本文以文學理論中的比喻手法─隱喻模式（metaphoric mode），來探討《十竹齋箋譜》中的編輯原則。尤其箋紙的製作是以供書寫文字來完成訊息傳達的功能，所以在箋紙上印製圖像，再由書信者有意地選擇印有圖像的箋紙來和其所欲書寫的文字內容互動，以完成其所欲傳達訊息的整體，就複雜化了訊息的內容。因此，透過圖像，彩箋隱喻了許多書信文字所傳達的言外之意，而彩箋書信在這一層面上的訊息傳達是不容忽視的。因此在箋譜的製作上，很自然地，這個隱喻手法就成了當然的主導生產模式。本文透過《十竹齋箋譜》的編輯體例，來探索出版家胡正言如何以隱喻手法來作為其選題及編輯的原則。

This paper explores the way in which Hu Zhengyan 胡正言 utilizes metaphor as a mode of production in the Ten Bamboo Studio Letter Paper Catalogue 十竹齋箋譜 published in 1644 and 1645. The color letter paper is designed exclusively for writing with the goal of communication; the images printed on these letter papers thus carry a deeper layer of metaphorical meanings. The carefully chosen image interacts with the words written on the letter, and thus becomes part of the intended message. Thus every communication on these printed papers necessarily involves metaphorical meanings that are beyond the written words and essential to the written communication. It is only natural for the production of paper designed for letter communication to adopt the same metaphorical mode of production. This paper thus focuses on investigating the metaphoric themes underlying the editorial policy of the Ten Bamboo Studio Letter Paper Catalogue.