吴雅迪：《柏林藏<苗民图四十种>考释》，《文化遗产》2021年第6期。

【内容摘要】柏林民族学博物馆藏《苗民图四十种》图册由乾隆朝贵州参将薛隆绍在贵州当地组织绘制，乾隆三十三年（1768）在湖南常德由澧州文人陈宗昂写成，是一部罕见的清代早期“苗图”。虽是最早的存世版本之一，但该图册的绘制、流通乃至收藏细节皆可考，为重溯“苗图”传抄史和版本关系网提供了可能。一方面，它与普林斯顿本等“苗图”以及《贵州通志》《皇清职贡图》有传抄关系。另一方面，图册所含族群的名称与聚居地等又与大部分存世“苗图”多有不同，涵盖了改土归流、开辟苗疆前后官府对贵州民族不同的识别与分类法。尤其是大肚苗到短裙苗、蔡家的图文移植与转变，以及佯伶僮侗瑶的出现及分解随着贵州“内部疆界”逐渐消解的过程同时进行，展现出清代早期民族图志刻板化与主观创造性皆备的特征。作为一部站在地方官员立场上制作的图册，它反映了清代官府流动的族群观，以及贵州全面纳入大一统的进程。

【关键词】苗图；贵州民族；改土归流；民族图志

A Study of the Forty Illustrations of Miao Peoples collected in Berlin

Wu Yadi

Abstract: This paper investigates an album entitled Forty Illustrations of Miao Peoples, which is housed in the Museum of Ethnology in Berlin. This album serves as a remarkable exemplar of the rare early versions of the so-called “Miao albums” during the Qing dynasty. It was commissioned by Xue Longshao, Assistant Commander in Guizhou during the Qianlong Era(1736-1796), and finished in 1768 by a local intellectual named Chen Zongang from Lizhou in Changde, Hunan. Despite being one of the oldest extant versions, it offers an abundance of insights into its production, acquisition, and collection, thereby opening avenues for a reevaluation of the history of “Miao albums” and their interconnectedness. On the one hand, this album shares connections with other similar albums, such as one held in Princeton, the General Gazetteer of Guizhou Province, and the Qing Imperial Tribute Illustrations. On the other hand, some names and habitations of the groups vary widely between this album and most other albums. This reflects differences in the identification and classification of ethnic groups in Guizhou by the court before and after the policy of “gaituguiliu” (replacement of local chiefs by officials) and the conquest of the “Miao territory”. Furthermore, this paper also discusses how the image and description of the Dadumiao were borrowed, modified, and reused for the Duanqunmiao and the Caijia, and why the Shui, Yang, Ling, Zhuang, Dong and Yao emerged in this album and were subdivided into more specific groups in later albums as the “internal frontier” in Guizhou gradually disappeared. These points simultaneously show the persistence of stereotypes as well as the creative dimensions of early illustrated ethnographies during the Qing dynasty. As an album produced from the perspective of local officials, it represents the changing conceptualization of ethnicities of the Qing court and the process of bringing Guizhou entirely into the “Grand Unity” of the Qing dynasty.

Keywords: Miao albums, ethnic groups in Guizhou, gaituguiliu, illustrated ethnographies