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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。随着时代的进步，新的科学技术改变了人们的生活，妖怪也渐渐不再可怖，甚至转变为人们身边可爱调皮的伙伴一般。日本的夏日，至今还延续着以怪谈为乐的文化，电视与影院中也常活跃着妖怪的形象。“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80件作品。展览将于本周六下午（6月17日）在三影堂厦门开幕，届时将有嘉宾致辞、展览导览和音乐会活动，我们诚邀各位观众在这个夏日相约三影堂厦门。展览同期我们为观众准备了丰富多彩的活动，详见下文。「 志怪奇谭：阅不尽的日本绘卷 」
- 展览时间 -
2023.6.17-7.09
（每日9:30-17:30开放，逢周一闭馆）
- 开幕时间 -
2023.6.17 15:30
- 开幕嘉宾 -
日本国驻广州总领事：龟井启次
北京日本文化中心文艺主管：洪静华
- 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
三影堂厦门摄影艺术中心
日本国驻广州总领事馆
- 地点 -
三影堂厦门摄影艺术中心
（厦门市集美区杏林湾商务营运中心二号楼裙楼三层）
· 前言 ·
妖怪，可以说是想象力的产物。因为人们对潜伏在黑暗中的未知心生畏惧，对自然怀抱敬畏，心中感到不安，才创造出了妖怪。因此，妖怪也就有了令人毛骨悚然的奇异形态，成为了人们恐惧的对象。随着越来越多的人对各种妖怪的信息有了更多的了解，一个个妖怪的特征和名字便成为了人们的共识，妖怪的形象也就随之固定了下来。而后，人们对妖怪进行的描绘，也让妖怪的形象进入了全新的阶段。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，被大众铭记，为之后的爆发性传播奠定了基础。《人面草纸》，江户时代。和本（复制品），234 cm x 162 cm。图片由日本国际交流基金会提供。Jinmen Story, Edo period. Book (replica), 234 cm x 162 cm. Courtesy of The Japan Foundation.在妖怪视觉化过程中起到重要作用的就是绘卷。绘卷在日本的历史十分悠久。奈良时代（710—794）便有了最早的绘卷，而现在能够确认的描绘了妖怪形象的作品则都作于镰仓时代（1185—1333）之后，其中流传至今的大部分都作于江户时代（1603—1868）。在丰富的绘卷主题中，可推知妖怪绘卷是在江户时代得到发展的。同时，我们也能够确认妖怪绘卷发展过程中的几个值得注意的事件。其中之一便是，妖怪从配角转身为了主角。举例来说，酒吞童子和土蜘蛛草子是江户时代之前便被经常描绘的画题，它们都描绘了平安时代（794—1185）勇猛的武士源赖光（948—1021）和四天王一同退治鬼和土蜘蛛的故事，画题的中心是源赖光的武勇事迹，鬼和土蜘蛛只作为被其惩戒的配角登场。又例如，描绘器物妖怪的付丧神绘卷，是以弘扬佛教的优越性为目的的。故事讲述了大扫除的时候被人们丢弃的旧桌子、旧厨具等日常物品中都有灵魂栖居，它们虽怀抱着对人类的恨意，作恶不断，但最终皈依佛教，得道成佛。这些绘卷想要传达的是，佛教是能让连器物这样的东西都得道的、十分可贵的教义。换言之，我们可以说器物不过是用来宣扬佛教优越性的工具。《土蜘蛛袭来图》，歌川国芳1，江户时代。锦绘（复制品），38 cm x 78 cm。图片由日本国际交流基金会提供。Attack on the Tsuchigumo, Utagawa Kuniyoshi, Edo period.Colored woodblock print (replica), 38 cm x 78 cm. Courtesy
of The Japan Foundation.1 歌川国芳：日本江户时代人，浮世绘歌川派晚期的大师之一。
曾经作为配角的妖怪，以主角身份登场的开端便是百鬼夜行绘卷。现存最早的是室町时代（1336—1573）土佐光信（1434？—1525）的作品，如今流传至京都的大德寺真珠庵。这一绘卷的特征与之前介绍的三种绘卷不同，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。百鬼夜行在土佐派、狩野派这两个近代主流画派的描绘下，成为了最受欢迎的画题，在江户时代被广为描绘。然而，也有其他类型的绘卷同被称为百鬼夜行绘卷，足可见得其传播的广度。《百鬼夜行绘卷》局部，江户时代。绘卷（复制品），26.5 cm x 450 cm。图片由日本国际交流基金会提供。Partial The Night Parade of One Hundred Demons Picture Scroll, Edo period. Handscroll (replica), 26.5 cm x 450 cm. Courtesy of The Japan Foundation.另一方面，在江户时代，除了百鬼夜行绘卷之外还有其他各种各样的妖怪绘卷，百花齐放，令人目不暇接；而妖怪文化得以飞跃性发展，还有另一个重要原因。随着木版印刷的发展，任何人都能以低廉的价格买到多色印刷的锦绘，妖怪文化由此深入到了平民阶层，一直以来将妖怪视为恐怖存在的观点也发生了转变，开始出现可爱的、甚至像是人类朋友的妖怪。另外，妖怪不仅只在绘卷、锦绘等纸质媒介中登场，还开始以雕塑的形式出现。这一发源自江户时代的新式妖怪观一直延续到了当代，形成了今天以人们喜爱的人格化妖怪为主流的妖怪文化。为了能够纵览妖怪文化的发展，回溯历史并回看关于妖怪的各种资料是十分重要的。文 / 汤本豪一
（汤本豪一纪念日本妖怪博物馆名誉馆长）
· 活动安排 ·
展览同期我们给观众准备了丰富多彩的活动，包括音乐表演、放映会、音乐会、分享会，日程满满，绝对不能错过！每周末及展览期间节假日15:30，我们也会安排免费公众导览！
我们希望有更多的观众能来到三影堂厦门，在这个夏天感受日本志怪文化的魅力！
「 Yokai Parade: Supernatural Monsters from Japan 」
- Duration -
2023.6.17-7.09
( Closed on Mondays )
- Opening -
2023.6.17 15:30
- Opening Guests -
Consul-General of Japan in Guangzhou, Kamei Keiji
The Japan Foundation Beijing, Arts and Culture Section Manager, Ko Shizuka
- Curator -
Koichi Yumoto
( Honorary Director of the MIYOSHI MONONOKE MUSEUM, folklorist, and yokai researcher )
- Organizers -
The Japan Foundation
Three Shadows Xiamen Photography Art Centre
Consulate-General of Japan in Guangzhou
- Location -
Three Shadows Xiamen Photography Art Centre
( 3rd Floor of Building 2, Xinglinwan Business Center, Jimei District, Xiamen )
《阿磨比古》，江户时代。纸本绘画（复制品），12.5 cm x 8.5 cm。图片由日本国际交流基金会提供。
Amabiko, Edo period. Painting on paper (replica), 12.5 cm x 8.5 cm. Courtesy of The Japan Foundation.
Firstly, yokai can be described as a product of the imagination born from
people’s fear, awe, and anxiety toward nature and unknown presences that writhe
within the darkness. For this reason, the yokai have taken on strangely
grotesque and uncanny appearances, becoming a subject of people’s fear.
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.《五怪绘卷》，江户时代。手卷，225 cm x 1330 cm。图片由日本国际交流基金会提供。
Five Yokai Monsters Pictures Scroll, Edo period. Handscroll, 225 cm x 1330 cm. Courtesy of The Japan Foundation.
What
played a major role in visualizing these yokai were picture scrolls. The
history of picture scrolls in Japan dates back to ancient times, with some of
the earliest examples produced since the Nara period (710–794 CE). All of the
works depicting the yokai that can be confirmed at present are from the
Kamakura period (1185–1333 CE), and the majority of existing works were
produced during the Edo period (1615–1868 CE). The themes, however, are
diverse, and it can indeed be seen that yokai picture scrolls developed
significantly during the Edo period. In addition, there are some notable events
that can be confirmed in the process by which these picture scrolls developed.
One is that the position of the yokai changed from a supporting role to
the central protagonist role. For example, there are the famous Shuten-dōji Emaki and Tsuchigumo-sōshi Emaki that for long continued to be depicted since before the Edo
period. Both tell the story of Minamoto no Yorimitsu (948–1021 CE), a brave
samurai of the Heian period (794–1185 CE), and his four lieutenants on their quest
to exterminate the Oni (“demon”) and Tsuchigumo (“earth spider”). The central
subject of these scrolls is Yoshimitsu’s heroic tale, with the Oni and Tsuchigumo appearing as supporting characters defeated by
Yorimitsu. Meanwhile, the Tsukumogami
Emaki, which depicts yokai in the form of objects, was created for
the purpose of illustrating the virtues of Buddhist teachings. The scroll tells
the tale of various everyday tools, such as old desks and kitchen utensils,
that were discarded while a house that had come to be occupied by spirits was
cleaned. While holding a grudge against human beings and repeatedly engaging in
evil deeds, such spirited objects eventually devoted themselves to the
teachings of Buddhism and attained Buddhahood. In this way, the scroll aimed to
communicate the blessed teachings of Buddhism that enabled even inanimate
objects to rest their spirits. In other words, the objects depicted here are
merely tools used to convey the magnificence of Buddhism.《源赖光斩杀土蜘蛛图（新形三十六怪撰）》，月冈芳年²，1892年。锦绘（复制品），38 cm x 26 cm。图片由日本国际交流基金会提供。Minamoto no Yorimitsu Slashes the Tsuchigumo (New Forms of
the Thirty-six Ghosts),
Tsukioka Yoshitoshi, 1892. Colored woodblock print (replica), 38 cm x 26 cm. Courtesy of The Japan Foundation.² 月冈芳年：日本江户时代末期著名浮世绘画家，在歌川国芳门下学习浮世绘，被后世称为“最后的浮世绘师”。
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. The oldest surviving
scroll is said to have been painted by Tosa Mitsunobu (1434?–1525 CE) during
the Muromachi period (1336–1573 CE) and has been handed down to the Shinjuan
sub-temple located at the site of the Daitoku-ji Temple in Kyoto. Unlike the
three picture scrolls introduced earlier, 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. This picture scroll was a subject that continued to be
painted by artists of the two mainstream schools of modern painting: the Tosa
school and the Kanōschool. Many examples of the most popular type were depicted in the Edo period,
and yet there are also several other types of work that are referred to as the Hyakki Yagyō Emaki, thus illustrating
the sheer expansion and popularity of its theme and motif.《百鬼夜行绘卷》局部，江户时代。绘卷（复制品），26.5 cm x 450 cm。图片由日本国际交流基金会提供。Partial The Night Parade of One Hundred Demons Picture Scroll, Edo period. Handscroll (replica), 26.5 cm x 450 cm. Courtesy of The Japan Foundation.Meanwhile,
various types of yokai picture scrolls other than the Hyakki Yagyō Emaki were depicted during
the Edo period, giving rise to a vibrant and diverse multitude of works.
Furthermore, the times saw a particular event that led to the dramatic
development of yokai culture. With the development of woodblock
printing, multicolored nishiki-e (“brocade
pictures”) became available to all people at an affordable price, resulting in yokai permeating the lives of the masses. Therefore, people’s view toward the yokai as scary and awe inspiring changed, bringing about the emergence of an
admirable and friendly kind of yokai. 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. This new view toward yokai that emerged
during the Edo period has been inherited to the present day, leading to the
formation of today’s yokai culture, which is dominated by cherished and
almost character-like renditions of yokai. In order to gain a
comprehensive and contextual view of this situation, it is perhaps important to
go back in time to look at various materials related to yokai.《新版诙谐妖怪尽绘》，江户时代。彩色木版画（复制品），340 cm x 335 cm。图片由日本国际交流基金会提供。New Playful Monster Collection, Edo period. Woodblock (replica), 340 cm x 335 cm. Courtesy of The Japan Foundation.Director Emeritus of the Yumoto Koichi Memorial JAPAN YOKAI MUSEUM (Miyoshi
Mononoke Museum)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 MIYOSHI 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. · 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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