繡像小說常被稱爲「插圖本小說」，但從小說史看，其圖並非必然據其文「插入」，其中圖文孰先出現仍有待研究。本文先從圖文配置方式、具像模式兩個角度探討繡像小說的一般形式，繼以元刊《全相平話三國志》和明刊《插增田虎王慶忠義水滸傳》爲例，描述近世中國早期繡像小說中圖文不相匹配的情形且考究其成因，並將《插增田虎王慶忠義水滸傳》與雙峰堂刊《京本增補校正全像忠義水滸志傳評林》比較，說明後者圖像的改動顯然以文本爲中心，可證繡像小說至此方以提供文字閱讀爲第一要務。最後指出，通過比較圖文配置方式、具像模式以及圖文匹配程度，或可爲近世中國繡像小說的版本鑒定和研究增加新的途徑。

The Xiuxiang fictions are also called "fictions with interpolated illustrations". Nonetheless, during the developments of publication of fictions, the publishers didn't always interpolate illustrations accordingly to the texts, indeed, whether the texts were prior to the images still need to be studied. This paper tries to discuss the formats of illustrated fictions by their image-text matching functions and patterns of the illustrations: Taking Quanxiang Pinghua Sanguo Zhi published in Yuan dynasty and Chazeng Tian Hit Wang Qing Zhongvi Shuihu Zhuan from Ming dynasty as examples, the author analyzes the mismatching of the images and texts in the precedent publications, and discovers the causes. In addition, through comparison of Chazeng Tian Hit Wang Qing Zhongyi Shuihu Zhuan with Jing Ben Zengbu Jiuozheng Quaii Xiang Zhongvi Shuihu Zhihuan Pinglin published by Two-mountains Studio, this paper demonstrates that the latter adjusted illustrations to correspond with the texts in purpose-only until this time that the reading of the texts attained priority in illustrated fictions. In the end, this paper points out that studies of image-text configurations and patterns of illustrated fictions and how well they matched each other could be a new way of edition identification and studies.