活動於南京的畫家樊圻(1616-1694之後)與當時的隱逸和遺民文化有關其後的藝術史視他為金凌八家之一，不過他的聲名多為龔賢所掩。而樊圻最為著名的是其奇幻山水之表現，但本文要強調的是樊圻與城市視覺文化的聯繫。尤其值得注意的是樊圻如何巧妙地轉換朱之藩於1623年輯印的旅遊指南《金陵圖詠》插圖中南京勝景的視覺與符號結構。朱之藩的版畫使用圖像與文字形塑了特定地點的形象；而樊圻對這些圖像的轉換，則在於創造一般性的空間經驗，將景點、地方特質和經驗轉換為較為普遍性的結構。在他所創造的空間中穿插訴說著城市觀光、回憶、旅遊、商業帶來的繁華與聚落分布等景致。樊圻在描繪這些景致時所加入的特定視覺效果，有時帶有北宋與歐洲風味的視覺特色；但在此毋寧應被理解為是帶著疏離意味的視覺符碼，暗示著歷史與情感的疏離，而這樣的疏離頗能切合遺民畫意中對失落朝代的懷念。樊圻早期的一張山水長卷繪於南京降清的1645年，畫中以非比尋常的視覺效果表現一般習以為常的地方勝景，因此也展現了一種特殊的空間經驗－亦即晚明南京在改朝換代之際對空間的重新形塑。

　　　　　In his own time the Naching-based painter Fan Ch'i (1616-after 1694) was connected with narratives of reclusion and loyalism. Later art-historical narratives linked him with the Eight Chinling Masters, where he was much overshadowed by the reputation of Kung Hsien, and with the idiom of the fantastic landscape. The present account emphasizes instead Fan Ch'i's engagemnet with several aspects of urban visual culture. Fan's adaptations of imagery and semiotic structures from a print-illstrated guidebook to notable Naching sites, Chu Chih-fan's Chin-ling t'u-yung of 1623, is especially noteworthy. While the print images engaged in specific pictorial and textual pace-making, fan's adaptations for the most pat utilized more generic structures of sites, localities, and experiences, creating small embedded narratives urban sightseeing, reminiscence, travel, commerce, and residence. To these Fan added specific effects of visual perception, sometimes conveying qualities of Northern Sung and European visualities, but more often coded as distanced sight that could serve as a sign of historical, emotional, and possessive distance, congenial to loyalist modes of nostalgia for a lost era. In Fan's early Landscape handscroll of 1645, painted in the year of Naching's surrender, multiple references to famous local sites are charged with effects of unpredictable sight to convey the experience of a landscape event: the re-making of the places of late Ming Nanching at a time of dynastic change.