《唐僧取經圖冊》為元代敘事圖繪的重要作品，描繪唐僧取經歷程，自1990年代公開以來即受重視。不同於現今多考察文本依據與畫風源流，本文聚焦其視覺敘事手法，分析圖冊如何以雲氣連接、人物造型相續與場景呼應等，建立跨頁雙幅組合的視覺延續與時間錯置，形塑出異於單幅插圖的複層敘事結構。這類「雙幅畫面」組合不僅描繪連續情節，更透過畫面布局引導觀者進入故事情節，呈現異時同地、角色替換等敘事效果。可舉下冊第6、7雙幅為例，實是將唐僧置入《大唐西域記》一則傳說見聞，達成視覺敘事的內在轉換，使圖冊成為主動建構故事的視覺媒介。

本文亦從界畫技法切入，指出圖中斗栱之模式化描繪風格與王振鵬一系如李容瑾《漢苑圖》高度相似，並見於部分高麗佛畫與江南佛經插圖，顯示王振鵬畫風與江南佛經繪製工坊的關聯；其製作屬江南職業畫坊，並與佛經版畫雕印等活動相連動。本文也以之比較《全相平話》、《玄風慶會圖》等元代敘事印刷圖像，指出其與戲曲演出、宗教傳教等視覺文化實踐之間的可能連結。《唐僧取經圖冊》並非西遊記故事的附屬品，而可視為十四世紀東亞視覺敘事創新的典型案例，為理解宋元時期的圖文互動關係提供了新的觀察視角。

The Album of Tang Monk’s Journey to the West is a significant example of Yuan dynasty narrative painting that has attracted scholarly attention since the 1990s. Rather than focusing on textual origins or stylistic lineage, this paper explores the album’s visual narrative strategies. Through cloud motifs, figure continuity, and spatial resonance, the album constructs paired-page compositions that create visual coherence and temporal disjunction, resulting in a complex visual narrative structure beyond conventional single-leaf illustration.

These paired images do more than depict consecutive scenes—they actively guide the viewer through the narrative’s rhythm and emotional shifts. By employing techniques such as simultaneous depiction and character substitution, the album reconfigures its source material into new narrative expressions. For instance, pages 6 and 7 reinterpret a story from the Great Tang Records on the Western Regions by integrating Tang Monk into the scene, achieving a narrative transformation via pictorial means.

The paper also analyzes architectural renderings in the album, highlighting standardized dougong depictions that closely resemble works from the Wang Zhenpeng school, including Li Rongjin’s Han Yuan Tu, and noting parallels with Buddhist imagery from Jiangnan and Goryeo. These suggest a production context in Jiangnan professional painting workshops, closely tied to Buddhist publishing practices. By comparing the album to Yuan printed illustrations such as Complete Illustrations to Popular Tales and Illustrated Commentary on the Teachings of Master Changchun, the study situates this work within a broader visual culture encompassing religious imagery, theatrical performance, and storytelling. The album thus emerges as a dynamic case of visual narrative innovation in fourteenth-century East Asia, offering new insights into text-image interaction in the Song-Yuan period.

唐僧取經圖冊; 視覺敘事; 雙幅構圖; 異時同圖; 界畫與建築描繪; 王振鵬

Album of Tang Monk’s Journey to the West; Visual Narrative; Paired- Page Composition; Simultaneous Depiction of Different Times; Jiehua (Architectural Painting); Wang Zhenpeng