《山海經》一向被認為圖文俱備，而從文獻資料看，目前可見的相關《山海
經》圖像大都是明代以後才出現的。明清《山海經》圖像依格式可以分為兩大系
統，一為一圖一文的圖鑑式格局，一為全開式的《山海經》圖像。具代表性的全
開式《山海經圖》有兩種，分別為明代蔣應鎬繪本與清代成或因繪本，罕見討論
的成或因繪本與蔣應鎬繪本關聯密切，應在蔣本的基礎上完成。
本文以清咸豐年間的成或因繪本為中心，梳理幾種成或因所繪《山海經》印
本之間的版本問題，並通過圖本的對照，分析成或因本在編排、構圖、布局與蔣
應鎬繪本的相似。同時，本文更想分析成本繼承哪些蔣本元素，又有哪些變動、
創發；進而討論成或因如何在文本、圖本中汲取元素，創造種種神怪的形象，特
別是聚焦於成或因圖本的繁複空間感、身體細節的描摹、神聖與世俗的交錯風

格，並深入探究成或因圖本對經文、注文的詮解演繹。

It’s been widely believed that the Classic of Mountains and Seas consists of
both pictures and texts. Based on the literature, however, it shows that the available
pictures of the Classic of Mountains and Seas did not appear until Ming dynasty.
During the research, the investigator had clarifi ed the two major picture systems of the
Classic of Mountains and Seas from Ming and Qing Dynasties: one is the illustration
format with one picture going with one text, and the other the full-page pictures of the
Classic of Mountains and Seas. The latter is represented by Jiang Ying-hao’s picture
version of the Classic of Mountains and Seas. If Jiang’s picture book is placed to the
times after mid-Ming, especially late-Ming publishing market, its uniqueness will
become more prominent.
In addition to issues such as Jiang’s life and the time of the picture book’s
publication, this project will put more emphasis on how Jiang conceived and planned
his book, how it was spread, how the book affected the paintings of the Classic of
Mountains and Seas afterwards, and how the people after Jiang, based on Jiang’s
version, added or deleted, leading to something different. Therefore, this project will

focus on Jiang’s 74 pictures of the Illustrated Classic of Mountains and Seas and Haiqing-
lou Shan Hai Jing Tu, which was done on the basis of Jiang’s book by Cheng
Huo-ying in the reign of Xianfeng Emperor of Qing, analyzing how Jiang derived
the elements form the texts and picture books to create the images of various deities
and monsters, and further examining what elements Cheng took from Jiang and what
changes Cheng made or created.
Other than literati’s interpretation, painting the Classic of Mountains and Seas
refl ects how painters understand and visualize the texts of the Classic of Mountains
and Seas, which is the part rarely addressed by other investigators.