在近代东亚”图绘异民族”的艺术传统中,日本长崎学者西川如见的《四十二国人物图说》是一个被忽视却又非常重要的图像文本.其内容与体例向上继承了中国明代类书”诸夷门”的职贡图样式与荷兰万国地图的余绪,向下开启了日本江户时代面向庶民社会的”万国人物图”系列,对之后民族图谱中的异族图像叙事产生了深远影响,也为近世日本构筑异族观念和异域观念提供了深厚的民众基础.《四十二国人物图说》是近代东亚地区民族志知识生产与跨国流通的结果,也是民族观念,国家观念发生调整的具象呈现,它揭示了”华夷”作为命名与叙事传统如何作用于日本有关”万国”的表述,拓展了东亚知识共同体内部朝贡想象之复杂性和多元性。
In the art tradition of “drawing different nationalities” in modern East Asia, the “Illustrated Figures of the Forty-two Countries” by Nishikawa, a scholar from Nagasaki, Japan, is a neglected but very important image text. Its content and style are inherited from the official tribute pattern of the “Zhuyi Gate” in the Ming Dynasty of China and the rest of the map of the Netherlands, and the series of “Figures of the World” facing the common people in the Edo era of Japan is opened down, It has had a profound impact on the narrative of alien images in the later national atlas, and also provided a deep public foundation for the construction of alien concepts and alien concepts in modern Japan The Illustrated Figures of Forty-two Countries is the result of the production and transnational circulation of ethnographic knowledge in modern East Asia, as well as the concrete representation of the adjustment of national concepts and national concepts. It reveals how the “Chinese”, as a naming and narrative tradition, acts on Japan’s expression of “all nations”, and expands the complexity and diversity of the tributary imagination within the East Asian knowledge community

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