《風俗女西遊記》、《金毘羅船利生纜》的角色塑造與插圖趣味：兼及與《西遊記》的關連

The Characterization and Illustrative Fun of Fūzoku Onna Saiyuki and Konpirabune Risho no Tomozuna：Along with Its Relationship with The Journey to the West

《西遊記》廣受海內外讀者的喜愛，也為江戶文藝帶來多樣的影響。本文關注19世紀前期的合卷《風俗女西遊記》（1828）、《金毘羅船利生纜》（1824-31），考察作品的角色塑造與插圖趣味，探討《西遊記》的攝取與轉化，審視創作特徵與價值。
在《風俗女西遊記》的研究中發現，為永春水轉換主要角色的性別，將西行求法的冒險改寫為追尋仇敵的故事。作品借鏡淨瑠璃《蘆屋道滿大內鑑》（1734），並模仿《西遊記》水濂洞、五指山的情景。又，春水以插圖補充文字記述，烘托故事氛圍。部分葉面以「書入」安插角色台詞，使得圖像更為生動，部分服裝圖樣則反映角色身分或性格特徵。
在《金毘羅船利生纜》的研究中發現，曲亭馬琴大抵沿襲《西遊記》的故事情節，並積極進行日本化，巧妙利用日本傳說與風俗。作品深受金毘羅神信仰的影響，為西行求法的主題帶來自我探尋的色彩。又，馬琴將孫悟空、沙悟淨改換為天狗、海坊主，並調整三藏法師的性格，強化其作為秉承天命的聖僧特質。此外，善用「書入」表述登場人物的心聲，有時打破虛實界線安插商品廣告。若干插圖則借鏡浮世繪，為熟悉的素材帶來不同的驚喜。
總體而言，《風俗女西遊記》與《金毘羅船利生纜》雖風格相異卻各具特色，賦予《西遊記》嶄新的生命力。兩作皆以合卷體例促進《西遊記》故事的普及，呈現出中國小說廣受江戶時人認識與接受的狀況。

The Journey to the West is generally loved by domestic and international readers, and it has also brought abounding influences to Edo literature and art. This paper is aimed to discuss the early 19th century Gōkans Fūzoku Onna Saiyuki and Konpirabune Risho no Tomozuna, by means of examining the character creation and illustrative fun, and discussing the extraction and the reformation from The Journey to the West in the two works, eventually, to recognize the features and values of the two works.
It is observed in the study of Fūzoku Onna Saiyuki that Tamenaga Shunsui altered the gender of the main characters, rewriting the adventure of seeking Buddhist scriptures into a story of pursuing enemies. The work borrowed Jōruri Ashiya DōmanŌuchi Kagami（1734）and imitated the scenes of Shuilian Cave and Wuzhi Mountain in The Journey to the West. Furthermore, Shunsui used illustrations to supplement the text description and enhance the atmosphere of the story. In some pages, he used Kakiire to express the thoughts of the characters, making the illustrations more vivid, while some clothing patterns reflected the character's identity or personality traits.
In the study of Konpirabune Risho no Tomozuna, we could learn that Kyokutei Bakin mostly followed the original plot of The Journey to the West. He intently turned the original cultural elements into Japanese cultural elements and cleverly blended Japanese myths and customs into the work. Moreover, the work is deeply influenced by Konpira Gonken religion, which has brought the topic of self-exploration to the original theme of going west. Also, Bakin replaced Sun Wukong and Sha Wujing with Tengu and Umibōzu, and modified the personality of San Zang the monk and emphasized his fate as a chosen savior and the holiness of a monk for him. In addition, he utilized the skill of Kakiire to express the thoughts of the characters, sometimes, he would even break the fourth wall to place advertisements for products. Some illustrations are inspired by Ukiyoe, bringing new surprises to familiar motifs.
As a whole, though Fūzoku Onna Saiyuki and Konpirabune Risho no Tomozuna are different in style, each has its own unique characteristics, infusing The Journey to the West with new vitality. Besides, both of them has popularized The Journey to the West with the genre of Gōkan, and has shown the condition for Chinese novels being well-known and welcomed by people of Edo period.