摘要 从毕翠克丝·波特《彼得兔的故事》出版问世开始，现代绘本至今刚经历一百多年的发展，在这个发展过程中，动物拟人形象一直是绘本领域的创作者所热衷塑造的角色类型之一。而绘本从为小朋友而作的书，到能够引起全年龄段人群的共鸣，其内涵和外延都在不断扩大。无论是讨论的主题，还是呈现的形式，都越来越复杂。以往对绘本的研究大多是从叙事策略或教育意义出发，鲜少有学者把目光聚焦在对绘本角色类型的研究上，而在绘本承载的意义越来越复杂的这个大背景之下，以图像学来解读绘本的角色类型的象征含义就有了可能性。本文主要从图像学相关理论出发，对绘本中动物拟人形象的象征性进行研究，注重动物拟人形象与文学典籍的关系，并力求还原艺术家创作本意。 本文共分四章。第一章为绪论，重点论述了选题的的重要性与价值，说明了选题的研究现状与研究方式；第二章主要说明了图像学中图像与象征的关系，根据图像学的三层次理论说明了象征性在图像学阐释中的重要性，又根据贡布里希对潘诺夫斯基理论的补充与修正，更正了原本理论中过于形而上学的、不人性化的部分，将作者的意图和观者的能动性融入到对图像象征义的解读中。第三章回到文化典籍的分析中，解释在文化典籍中的动物形象的文学性，以及传统文化中的动物象征义与现代绘本中的动物拟人形象象征义间的继承关系，并分别总结东方和西方的动物意象的产生方式，为后文分析绘本中的动物拟人形象做好基础。第三章是本文的重点，在阐释清动物拟人在绘本中的合理性的基础上，分别以三个类型的象征形象辅以具体的作家及作品分析，来深入剖析动物拟人形象在具体语境中的象征性。第四章为笔者本人的创作分析，主要阐述动物拟人形象在我的绘本作品中的象征性。 文章主要以图像学作为切入点和方法论指导，对绘本作品中的动物拟人形象进行解读，力求阐释这些动物拟人形象背后的象征内容，对进一步探索绘本的形象创作的可能性有着重要的意义。 关键词：绘本 动物拟人 图像学 象征

Abstract Beginning with "The Story of Peter Rabbit" by Beatrix Potter， modern picture books have just experienced more than 100 years of development. During this development process， anthropomorphic images of animals have always been keenly shaped by creators in the field of picture books. One of the character types. The connotation and extension of picture books are constantly expanding from books written for children to those that can resonate with people of all ages. Both the topic of discussion and the form of presentation are becoming more and more complex. In the past， most of the research on picture books was based on narrative strategies or educational significance. Few scholars focused on the research on the types of characters in picture books. It is possible to learn to interpret the symbolic meanings of character types in picture books. This paper mainly starts from the relevant theories of iconography， studies the symbolism of animal anthropomorphic images in picture books， pays attention to the relationship between animal anthropomorphic images and literary classics， and strives to restore the original intention of the artist's creation. This article is formed by four chapters. The first chapter is the introduction， which mainly explains the meaning and value of the topic selection， and states the research status and research methods of the topic selection. The second chapter mainly explains the relationship between image and symbol in iconography, and explains the importance of symbolism in iconographic interpretation according to the three-level theory of iconography, and according to Gombrich's supplement to Panofsky's theory With the revision, the overly metaphysical and inhumane part of the original theory is corrected, and the author's intention and the viewer's initiative are integrated into the interpretation of the symbolic meaning of the image.The third chapter returns to the analysis of cultural classics， explaining the literariness of animal images in cultural classics， as well as the inheritance relationship between the symbolic meaning of animals in traditional culture and the symbolic meaning of animal anthropomorphic images in modern picture books， and summarizes the Eastern And the way of producing animal images in the West lays the foundation for the analysis of animal anthropomorphic images in picture books later. The third chapter is the focus of this paper. On the basis of explaining the rationality of animal anthropomorphism in picture books， three types of symbolic images are supplemented by specific writers and works analysis to deeply analyze animal anthropomorphic images in specific contexts. symbolic in. The fourth chapter is the author's own creative analysis， mainly expounding the symbolism of animal anthropomorphic images in my picture book works. The article mainly uses iconography as the starting point and methodological guidance to interpret the animal anthropomorphic images in picture books, and strive to explain the symbolic content behind these animal anthropomorphic images, which is of great significance for further exploring the possibility of image creation in picture books. Keywords: picture book， animal anthropomorphism， iconography， symbol