巫鸿先生在其《重屏·中国绘画的媒介与表现》一书中，将屏风归纳为实物、绘画媒材、绘画图像三者兼具的物象，而本文关注的，正是屏风作为一种绘画图像，在明代仕女画中起到的隐喻作用。关于屏风画或屏风图式的研究多集中于唐宋时期，研究作品多为《韩熙载夜宴图》《重屏会棋图》等经典传世作品，研究角度多从屏风的空间构图、形制以及类型入手。而在明代，屏风多作为实物家具备受关注，虽运用屏风图式的人物画数量有所增加，但鲜少有学者关注并研究明代画家仕女画中的屏风图式，并深挖其在当中起到的各类隐喻作用。 文章首先关注屏风图式在仕女画中的生发过程以及审美特征；其次，明代仕女画中屏风图示蕴含着怎样的隐喻；最后，如何运用从中得出的结论进行艺术实践。因屏风图式具有形制多样、功能丰富等独特性，所以在不同的画面中有着卓绝特异的隐喻内蕴。“层与叠”则是本文提出的独有研究角度，是在仕女画中剖析屏风图式隐喻类型的方式。本文创新性地从隐喻视角出发，运用图像学分析，检索大量相关文献资料，贯通屏风作为仕女画中的一种应用图式之作用，研究其为画家在画面上作出了怎样的贡献，反映了当时怎样的社会现象。重点章节阐述了：仕女画屏风图式在明代演绎的背景、从屏风图式看对服务对象的藻饰、从屏风图式看信息的转承与传递，以及从屏风图式看对外来窥视的反向突破。再联系到当代，通过配合实践，解读屏风的隐喻，为创作提供借鉴，最后将屏风图式应用于笔者毕业创作实践中，完成对屏风图式的创新性转化运用，在充分保留传统屏风美学特质的基础上，赋予其新时代的生命力。

In his book "Double Screen · Media and Expression of Chinese Painting", Mr. Wu Hong summed up the screen as a physical object, painting media and painting image, and this paper focuses on the metaphorical role of the screen as a painting image in the painting of ladies in the Ming Dynasty. Studies on screen painting or screen schema mainly focus on the Tang and Song dynasties, and most of the works studied are classic handed down works such as Han Xizai's Night Banquet and Rescreen Meeting Chess, etc. The research Angle mostly starts from the spatial composition, shape and type of the screen. However, in the Ming Dynasty, screen has attracted much attention as physical furniture. Although the number of figure paintings using screen schema has increased, few scholars pay attention to and study the screen schema in the paintings of ladies of Ming Dynasty painters, and dig deeply into the various metaphorical roles it plays in them. Firstly, the paper focuses on the generative process and aesthetic characteristics of screen schema in the painting of ladies. Secondly, what kind of metaphor does the screen in the Ming Dynasty ladies painting contain? Finally, how to apply the conclusions to artistic practice. Because the screen schema is unique in various forms, rich functions and so on, it has a special metaphorical connotation in different pictures. "Layer and overlap" is the unique research Angle proposed in this paper, and it is the way to analyze the metaphorical types of screen schema in the painting of ladies. Starting from the metaphorical perspective, this paper innovatively uses iconology analysis to search a large number of relevant documents and materials to study the role of screen as an applied schema in the painting of ladies, and studies what contribution it made to the painter's picture and what kind of social phenomenon it reflected at that time. The key chapters explain: the background of the interpretation of the screen schema in the Ming Dynasty, the embellishment of the service object from the screen schema, the transfer and transmission of information from the screen schema, and the reverse breakthrough to the foreign peep from the screen schema. Finally, the screen schema is applied to the author's graduation creation practice to complete the innovative transformation and application of the screen schema. On the basis of fully retaining the aesthetic characteristics of the traditional screen, the screen schema is endowed with vitality in the new era.