<<金瓶梅>>與<<紅樓夢>>的承傳關係，從脂硯齋以來即不斷被提及。但這些 意見往往過於簡略，像全部的脂評只見三兩則而已；稍後的評家如明齋主人、大 某山民在描述三書關係時，頗喜訴諸「蟬蛻」「脫胎」「借徑」等籠統詞彙，使 人無法明確掌握其意。近代著名的紅學家周汝昌、俞平伯等多少也注意到這個課 題，但相關文字非但零散且「大而化之」。八○年代之後，大陸學者如徐朔方等 雖有專文討論二書之關係，所舉列的例子較多，仍然缺乏全面而深入的檢視。本 文承續上篇論文＜<<金瓶梅>>與<<紅樓夢>>＞，在比較二書主題、結構、事件、 性格、語言之後，專門討論二書相似的藝術筆法，共列舉橫雲斷山法、兩山對峙 法、輕輕抹去法、明褒暗貶法、一擊兩鳴法、預言暗示法、躲閃避難法、似有若 無法、觀點移動法九種，除了描述二書運用這些筆法的情形，也評比何者較為高 明。最後確鑿地證實了<<紅樓夢>>與<<金瓶梅>>之間青出於藍而更勝的關係。

　　　　　Although the development from Chin Ping Mei to Dream of the Red Chamber has been a topic of speculation since the time of the Zhi Yen Zhai collection of commentaries, however these notions have generally glossed over the issue. For example, in allof the Zhi Yen Zhai there are only two or three mentions of this relationship. Whereas later critiques such as Ming Zhai Zhu Ren or Da Mou Shan Min use vague terms such as can tui (shedding of the locust skin), tuo tai (giving birth), jing jie (stopover en route) or similar circumlocutory phrases, leaving one unclear as to the authors' actual meaning. In addition, noted contemporary "Red scholars" such take note of the connection between Bo to a greater or lesser extent also take note of the connection between these two classics, but their writings merely touch on the surface of this subject. Since the 1980's although mainland scholars such as Zhou Rung Chang or Yu Ping Bo have also taken note of this issue, however they also have not delved deeply into this issue. The current paper continues from the author's previous work, "Chin Ping Mei and the Dream of the Red Chamber", in comparing the two books' themes, structure, affairs, characteristics and use of language, going on to a specialized discussion of the different ways of descriptive art in the two works. In all there are nine manners:mountains veiled by clouds, lightly touched upon, only alluded to, multiple resonance, previewing the future, avoiding of obstacles, maybe or maybe not, and multiple viewpoints. In addition to describing the uses of these manners in the two books, this paper compares and evaluates them to determine which is of the higher artistic merit. Finally, it is conclusively demonstrated that Dream of the Red Chamber is artistically more highly developed than Chin Ping Mei.