活躍在日本的妖怪形象。時(shí)至今日，日本妖怪文化愈加興盛，妖怪文化在日本已成為文化符號(hào)的代表之一，各種基于妖怪文化而產(chǎn)生的繪畫與設(shè)計(jì)也愈加繁盛。妖怪文化作為人類學(xué)的一個(gè)重

3、要分支，已漸漸的開(kāi)始受到更多人的正視。而溯其源頭，還要非《山海經(jīng)》莫屬。在強(qiáng)調(diào)設(shè)計(jì)“本土化”的今天，我們應(yīng)該更多的去關(guān)注傳統(tǒng)文化藝術(shù)，在歷史的母體中汲取養(yǎng)分，將當(dāng)代藝術(shù)形式與傳統(tǒng)文化進(jìn)行完美融合，這應(yīng)當(dāng)是我國(guó)當(dāng)代藝術(shù)家和設(shè)計(jì)師應(yīng)有的自信，也是作為傳承本民族傳統(tǒng)文化的中國(guó)人的責(zé)任。關(guān)鍵詞：山海經(jīng) 異獸 怪奇鳥(niǎo)獸圖卷 對(duì)比IIICOMPARATIVE STUDY OF MONSTERS IN SHAN HAI JINGAND PICTURE

4、 EDITON OF GUAIQINIAOSHOUAbstractThis paper mainly research the monsters in Shan Hai Jing and Picture Edition ofGuaiQiNiaoShou. First, conclude the morphology and characteristics of the monsters appearedin Shan Hai Jing.

5、 Then, research the monsters both appeared in Shan Hai Jing and PictureEdition of GuaiQiNiaoShou and compare them at the following aspects: cultural origin, imagecharacteristics, painting methods, etc. Based on the resea

6、rch and comparison, explain thedifferences in image characteristics and painting style, and trace the reasons why differencesgenerated.Shan Hai Jing is spread into Japan in the Nara age (AD 710 ~ AD 794, equivalent to Ta

7、ngDynasty) or earlier. In the Edo period (AD 1603 ~ AD 1867, equivalent to Ming and QingDynasties), the Picture Edition of GuaiQiNiaoShou, which is painting based on the Shan HaiJing, had been published. The monsters rec

8、orded in Picture Edition of GuaiQiNiaoShoudeveloped since the following reasons: integrated the domestic monster system in Japan, wereaffected by factors in history, culture, and society, and combined the myths and legen

9、ds. With thedevelopment, these ancient monsters in Picture Edition of GuaiQiNiaoShou gradually evolveinto various monster images that are active in Japan.At the present time, the monster culture in Japan are more and mor

10、e prosperous and it hasbecome one of the representative culture. Various paintings and designing based on the monsterculture are also becoming more and more prosperous. The monster culture, as one of thesignificant branc

11、h of anthropology, is gradually being faced squarely by more people. Shan HaiJing is obviously the origin of the monster culture. When emphasizing the localization ofdesigning today, we should focus on the traditional cu