中日“牡丹灯笼”故事的图像演变路径比较——基于《牡丹灯记》的文献流播与接受  

Comparison of Image Evolution Paths in the Story of Peony Lanterns between China and Japan:Literature dissemination and reception based on the Mu Dan Deng Ji

作　　者：赖劲昊 Lai Jinhao(Beijing Language and Culture University,China)

机构地区：[1]北京语言大学中华文化研究院

出　　处：《日语学习与研究》2024年第4期115-127,共13页Journal of Japanese Language Study and Research

摘　　要：《画传剪灯新话》《牡丹灯笼画谱》体现了“牡丹灯笼”故事图像在日本的语图关系从伴生走向独立。“牡丹灯笼”故事的图像在浮世绘和妖怪画的创作中沿着“恐怖化”与“情色化”的路径演绎,最终确立了以“妖美”为主的审美特征。中国“牡丹灯笼”故事图像的绘制者避开了恐怖,同时绕过了香艳狎昵,图像多为所叙事件的“流程节点”。在中国民间对“牡丹灯笼”故事的记录中能够看到,故事回归于情节本身,呈现出民间化特征,《鄞县志》便体现了“牡丹灯笼”故事在宁波民间被接受的过程。“牡丹灯笼”故事是中国“牡丹灯”形象传统的变体,而日本民俗文化中的“死亡意识”与“情色文化”支撑故事以多种样态持续演绎。The Illustrated Edition of Jian Deng Xin Hua and Peony Lantern Painting Book reflect the position of the"Peony Lantern"story image in Japan from concomitant to independent.The images of the"Peony Lantern"story are interpreted along the paths of"horrorization"and"eroticization"in the creation of Ukiyoe and monogatari paintings,and ultimately establish the aesthetic characteristics of"monster beauty".The painters of the Chinese"Peony Lantern"story images avoided horror and bypassed eroticism,and the images were mostly about the"process nodes"of the events described.In the folk records of the"Peony Lantern"story,it can be seen that the story returns to the plot itself,showing a folk characteristic.The"Yinxian Records"reflects the process of acceptance of the"Peony Lantern"story in Ningbo folk.The"Peony Lantern"story is a variant of the traditional image of Chinese"peony lantern",while the"death consciousness"and"erotic culture"in Japanese folk culture support the story to continue to be interpreted in various forms.

关 键 词：剪灯新话 牡丹灯记 图像演变 中日比较 文献流播 

分 类 号：G206[文化科学—传播学] I207.41[文学—中国文学] K248[历史地理—历史学] I313.06[历史地理—中国史]