《山海經》本係一部有圖有文的奇書，雖然古圖早已亡佚，但透過明清之際諸多《山海經圖》版本的出現，不僅有望恢復《山海經》圖文敘事的特色，亦能抉發《山海經》古圖的蹤跡。明代《山海經圖》以胡文煥、蔣應鎬為兩大《山海經》圖像系統血脈，下啟清代諸多《山海經圖》。本文旨在豁顯清中葉汪紱（1692-1759）《山海經存》一書整體的圖像特色。本文研究方法即先考察汪紱其人及其著作，得出汪紱不僅與江永俱為同邑雙儒的經學大家，又兼新安派婺源籍畫家。後分別探析汪紱《山海經存》中的「圖像造型」與「構圖結構」，輔以明清之際諸版本的《山海經圖》作比較，建構出汪紱《山海經存》中整體圖像之特色，期能拂去汪紱《山海經存》圖像為後人評價不高的遺憾，終以定位汪紱《山海經存》的圖像在清代諸多《山海經》圖本之價值

The Shan Hai Jing is an extraordinary Chinese classic presented with text and illustrations. Although its ancient illustrations had been lost in time, the characteristic of the pictorial expressions and the traces of the lost ancient illustrations were restored and brought back to light through the emergence of a heterogeneous versions of the Shan Hai Jing Illustration in the beginning of Ming dynasty to the end Qing dynasty. The Shan Hai Jing Illustration by Hu, Wen-Huan and Jiang, Ying-Hao in Ming dynasty are the two significant major sources in terms of the imagery approach, followed by other versions of the Shan Hai Jing Illustration in Qing dynasty. The dissertation shall highlight the characteristic of pictorial expressions of the Shan Hai Jing Deposit by Wang, Fu as a whole in the mid-period of Qing Dynasty (1692-1759). An examination on Wang, Fu and his work is firstly made and applied as the research method. Consequently, Wang, Fu is not a mere literary figure in the classical studies of Chinese with Jiang, Yong for Wang, Fu is also a great painter of the Xin'an Painting School of the Wuyuan county. Furthermore, the image and the structure of the illustrations in Shan Hai Jing Deposit by Wang, Fu is examined, with comparisons between various versions of Shan Hai Jing Illustration found in Ming and Qing dynasty, thus, forges the characteristics of the imagery illustrated in Wang, Fu's Shan Hai Jing Deposit as a whole. As a result, the examination may save the Shan Hai Jing Deposit by Wang, Fu from the pity of being underestimated in the later days and, eventually, the value of Wang, Fu's work will be constructed in terms of the imagery it portrays in Qing dynasty