本文以晚明福建地區出版的「日用類書」為中心，藉著其中關於書法與繪畫的章節，自生活與知識角度切入，探究該類書籍與晚明出版文化、藝術相關活動的關係，希望將文本研究與社會文化脈絡相連。 本文將福建版「日用類書」視為晚明新興大眾出版物的一種，也是文化商品。透過與當時書籍市場中他種日用類書的比較，可看出福建版的出版策略與訴求讀者。當其他種類的日用類書多以鄉居仕紳、進學修業為出版目的時，福建版針對當時城市文化瀰漫的效應與新起的功能性識字人口，而出版新形態的書籍，提供新的知識類型與閱讀方式；再因印刷粗劣，售價低廉，稍有餘貲者皆可消費。 就生活而言，福建版「日用類書」所提供的多是當時流行話題，在社交應酬中以供「談話之資」，與今日所謂「食衣住行」的生活分類不同。除此之外，該類書籍與流行文化的關係，尚可在內容編排與版面設計上見出。例如，符合當時重視視覺性的潮流。若自知識層面觀之，福建版「日用類書」的書畫門所提供的藝術知識與繪畫風格，與上層文士的書畫世界，仍有相當大的差距。由此可見，即使在晚明識字人口增加、文化消費盛行的時代，藝術仍是測試社會階層差別的試金石。再者，由於該類書籍中的書畫知識另成一格，也可見日用類書作為閱讀文化的一環，在晚明自有其傳佈的社會空間，有別於長期以來僅以仕紳文人為主的文化消費與知識系統。

　　　　　The late-Ming household encyclopedias (riyong leishu) produced in Jianyang, Fujian, have long attracted the attention of historians as sources that offer some insight into the daily lives of commoners. This study, however, does not treat these cheap imprints as direct reflections of contemporary social realities but as a category of cultural products that played an important role in the prospering print culture and cultural consumption of late-Ming China. First, this study analyzes the commercial strategy of the Fujian publishers, examining their target audience. They produced a large number of household encyclopedias, of which we still have at least thirty-five editions. Since there were several kinds of household encyclopedias circulating in late-Ming book markets, the differences in their specific content, style, and printing quality help us discover why and among whom the Fujian encyclopedias were popular. They met the needs of functionally literate people who were not highly educated, but who had enough disposable income to learn about urban culture. These people constituted a group of new cultural consumers distinguishable from the educated literati and rich merchants who had a long history of consuming books and other cultural products. Then, this study focuses on the sections on calligraphy and painting in several editions of the encyclopedias to examine how the Fujian household encyclopedia helped to create meanings for everyday life and delineate alternative social spaces. First, it is clear that these publications represent late-Ming fashion in art and culture. Artistic work was deeply implicated in daily life; for example, playing visual games with Chinese characters in seal script could be fashionable in social gatherings. Second, the artistic knowledge promoted by Fujian encyclopedias reveals a great deal about how social practices related to art in the late Ming—a view that is very different from what we have learned from literati writings on art. If reading as a kind of social practice exerts social influence, we can also detect a social space that was formed by the circulation of the Fujian household encyclopedias. And this social space, regardless of its differences from upper class social space, demands that we reconsider the dichotomy between “elite culture” and “popular culture.”