本文從文化接受的角度，探討十九世紀後期法國人喜愛中國藝術中神怪動物題材的品味問題。文章以法國德內利博物館及其收藏爲中心，論證此種喜愛並非特例，而是彼時普遍存在的現象，也可視爲文化接受的表徵。 文章首先說明德內利博物館保存至今的來龍去脈以及其收藏中的神怪動物內容。文章其次透過分析當時的遠東藝術市場以及列舉具有相同特徵的同時期其他收藏以說明對於中國神怪動物的喜好可視爲一種文化現象。文章最後分析此文化現象成立的源由與基礎，並說明此一文化現象如何反映法國人將中國藝術視爲怪誕風格的態度以及彼時法國對於中國藝術的認識仍不脫中國風尚的概念。

From the perspective of cultural reception, this article explores the question of the taste in late nineteenth century France for fantastic animals in Chinese art. It takes France's Ennery Museum and its collection as its focus, and demonstrates that the liking for such phenomena was widespread at the time, rather than rare and exceptional, and that it can be seen as an outward manifestation of cultural reception. The article first recounts the origins and development to the present day of the Ennery museum and its fantastic animal collection. It then, by means of an analysis of the market of the time for Far Eastern art and a listing of other similar collections from the period, explains how the taste for fantastic animals can be seen as a kind of cultural phenomenon. Finally, the article analyzes the origins and foundations of this cultural phenomenon, and explains how it reflects the French people's view of Chinese art as grotesque, and how such a view continued to dominate late nineteenth-century France's understanding of China.