「孟獲」人物、「南蠻」民族，是元代以後的三國故事中不同於「漢」族的
代表性「異族」；雖說孟獲在史料中可見其存在，但與《三國志平話》、《三國
志通俗演義》情節中的人物與族群形象，實則有著明顯的差異。
對於「異族」的想像，是一個民族建構自我認同與異族重要的區別方式，而
「華夷之辨」也是自先秦以來，中國思想重要的課題之一，這樣的概念尤其在多
次被外族入侵、統治後的漢人文化裡，愈發受到各個不同社會階級的重視。
本文透過觀察、分析三國故事在元、明兩代之間對於「異族」的差異，對比
明代設置之「土司」形象，討論不同時代的創作者和受眾如何接受與想像「民
族」此一概念的視角，也能探索不同時代之元素，被結合到故事情節中所產生的
效果與作用。

Meng Huo as a figure and the “Southern Barbarians” (Nanman) as a people
function, in Three Kingdoms narratives from the Yuan dynasty onward, as
representative “non-Han” others distinct from the Han Chinese. Although Meng Huo
can be found in historical records, both his portrayal and the collective image of the
Nanman in works such as Sanguozhi Pinghua and Romance of the Three Kingdoms
diff er markedly from their historical counterparts.
The imagination of the “other” constitutes a crucial means by which a
community constructs self-identity through differentiation. The distinction between
Hua and Yi (civilized versus barbarian) has been a central concern in Chinese thought
since the pre-Qin period; this conceptual framework gained particular prominence
within Han Chinese culture following repeated invasions and periods of foreign rule,
attracting heightened attention across diff erent social strata.
By observing and analyzing variations in the depiction of “othered” peoples

in Three Kingdoms narratives across the Yuan–Ming transition, and by comparing
these portrayals with the Ming dynasty’s institutionalized image of the tusi (native
chieftain), this article examines how creators and audiences in different historical
contexts received and imagined the concept of “ethnicity.” It further explores the
eff ects and functions produced when elements from diff erent periods are incorporated
into narrative structures.