本文希望透過晚明大量刊行之《西廂記》的版畫插圖之個案研究，具體觀察當時出版文化中重視「耳目之玩」，亦即對於書籍之視覺層面日益關注的現象，尤其是運用彩色套印的技術，以及在版面中設框取景的新興特色。我將從探討版刻插繪中圖文關係的轉變出發，進一步再追索插圖性質之敘事性與裝事性因素的消長，並冀望從解析版畫與文學和其他工藝美術的互動中，略窺出版文化與視覺文化間的交流。文中所討論的雖是跨越明初到明末的多種不同《西廂記》版本，但刊印於一六四○年的吳興閔伋將是全文討論的核心。綜觀明代所出版的《西廂記》插圖刊本，我們可以發現它們在定位上逐漸從舞台劇轉變為主要供閱覽之用的案頭讀物；整體版面的設計則由圖版穿插於文本之間，轉成集中置於全文之前；於是圖文之間的關係，便從一一對應、亦步亦趨，蛻變為若即若離、漸行漸遠；而且插圖的內容也從以人物題材為主，演變成加入越來越多的山水場景，甚至以與文本不甚相關的花鳥畫來充填，敘事性日益降低。另一方面，版畫中的裝事性格卻越來越明顯。除了圖案化的表現之外，也包括以多色分版套印技法，追求點綴淋漓的視覺效果。另一個值得注意的發展，便是出現對邊框的意識。此一趨勢和器物上開光的裝飾手法類近，也可以在晚明園林設計中以門窗之框借景的意念者找到相通之處，在明代中晚期的版畫中已經陸續有先行之例，但閔齊汲刊本《西廂記》將此一特性發揮到極致。創作者以多種透過景框去觀看人物敘事場景的設計，傳達出虛實相映的空間，也表示對於「觀看」的強烈自覺。這樣的巧思正反映晚明以降視覺文化的多種場域中對於視覺性的重視，也讓我們重思，清代圖像中對於設框取景的興趣，或許未必只緣於西洋重視空間深度的影響，而與晚明的發展有關。

　　　　　This article intends to explore visuality in late Ming publications through case studies of diverse illustrated editions of The Story of the Western Wing. I focus on two features: multiple-block color printing and pictures within a frame. I first discuss the changes in the relationship between text and illustration, as well as the elements of narration and decoration in different editions. Secondly, focusing on the Ming Qiji edition of Western Wing printed in 1640, I analyze the interaction between prints, texts, and other modes of decorative arts in order to explore the dialogue between print culture and visual culture. An overview of existent illustrated Ming editions of the Western Wing shows that they gradually became reading materials rather than plays intended to be acted out. Most later edition pictures were gathered together and placed in the first part of the book instead of amongst the pages. Therefore the image became less related to the text. In addition, pictures of landscapes and flower-and-bird pictures irrelevant to the text were more and more often included in the illustrations. In sum, the narrative elements in these illustrations were reduced. In contrast, the decorative elements in illustrations, including patterns, multi-block color printing technique, and framing, became more apparent. The device of framing might have derived from kaiguang in object decoration or the experience of looking scenes through decorated door or window in designed garden. Examples as early as mid-Ming prints show this new direction, yet the trend reached a highpoint in Ming Qiji edition . The designer made diverse frames for each narrative scene in the play and played with the real and fictional spaces, revealing a consciousness of viewing and reflecting a prevailing interest in visuality in many different areas during this period. Furthermore, the assumption that the Qing interest in framing comes from Western perspective is thus challenged; it may have grown from these new artistic developments in the late Ming.