《金瓶梅》有兩個版本系統，一是詞話本，另一是繡像本。長期以來，學界對兩個版本之間的研究，主要集中在何者先出、以及其中的影響關係，較少從文學的角度看待兩者的內在差異。曾有學者提出「兩部《金瓶梅》，兩種文學」的說法，可惜迴響不大，本文則試圖論證兩部《金瓶梅》可能來自（或者開創）從晚明到清初的兩條文學路線。

There are two versions of Jin Ping Mei: one is the script (i.e., the Tzu Hwa edition); and the other is the one with embroidered pictures (the Hsiu Hsiang edition). The academic circle had studied the two versions for a long time. Most of them were focused on the publication sequence and their influences on each other. There were rarely researches from a literary aspect to examine the differences of the two versions. Some scholars had argued, “The two editions of Jin Ping Me represent two types of literature.” However, they did not receive much support. This article tries to prove that the two versions of Jin Ping Mei could be deviated from (or initiate) two lines of literary development from Ming to Ching Dynasties.