【展讯】志怪奇谭：阅不尽的日本绘卷｜北京

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「 志怪奇谭：阅不尽的日本绘卷 」

- 展览时间 -

2023.4.22-5.07

（逢周一闭馆）

- 策展人 -

汤本豪一 

（汤本豪一纪念日本妖怪博物馆名誉馆长/民俗学者·妖怪研究家）

- 主办 -

日本国际交流基金会、三影堂摄影艺术中心

- 地址 -

三影堂摄影艺术中心

（北京市朝阳区草场地155A）

在古今东西的文化中，人们都会为无法解释的奇异现象赋予各种各样的图像。其中，日本的妖怪作为有着超自然力量的存在，也在形形色色的故事中登场，让人们或惊奇或恐惧。本次展览呈现的众多妖怪形象，或许会让观众们感到惊恐，而造就这些不可思议又令人毛骨悚然的妖怪的，正是几百年来日本人的想象力。

在还没有大型照明器具的时代，到了夜晚，人们感到似乎有什么东西潜伏在不见五指的浓浓夜色中。人类虽然与大自然和谐共生，却也能察觉到一股不可思议的、超越了人类智慧的自然力量。这种经验的积累，或许为妖怪的诞生提供了背景。

自古以来，各种媒介对妖怪的描绘，使得各类妖怪的特征和名字成为了人们的共识，妖怪的形象也就随之固定了下来。画中的妖怪以其奇异的形态给人们带来了强烈的视觉冲击，也更直观地被人们所铭记。在日本有着悠久历史的绘卷，就在妖怪视觉化的过程中起到了重要作用。目前流传至今的妖怪绘卷大部分都作于江户时代（1603—1868），我们可推知妖怪绘卷是在江户时代得到发展的。

《土蜘蛛袭来图》，歌川国芳，江户时代。

Attack on the Tsuchigumo, Utagawa Kuniyoshi, Edo period.

起初，妖怪在绘卷中只是充当颂扬人类勇武事迹的配角、或是作为道德教化的对象出现。然而，百鬼夜行绘卷的出现，使得曾经作为配角的妖怪，以主角身份登场。其中不但完全没有人类登场，甚至连人的气息都感受不到，的的确确展示了一个只有妖怪存在的世界。此外，江户时代还出现了许多新主题的妖怪绘卷。这之中有描绘妖怪结婚生子的绘卷，有趣诙谐又流露出人性，还有对妖怪进行逐一介绍的像妖怪图鉴一样的绘卷，不一而足。

《妖怪尽绘卷》，江户时代。

Picture Scroll of Different Yokai Monsters, Edo period.

江户时代，随着木版印刷的发展，出版文化的兴盛惠及了人们方方面面的日常生活，如教育、娱乐等。木版印刷的发展为妖怪文化带来了深远的影响。与肉笔（亲笔手绘）绘卷不同的世界就此展开。通过印刷这一手段，同一幅作品可以大量印制，任何人都能够以低廉的价格轻松入手。这拉动了需求，从而让妖怪成为了贴近人们生活的存在。多色印刷的锦绘尤其俘获了人们的喜爱，丰富多样的需求也催生出以游戏、讽刺为内容的妖怪锦绘。除了绘卷、锦绘等纸质媒介以外，妖怪还开始以雕塑的形式出现。

《妖怪立像1》，江户时代。

Standing Statue of Yokai 1, Edo period.

在江户时代，妖怪还与游戏联系密切，并由此出现了新风格的妖怪。江户、大阪等大都市的形成使印刷品的需求暴增。在平民中，传奇小说和草双纸（通俗插图读物）有着压倒性的人气，在这一背景之下，妖怪自然也与出版物联系了起来，更加贴近人们的日常生活。随着人们越来越熟悉妖怪，人们的恐惧感减轻了，最后甚至对妖怪感到亲近，由此便诞生了可爱的、像是人类朋友一样的妖怪。双六（一种棋盘游戏）、花牌、玩具绘（用来给孩子玩的一种浮世绘）等游戏用品上都开始出现可爱的妖怪形象。深受孩子们喜爱的妖怪，在游戏中愈发地深入了孩子的内心。这正是妖怪文化发生变化的证明。

《妖怪拍洋画（方形）》，昭和时代。

Monster Menko (Rectangular), Shōwa era.

明治时代，日本吸取西方文化，也将“妖怪”作为一门学问进行体系化的论述。妖怪研究作为一门学问得以延续至今。在战争期间，妖怪文化被视作无用之物，束之高阁，但随着和平时代的到来，妖怪文化再次流行起来。妖怪在漫画、动画、游戏中登场，证明了妖怪文化亦流传于现代社会之中。这样的妖怪文化潮流不止于儿童的世界，其不断向外蔓延，在日本以外也受到追捧。妖怪文化强韧的生命力是在漫长的历史中孕育而成的，正因如此，它才能够超越时代与国家的界线，拥有令每个人着迷的力量。

“志怪奇谭：阅不尽的日本绘卷”是日本国际交流基金会企划的世界巡回展。包括绘卷、锦绘、雕塑、和装本、电影、综合媒介在内的共计84件作品，即将在三影堂与中国观众首次见面。我们诚邀各位观众于暮春之际相约三影堂，共赏一场形色各异的日本妖怪的饕餮视觉盛宴。

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「 Yokai Parade: Supernatural Monsters from Japan 」

- Duration -

2023.4.22-5.07

(Closed on Mondays)

- Curator -

Koichi Yumoto

(Honorary Director of the MIYOUSHI MONONOKE MUSEUM, folklorist, and yokai researcher)

- Organizers -

The Japan Foundation

Three Shadows Photography Art Centre

- Location -

Three Shadows Photography Art Centre

(155A, Caochangdi, Chaoyang District, Beijing)

In all cultures spanning from East to West, from antiquity to modern times, various images have been used to represent mysterious and unexplainable phenomena. Japanese yokai have also appeared in a variety of tales as characters that express such supernatural powers, serving to instill surprise and fear in people. When looking at yokai in the numerous exhibits on display, some viewers may find themselves surprised by their strangely grotesque appearance. It was indeed the imagination of Japanese people living hundreds of years ago that gave birth to these mysterious and uncanny creatures.

In times when there were no large lighting appliances, people sensed some sort of presence lurking within the vast darkness that spread across the night, keeping all from venturing into its world. At the same time, while living in harmony with nature, the people felt its mysterious powers, which appeared to transcend all human intellect and knowledge. It is thought that the culmination of these experiences eventually formed the backdrop that led to the creation of the yokai.

《大石兵六》，江户时代。

The Dream Tales of Ōishi Hyōroku, Edo period.

Information regarding these various yokai soon came to be widely shared among the people, and the common recognition of their respective features and names led to the creation of a fixed image for each individual yokai. Then, there was a shift to a new stage as their images were further captured through visual renditions. The yokai that were depicted proved to have a great impact by unveiling their appearance directly before people’s eyes. They widely and profoundly penetrated the hearts of many, laying the foundation for their explosive dissemination in times to come. What played a major role in visualizing these yokai were picture scrolls. The majority of existing yokai works were produced during the Edo period (1615–1868 CE). It can indeed be seen that yokai picture scrolls developed significantly during the Edo period.

Initially, yokai appeared as supporting roles in the hand scrolls depicting herotic tales of human being, or subjected to the moral education. The Hyakki Yagyō Emaki are a pioneering example of a work in which yokai, which until then had only served in a supporting role, came to be depicted as a central subject. A distinct feature of this scroll is that not only are humans not depicted at all but even mere hints of their presence cannot be felt. What is indeed presented here is a world that features only yokai. In addition, many newly themed yokai picture scrolls came to emerge during the Edo period. There are a wide variety of works, from playfully humorous ones that depict yokai almost as if they were human—spanning from their marriage to the birth of their children—to picture scrolls like illustrated reference books that serve to introduce each individual yokai.

《源赖光斩杀土蜘蛛图（新形三十六怪撰）》，月冈芳年，1892年。

Minamoto no Yorimitsu Slashes the Tsuchigumo (New Forms of the Thirty-six Ghosts), Tsukioka Yoshitoshi, 1892.

During the Edo period, the rise of publishing culture resulting from the developments in woodblock printing brought benefits to everyday life in areas such as education and entertainment. Developments in woodblock printing also presented a significant influence on yokai culture. A world different from hand-painted picture scrolls came to unfold. Printing as a tool made it possible to reproduce the same work multiple times, making it affordable and easy for anyone to obtain. Such a situation brought about an increase in demand and made the yokai a familiar presence to people. In particular, multicolored nishiki-e captured the hearts of people, and the expansion of demand resulted in the production of a wide variety of yokai nishiki-e, which in turn led to further demand. In this way, yokai nishiki-e with playful and satirical contents came to be created. Another change was that the yokai came to be depicted not only on paper media, such as nishiki-e and picture scrolls, but also in the form of three-dimensional objects.

Yokai and games were closely linked during the Edo period, and new styles of yokai appeared. Large cities such as Edo and Osaka were formed, which brought about an explosive demand for printed matter. At the time, romantic novels and woodblock-printed illustrated works of fiction gained overwhelming popularity among the masses. This situation served to easily link yokai to publications, bringing them closer to people’s daily lives. People became less afraid of the yokai, which had become a familiar presence to them, and they eventually felt a sense of closeness and affection for them, which even gave birth to amicable and almost friendly-looking yokai. In this way, charming yokai were depicted on sugoroku (traditional Japanese board game), karuta (playing cards), and omocha-e (ukiyo-e published for children as toys) and further delved into the world of games as they came to be strongly favored by children. These games are nothing but proof that people’s view of yokai changed.

During the Meiji period, when Japan began actively adopting Western culture, yokai came to be systematically discussed as an academic discipline. This kind of academic research has been passed down to the present day. While yokai culture was deemed unnecessary and was thus banished during World War II, it came to gain great momentum once again in the advent of peace. Eventually, the yokai began making appearances in manga, anime, games, and so on, affirming their place within modern society. These trends have spread not only in the world of children but are also now gaining popularity overseas. The strong vitality of yokai culture has been nurtured over a long course of history, and this is the reason it has the power to fascinate everyone across generations and countries. 

《阿磨比古》，江户时代。

Amabiko, Edo period.

“Yokai Parade: Supernatural Monsters from Japan” is a world tour exhibition initiated by the Japan Foundation. A total of 84 works including picture scrolls, Nishiki-e, sculptures, books, film and multi-media works will soon meet the Chinese audiences in Three Shadows. We are very pleased to invite you to join us at Three Shadows in the late spring for a visual feast of numerous monsters from Japan.

· 关于策展人· 

· About curator ·

汤本豪一

Koichi Yumoto

汤本豪一纪念日本妖怪博物馆（三次もののけミュージアム）名誉馆长。1950年生于东京都墨田区，1977年于法政大学研究生院完成日本历史硕士学位。曾在川崎市市民博物馆担任策展人、艺术总监。目前主要从事妖怪相关的文化研究和收藏，并在研究生院和大学任教。著有包括妖怪学在内的大量书籍，是日本首屈一指的民俗学家和妖怪研究专家。

Koichi Yumoto is the Honorary Director of the MIYOUSHI MONONOKE MUSEUM. Born in 1950 in Sumida, Tokyo, he completed a master's degree in Japanese history at Hosei University in 1977. He served as curator and head of the curatorial office at the Kawasaki City Museum. He is currently engaged in research and collection of monster-culture and teaching at graduate schools and universities. He is the author of numerous books, including books on yokai. He is a Folklorist and a yokai researcher.

· 关于日本国际交流基金会· 

· About the Japan Foundation ·

日本国际交流基金会是隶属于日本外务省的国际文化交流专门机构，主要围绕文化艺术交流、日语教育、日本研究知识交流这三大领域展开活动，致力于促进日本与世界各国间的友谊，加强彼此联系。自1972年成立的半个世纪以来，日本国际交流基金会一直在世界各地积极地展开国际文化交流活动。

在文化艺术交流领域，基金会以日本美术、音乐、戏剧、电影、建筑、设计等丰富的日本艺术文化为内容，在海外举办展览、演出和活动，亦是威尼斯双年展日本馆的主理方，致力于激发人们的情感和共鸣，加深彼此的相互了解。

北京日本文化中心作为日本国际交流基金会的北京分部，在中国各地举办各种活动。

The Japan Foundation is an incorporated administrative agency supervised by the Ministry of Foreign Affairs that implements international cultural exchange. To cultivate friendship and ties between Japan and the world, the Japan Foundation actively engages in the fields of arts and cultural exchange, Japanese-language education overseas, as well as Japanese studies and global partnerships programs. Since its establishment in 1972, the Japan Foundation has dedicated to international cultural exchange around the world for half a century.

In terms of arts and cultural exchange, the Japan Foundation not only serves as the commissioner of the Japan Pavilion at the Venice Bienanle, but also holds exhibitions, performances, and events overseas based on the richness of Japanese art, music, theater, film, architecture, design, among other Japanese arts and culture, with the aim to arouse resonance and deepen mutual understanding.

As the Beijing branch of the Japan Foundation, the Japan Foundation Beijing organizes various events throughout China.

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