《楚人物御夔龙舟帛画》的布局、造型意匠实际源自远古苗蛮族图腾崇拜观念影响。虽然有学者提出“楚苗同源”说,但楚苗是不能等同的。如果说楚文化中包含复杂的苗蛮族和羌夷族文化因子则是事实,但是楚、苗、汉的造型有一最关键的差别,即对龙、凤、虎、神人的褒贬态度大相径庭。本文提出后世广泛流行的“龙凤呈祥”观念实际是远古苗蛮族、东夷族、羌戎族等族群争夺中原逐渐转化,最终融合成“华夏民族”的象征。 “Chu people Royal 御 dragon boat painting” layout, shape and meaning actually derived from the ancient barbarian totem worship ideas. Although some scholars have suggested that “Chu Miao homologous”, but Chu Miao can not be equated. If it is true that the Chu culture contains complicated cultural elements such as the barbarians and the Qiang ethnic groups, it is true that the Chu, Miao and Han styles have the most crucial difference in the way they judge and deny the dragon, phoenix, tiger and god man. This article proposes that the concept of “dragon and phoenix” which is widespread in later generations is actually a symbol of ancient ethnic barbarians, Dongyi ethnic group and Qiang Rong ethnic group competing for Central Plains for their gradual transformation and eventually becoming “Huaxia nationality.”