清中葉以後市井的《山海經》圖像――以閩粵、川蜀流傳的粗本為例

Images of the“Classic of Mountains and Seas”among the regular folks in mid-Qing Dynasty——Based on the rough editions circulated in Min, Yue, Chuan Shu

《山海經》有一種特殊的民間版刻圖本，清中葉以後流傳於閩粵一帶，書分元亨利貞四冊，附有五卷圖像，並大都託名吳任臣《山海經廣注》。實際上，這些版本僅收入郭璞注而無《廣注》內容，被視為民間的「粗本」。這一系列流傳於民間版本的五卷圖像，以簡單的線條呈現出質樸、隨興的趣味性，編排上皆分為元、亨、利、貞四部分，像似民間的奇禽瑞獸圖。而晚清普遍流傳閩粵的「萬寶全書」，其中也刊刻許多出自《山海經》中的圖像，只是形式更自由，有一種粗鄙的詼諧趣味。
除了諸多閩粵的粗本，還有四川成或因所繪的《山海經》本子，全開式的圖像同樣有粗本的拙趣，繼承晚明繪本而有改造，如添加神靈光背、寶塔、香爐等細節，也標記為吳任臣的繪圖本《廣注》。
藉由民間粗本《山海經》的隨意刊刻，可深入理解庶民閱讀、觀看《山海經》的現象與思維。

In Ming and Qing Dynasties, there were rough editions of the“Classic of Mountains and Seas”for the regular folks primarily printed and circulated in Min and Yue. It consisted of four volumes, namely“Yuan,”“Heng,”“Li,”and“Zhen,”and came with five volumes of images, most of which referred to Wu Renchen’s“Shan Hai Jing Guangzhu.”In fact, these editions, which only included the annotations of Guo Pu, had no contents out of the“Guangzhu.”Therefore, they are treated as the rough editions of the regular folks. This series of editions circulated among the regular folks consisted of five volumes of images, which were drawn in simple lines and interesting in a rustic and spontaneous manner. The four parts of“Yuan,”“Heng,”“Li,”and“Zhen,”resemble the folk images of strange fowls and auspicious animals.
In addition to the numerous rough editions in Min and Yue, there was the edition of the“Classic of Mountains and Seas”painted by Cheng Houyin. Cheng’s full-size images were also of innocent taste, and probably inspired by the paintings of late Ming Dynasty as he added details such as auras behind deities, holy pagodas and incense burners. Cheng also referred to the Wu Renchen’s painting edition of“Guangzhu.”
Through the rough editions of the“Classic of Mountains and Seas”printed randomly by ordinary people, we can better understand the phenomena of their reading of“the Classic of Mountains and Seas.”