吳任臣為清初著名學者，他的《山海經廣注》在清代流傳極為廣遠，其中的圖像與注文都成為研究者參照的依據。成書於康熙五年刊刻於六年的《山海經廣注》，書前有同郡柴紹炳與王嗣槐的序，異口同聲說吳志伊取舒雅繪本而增訂為五卷圖像，按照靈祗一、異域二、獸族三、羽禽四、鱗介五的順序，共有144圖，置於卷首，這樣的圖像分類方式在清代極為流行。書坊不但將後來學者的校注、箋疏加上吳任臣圖像（如畢沅、郝懿行的著作在身後都加上原本所無的圖像），閩粵也流傳一些樸拙粗本，甚至五卷圖像還出現彩繪本，彩繪本即以吳任臣《廣注》的圖繪為摹本，吳任臣奠定的五卷圖像影響了有清一代，成為民間刊刻圖像的摹本，也成為清宮《獸譜》的題材。《山海經廣注》引用書籍五百多部，尤其是書中引用西方傳教士帶進的科學知識，反覆引用宋元之際評點大家劉會孟的《山海經評》，更可見作者的旁徵博引、嗜奇愛博。本文針對《山海經廣注》一書及其相關的圖像進行深入探討，瞭解吳任臣《廣注》圖像的分類方式以及注文的獨特性，試圖肯定此書在圖像上的承先啟後地位，也肯定此書在名物訓詁上的特點。

A noted scholar in the Qing dynasty, Wu Renchen was born in the fifth year of the reign of Chongzhen Emperor in the Ming dynasty and died in the thirty-second year of the reign of Kangxi Emperor (1693) with courtesy names of Zhiyi, Erqi and Zhenghong, and an art name of Tuoyuan. Wu's ancestral hometown was in Putian, Fujian and he lived In Renhe, Zhejiang (today's Hanzhou). Wu's ＂Shan Hai Jing Guangzhu＂ was widely known in the Qing dynasty. Completed in the fifth year of the reign of Kangxi Emperor and carved in the following year, the ＂Shan Hai Jing Guangzhu＂ was prefaced by Cai Shaobing and Wang Shihuai from the same Prefacture, both of whom pointed out that Wu's book was based on the drawings of Shu Ya and expanded into five volumes. The volumes are Lingzhi (spirits and gods), Yiyu (foreign lands), Shouzhu (animals), Yuqin (birds) and Linjie (fishes and shellfishes), which comprise 144 drawings placed in the beginning of each volume, following a popular way of drawing classification in the Qing dynasty. Bookshops added Wu's drawings into the annotations of the subsequent scholars (e.g. addition of the originally non-existing drawings into the works of Bi Yuan and Hao Yixing after their death). In Fujian and Guangdong some simple editions also appeared, among which there were even colored editions. The colored books were based on the drawings of Wu's ＂Shan Hai Jing Guangzhu＂. Wu's five volumes of drawings had a significant effect in the Qing dynasty. This paper will give an in-depth discussion on ＂Shan Hai Jing Guangzhu＂ and the relevant images in it.