中国动画电影中的哪吒形象研究

국문 초록 (Abstract)

나타는 중국 전통 신화 체계에서 가장 대표적인 신화 인물 가운데 하나이다. 그러나 나타는 처음부터 고정된 의미를 지닌 본토적 신화 인물로 존재한 것이 아니라, 외래 신격의 유입, 불교와 도교의 수용, 민간신앙으로의 확산, 문학 텍 스트 속 서사적 정립, 그리고 현대 애니메이션 영화 속 재구성을 거치며 지속 적으로 변화해 온 복합적 문화 기호이다. 본 연구는 중국 애니메이션 영화 속 나타 형상을 연구 대상으로 삼고, 특히 1979년 애니메이션 영화『나타요해』와 2019년『나타지마동강세』, 2025년『나타지마동요해』를 중심으로 나타 형상의 역사적 변천과 현대적 재구성 양상을 고찰하였다. 이를 위해 문헌 분석, 텍스트 분석, 서사 분석을 종합적으로 활용하고, 나타 형상의 변천을 영웅 서사와 정체 성 전환의 관점에서 검토하였다.
본 연구는 먼저 나타 형상의 역사적 형성 과정을 검토하였다. 나타는 인도 불교 신격 및 호법신 계통과 관련된 외래 신격으로 중국에 유입된 이후, 한역 불전과 도교 신격 체계, 민간신앙의 수용 과정을 거치며 점차 중국적 신격으로 재편되었다. 이 과정에서 나타는 불법을 수호하고 악을 제압하는 호법신에서 동자 신장, 아동 수호신, 지역 보호신으로 변모하였다. 이후『서유기』와『봉신 연의』에 이르러 나타는 보다 명확한 문학적 형상을 획득하였다.『서유기』에 서 나타는 천계 질서를 수호하는 동자 무사로 제시되며, 『봉신연의』에서는 성장 과정, 윤리적 갈등, 부권과의 충돌, 죽음과 재생의 서사를 통해 독립적인 서사 주체로 정립된다. 이로써 나타는 단순한 종교적 신격을 넘어 반복적인 개 작과 재해석을 가능하게 하는 문화적 형상으로 자리 잡게 되었다.
1979년 애니메이션 영화『나타요해』는 이러한 전통적 나타 서사를 현대 애 니메이션 영화의 맥락 속에서 다시 구성한 중요한 작품이다. 영화는『봉신연 의』의 주요 서사인 용왕과의 갈등, 자결, 연꽃을 통한 재생을 유지하면서도, 원작에서 두드러졌던 부자 갈등과 반부권적 문제를 상대적으로 약화시키고 서 사의 중심을 정의와 억압의 대립으로 이동시킨다. 이에 따라『나타요해』속 나 타는 가족 내부의 윤리적 충돌에 머무는 인물이 아니라, 공동체의 고통을 대신 짊어지고 억압적 권력에 맞서는 비극적 반항자이자 집단 영웅으로 재구성된다. 이 작품에서 나타의 죽음과 재생은 단순한 신체적 부활이 아니라, 개인적 반항 자가 공적 정의를 실현하는 영웅으로 전환되는 상징적 과정으로 의미화된다.
현대에 이르러 나타 형상의 가장 중요한 변화는 ‘마동（魔童）’ 시리즈에서 나 타난다. 『나타지마동강세』에서 나타는 태어나는 순간부터 ‘마완（魔丸）’으로 규 정되어 사회적 배제와 편견의 대상이 된다. 이 작품은 나타를 이미 정당성을 부여받은 영웅으로 제시하지 않고, 타인의 명명과 사회적 낙인 속에서 자기 존 재의 의미를 스스로 확인해야 하는 인물로 형상화한다. 따라서『나타지마동강 세』의 나타는 운명과 권위에 저항하는 전통적 반항자의 형상을 계승하면서도, 현대 사회의 편견과 정체성 위기 속에서 자기 정의를 모색하는 개인 영웅으로 전환된다.
후속작『나타지마동요해』는 이러한 정체성 문제를 한층 확장한다. 이 작품 에서 나타가 마주하는 것은 더 이상 개인 운명의 불공정성이나 주변 사회의 편 견에만 국한되지 않는다. 나타는 무량선옹으로 대표되는 중심 질서, 제도적 폭 력, 신분의 선별과 배제 구조에 직면한다. 이에 따라 나타의 영웅성은 단순한 자기 증명이나 운명 극복에 머물지 않고, 타자의 고통을 인식하고 공동체적 책 임을 감당하며 부당한 질서에 맞서는 실천으로 확장된다.『나타지마동요해』의 나타는 자기 정체성을 확인하는 개인 영웅을 넘어, 공동체적 책임을 수행하는 책임형 개인 영웅으로 재구성된다.
이상의 논의를 통해 본 연구는 나타 형상의 변천이 단순한 신화 개작이나 시 각적 변형의 결과가 아니라, 각 시대의 사회문화적 조건, 이데올로기적 요구, 대중적 욕망, 정체성 문제와 긴밀하게 연결되어 있음을 밝혔다. 나타는 종교적 호법신에서 문학적 반항자로, 집단주의적 애니메이션 영웅에서 현대적 개인 영웅으로 변화해 왔다. 이러한 변화는 나타가 고정된 신화 인물이 아니라, 시대적 맥락에 따라 지속적으로 재구성되는 유동적 정체성의 영웅임을 보여 준다. 특히 중국 애니메이션 영화 속 나타의 ‘재생’은 단순히 신체가 다시 태어나는 사 건이 아니라, 새로운 사회적 관계와 가치 질서 속에서 정체성을 다시 형성하는 과정이다. 따라서 나타 형상의 지속적인 변천은 우연한 현상이 아니라, 전통 문화 자원과 현대매체, 사회적 감정, 정체성의 요구가 복합적으로 작용한 결과라고 할 수 있다.

다국어 초록 (Multilingual Abstract)

As one of the most recognizable and widely circulated figures within the Chinese mythological tradition, Nezha occupies a distinctive place in the cultural imagination of China. Originally introduced as a foreign deity, the figure of Nezha has undergone continuous reinterpretation and transformation since entering the Chinese cultural sphere. This study investigates both the historical evolution of the Nezha figure and his contemporary representations in animated cinema. Drawing on a combination of literature review, close textual analysis, and narrative analysis, the research traces the developmental trajectory of Nezha from early mythological and religious sources to modern animated media. Particular attention is paid to the ways in which the character has been reshaped across different historical periods, religious traditions, and media environments. On this basis, the study adopts Joseph Campbell’s theory of the Hero’s Journey and Lim, Dae-Keun Trans-Identity theory as its primary analytical framework in order to examine the internal continuities and mechanisms of transformation underlying Nezha’s narrative construction and identity formation in contemporary animated films.
The study finds that throughout his long historical development Nezha was gradually incorporated into the Chinese mythological system from his origins as a yakṣa-type deity associated with Indian mythology and Buddhist guardian traditions. Through processes of religious interaction and syncretism involving both Buddhism and Daoism, the figure underwent a gradual process of localization and Sinicization. Within the sphere of popular religion, Nezha’s image became increasingly secularized and eventually assumed the role of a protector of children and a local tutelary deity. In classical novels such as J ourney to the West and The Investiture of the Gods, the character was fully narrativized and integrated into literary storytelling, thereby providing a stable narrative framework for later reinterpretations. With the emergence of animation as a modern cultural medium, the figure of Nezha entered yet another crucial stage of transformation. Contemporary animated works no longer focus exclusively on rebellion against authority or patriarchal structures; instead, drawing on narrative patterns associated with the Hero’s Journey, they increasingly portray Nezha as a heroic figure who attains self-awareness through responsibility, ethical decision-making, and engagement with the collective. As a result, Nezha has gradually evolved from a religious guardian deity into a highly individualized and ethically charged cultural symbol capable of ongoing reinterpretation. Yet explaining this transformation solely in terms of religious syncretism risks obscuring the deeper socio-cultural forces that have shaped the character’s historical development. The major arguments of this study are outlined below.
In China, the earliest references to Nezha can be traced back to the Eastern Jin and the Northern and Southern Dynasties periods. With the large-scale translation of Buddhist scriptures into Chinese, guardian deities associated with Vaiśravaṇa began to appear in translated texts. In the Chinese translation of the Buddhacarita, references are made to Naluojiupo （Narakuvara）, the son of Vaiśravaṇa, the Heavenly King of the North. The third son of Vaiśravaṇa and his consort was named “Nazha Tian,” a precursor to the later Nezha figure. At this early stage, however, no complete narrative concerning Nezha had yet taken shape; the figure appeared primarily as a protector within the Buddhist pantheon whose function was to defend the Dharma and subdue malevolent forces. During the Sui and Tang dynasties, as Buddhism spread widely throughout Chinese society, the image of Nezha gradually shifted from an abstract textual deity to a more concrete representation as a youthful guardian. In Song-dynasty Buddhist sources such as the Record of the Transmission of the Lamp, Nezha became increasingly standardized as a child-like figure with three heads and six arms, dressed in red garments, wearing a red headband, wielding a spear and a cosmic ring, draped in a long silk sash, and standing upon wind-and-fire wheels—visual elements that would later become defining features of the character. From the Tang–Song period onward, the figure of Nezha appeared frequently in both Buddhist scriptures and religious genealogies. Various texts included in the Taishō Tripiṭaka portray Nezha as a guardian deity, while compendia such as Taiping Guangji and The Comprehensive Mirror of the Origins of the Three Teachings《三教源流搜神大全》further facilitated the circulation of his religious image in popular society.
Nezha’s integration into popular religion occurred roughly after the Song–Yuan period and reached its full development during the Ming and Qing dynasties. In the post–Song–Yuan era, state authority exerted relatively limited direct control over local communities. Faced with epidemics, warfare, natural disasters, and everyday uncertainties, local societies gradually developed belief systems centered on protective local deities. Within this context, Nezha’s martial attributes were associated with the ability to repel evil forces, dispel calamities, and safeguard communities. His youthful appearance distinguished him from distant and solemn higher-ranking deities, making him more approachable to families, children, and lower social strata. Possessing both Buddhist origins and formal recognition within the Daoist pantheon, Nezha acquired a degree of religious legitimacy. His distinctive visual symbols—such as the three heads and six arms, wind-and-fire wheels, and cosmic ring—also lent themselves easily to ritual performances and folk ceremonies. Chinese popular religion has historically placed less emphasis on doctrinal orthodoxy than on practical efficacy: whether a deity is perceived as useful, responsive, and capable ofaddressing real anxieties. In this sense, Nezha came to function as a uniquely effective local guardian deity. Whereas Buddhist and Daoist traditions emphasized his roles in suppressing evil and maintaining cosmic order, popular belief more often portrayed Nezha as a protector of children, a deity who expels malevolent forces, a local guardian spirit, or a ritual protector. In regions such as Taiwan, southern Fujian, and overseas Chinese communities, Nezha is frequently worshipped as a deity who protects children, with temples closely connected to family rituals and child-rearing practices. He also appears regularly in rituals intended to dispel misfortune and ward off evil influences, particularly in times of epidemic or social crisis. Compared with the wrathful guardians of Buddhist iconography or the solemn generals of Daoist tradition, the folk image of Nezha emphasizes childlike innocence, mischievous vitality, and an impulsive readiness for action.
In Journey to the West, Nezha is clearly and consistently portrayed for the first time as a youthful warrior deity. Descriptions of his appearance emphasize both childlike physical traits and extraordinary spiritual power, deliberately distinguishing him from mature and authoritative divine generals. Together with his father Li Jing, Nezha serves as a celestial guardian who participates in episodes involving the suppression of demons or the enforcement of heavenly order. In essence, Nezha in J ourney to the West functions as an executor of cosmic order; his narrative role lies less in expressing internal conflict than in carrying out the tasks assigned by the celestial hierarchy.
Nezha’s transformation into a fully developed literary protagonist occurs in Investiture of the Gods. Compared with J ourney to the West, the portrayal of Nezha in this novel marks a significant shift. Through several dedicated chapters, the narrative constructs Nezha as a character possessing a coherent developmental arc, moral tension, and a distinct sense of subjectivity. In this process, he is transformed from a guardian of order into an ethical hero in literary terms. His divine origin is explained through the motif of the “reincarnation of the spiritual pearl,” while the narrative situates his story within the ideological environment shaped by Neo-Confucian orthodoxy. As Neo-Confucian thought became institutionalized during the Yuan and Ming dynasties—emphasizing filial piety and loyalty as central moral principles—the legitimacy of patriarchal authority and imperial hierarchy was strongly reinforced. Within this rigid ethical framework, Investiture of the Gods employs the figure of Nezha to reflect critically on the tensions embedded within patriarchal moral logic.
Nezha first appeared as a central protagonist in modern visual media in the 1979 animated film Prince Nezha's Triumph Against Dragon King. Although adapted from Investiture of the Gods, the film reinterprets Nezha not primarily as a figure of anti-patriarchal rebellion but as a revolutionary collective hero. While retaining narrative elements such as the conflict with the Dragon King and Nezha’s self-sacrifice, the film deliberately reduces the religious and violent dimensions of the original story and shifts the thematic focus from father–son conflict to a broader confrontation between justice and oppression. In this reinterpretation, the Dragon King becomes a symbolic representation of tyrannical power that brings suffering upon the people. Nezha’s resistance thus acquires a clear moral legitimacy, transforming the character into a collective hero representing public justice.
In contemporary culture, the most influential representations of Nezha appear in the recent animated film series centered on the character. In Nezha: Birth of the Demon Child （2019）, Nezha is stigmatized as a demonic being from the moment of his birth and is rejected by society. Unlike earlier portrayals of a collective hero, the film situates his development within a narrative shaped by social exclusion and identity denial, presenting him as a subject struggling to construct self-identity within a stigmatizing environment. In the sequel Nezha 2, the character evolves further froma rebellious individual hero into a responsibility-oriented figure who confronts systemic injustice. The narrative reveals that the celestial authorities who claim to uphold order and justice maintain their power through manipulation and sacrifice. In this context, Nezha’s struggle extends beyond personal destiny to confront a social order structured by institutionalized violence.
In conclusion, this study argues that Nezha should not be understood as a mythological character confined to a single historical stage or fixed narrative form. Rather, he constitutes a heroic archetype continuously rewritten and renegotiated across changing historical contexts. A systematic examination of Nezha therefore provides an important lens through which broader transformations in Chinese society, cultural values, and concepts of subjectivity can be observed. Since its introduction into China through Indian mythological and Buddhist guardian traditions, the figure of Nezha has undergone successive stages of transformation, including Buddhist localization, Daoist institutionalization, popular religious domestication, literary narrativization, and modern cinematic reinterpretation. Each stage of transformation has been closely intertwined with the social order, ideological demands, and cultural psychology of its respective historical period. The enduring vitality of the Nezha narrative lies precisely in its capacity to be continually retold and reimagined according to the expectations of different generations—each reinterpretation constituting, in effect, a new symbolic “rebirth” of Nezha.

목차 (Table of Contents)

• 第1章 绪论 1
• 第1节 研究背景与研究目标 1
• 第2节 研究对象与研究方法 6
• 第3节 先行研究 16
• 第2章 哪吒形象的起源与转型 31
• 第1节 哪吒形象起源 31
• 第2节 哪吒形象中国化转型 44
• 第3节 文学文本中哪吒形象定型 56
• 第3章《哪吒闹海》（1979）中的哪吒形象 75
• 第1节 角色：悲情反抗者与集体英雄 75
• 1. 悲情的反抗者与牺牲者 75
• 2. 集体主义语境中的英雄 81
• 第2节 叙事：集体英雄抗争与身份认同转换 84
• 1. 集体英雄抗争之旅 84
• 2. 重生与身份认同转换 96
• 第3节 话语：叛逆者集体英雄形象转译 105
• 1. 反抗权威与传统秩序寓言 106
• 2. 个人抗争与集体主义融合 110
• 第4章 “魔童”系列动画电影中的哪吒形象 117
• 第1节 角色：污名化边缘者与责任型个人英雄 117
• 1. 身份认同危机的边缘者 117
• 2. 共同体责任中的个人英雄 124
• 第2节 叙事：个人英雄成长与身份认同转换 129
• 1. 边缘者自我认同之旅 129
• 2. 个人英雄自我觉醒之旅 148
• 第3节 话语：边缘者个人英雄形象逆转 164
• 1. 自我认同与社会认同均衡 165
• 2. 集体责任与中心秩序批判 170
• 第5章 结论 179
• 参考文献 185
• 附录 197
• ABSTRACT 201