从“蝦夷绘”看清代东北边疆的贡赏体系

The Tribute-Trade Relationship in Northeast Frontiers of the Qing Dynasty from the Viewpoint of the Ezo Painting of Japan

中日两国18世纪皆出现以图像手段对边疆民族进行人种学描述的艺术传统。文章结合中日两国历史文献来分析有关库页岛"蝦夷"的视觉呈现,力求还原图像生产的历史情境,在此基础上聚焦江户"蝦夷绘"的代表作《夷酋列像》及其成画背景,关注图像背后隐藏的清代东北边疆"贡貂赏乌林"制度,并探究这一制度所催生的跨国贸易与器物的授受关系如何借由图像的视觉符号来传达。

During 18th century, China and Japan shared a cartographic and ethnographic representation of frontier minorities. This paper attempted to explore how and why the Ezo （Ainu） in Kurile Islands was depicted as a pictorial genre of the Tokugawa period. It then made a more detailed examination of the historical backgrounds behind one of the most influential Ainu painting, Hakyo＇s Ishuretsuzo （1790）, and of the ritualized tribute-trade relationship between the Qing Dynasty and the indigenous people of Ezo region, as well as the flow of the products, as the Ezo paintings illustrated.