本文通過細讀荷蘭漢學家高羅佩(Robert Hans van Gulik, 1910-1967)在其著作《秘戲圖考》(1951)中對晚明木版春宮圖冊《花營錦陣》中二十四幅圖畫的描述以及他對每幅圖所配詩歌的翻譯，指出高羅佩在觀看這些圖畫的時候將圖像內容敘事化的傾向。這種傾向部分上源於他對明代文化，尤其是晚明小說的熟悉。透過將《花營錦陣》中的圖畫與若干晚明艷情小說相比較，不難看出，儘管媒介不同，這些圖像和文學作品在各自對情慾的處理、表現上，有著重要的相似之處。而高羅佩自己在處理這些作品時，常常把涉及艷情的圖像和文字作品歸成一類，以"erotic book"（艷情書籍）一詞稱之。從這個角度看，高羅佩將圖像內容敘事化的傾向或許與他對明代小說豐富的閱讀經驗有關。同時，高羅佩對這些艷情作品（不論是圖像還是文字作品）的處理也為我們揭示出情慾表述的另一種特點，其反敘事(anti-narrative)傾向。也就是說，對情慾行為的表述，不論是以圖像還是文字形式出現，往往不受限於作品的整體敘事框架，並經常被讀者獨立出來單獨觀、閱、欣賞。由於這些表述往往以滿足讀者的情慾欣賞為目的，在具體表現上更不時放大細節，並在效果上削弱承載這些細節的敘事結構對讀者的重要性。本文最後一部分簡單檢視高羅佩自己創作的偵探小說和插圖，尤其是它們在展現情慾情節時相互之間的互動關係，以進一步驗證前面提出的觀點。

This study closely looks at Robert Hans van Gulik's (1910-1967) treatment of the Huaying jinzhen 花營錦陣(Variegated Positions of the Flowery Battle), a late Ming woodblock album of twenty-four erotic prints included in his privately published book Erotic Colour Prints of the Ming Period. By reading van Gulik's meticulous description of the pictures and his translation of their accompanying poems, this paper suggests that van Gulik has a tendency to narrativize the content of these pictures, which may be partly due to the viewer's formed viewing habits shaped by his acquaintance with late Ming culture, including erotic literature. Indeed, a comparison of the Huaying jinzhen pictures and several late Ming fictional works reveals important similarities between pictorial and verbal representations of the erotic. Moreover, that van Gulik classifies erotic albums and fiction under the same label "erotic book" points to the close affinity that he perceives between them. At the same time, van Gulik's treatment of these works points to another important aspect of erotica, i.e. the "anti-narrative" tendency that marks many late Ming representations-visual or verbal-of the erotic: erotic details, either in pictorial or literary form, can be and are often isolated by the reader from the larger narrative or context and appreciated separately. Moreover, it can be observed that at work within such erotic fragments is a mechanism that, aiming to maximize pleasure, is antagonistic against narrativity. 1n the final part of the essay, I turn to the detective stories van Gulik himself writes and illustrates, with the aim to further demonstrate the proximity he sees/shows between the verbal text and the visual one. In sum, a close reading of van Gulik not only tells us about this versatile man himself, but also unveils important but sometimes overlooked or understudied aspects of late Ming erotica.