明清以來，有記載海洋動物的紀錄，從明代黃衷的《海語》開始，陸續有記載海洋動物的紀錄，之後清代的聶璜，於康熙37年繪製了《海錯圖》，描繪了300餘種海洋生物，更翔實的表現出各種海洋生物的特徵，另有《閩中海錯疏》、《海怪圖記》、《記海錯》等相關書籍。本文嘗試以樣貌奇特的鱟、章魚為例，探討傳統書寫的文類，對於海洋知識與生物的理解差異，無法完全以文字呈現其具體的樣貌，進而產生真實與虛構摻雜的情形，於是有以視覺呈現的圖錄繪製。同時，進而理解明清時期對於海洋動物的描繪有哪些差異？對於海洋動物的關注、記載與地區範圍，有何不同？同時嘗試探討明清時期對於海洋生物的理解，其背後的社會環境與海洋文化的知識建構。

Since the Ming and Qing Dynasties, there are not many records about marine animals, mainly in words, with relatively few images. Nie Huang, a painter in the Qing Dynasty, drew Hai Cuo-Tu (海錯 圖，marine animals’ images), depicting more than 300 kinds of marine life, including shapes and sizes. According to these image data, the characteristics of various marine organisms can be displayed in more detail and accurately. Especially some strange-looking creatures, such as horseshoe crabs and octopuses, are difficult to describe in words or pictures without seeing in h their own eyes. Then there is a strange image where reality and imagination exist at the same time.What are the differences in the depiction of marine animals during the Ming and Qing Dynasties? What is the difference between the attention, documentation and regional scope of marine animals? This article attempts to explore the understanding of marine life in the Ming and Qing Dynasties, as well as the understanding of the social environment and marine culture behind it.