《水滸傳》是經過長時間和不同創作者累積的成果，為中國重要的小說經典，發展到明代，開始轉變成附圖的插圖本《水滸傳》。本論文主要以圖文互釋來探究小說文本與插圖之間的關聯性，試圖從附圖《水滸傳》不同版本間，梳理插圖對於文本的契合和悖離，並從中分析不同版本插圖布局和構圖之優劣。 論文第一章說明本文寫作原因，並從所蒐集到的插圖本《水滸傳》中選定研究的版本，及輔助比對的版本，期盼能從中加以分析、說明，並證實插圖具備與文字互釋的功能性。 論文第二章及第三章，利用圖文互釋，對比容與堂本《李卓吾先生批評忠義水滸傳》插圖及其他插圖，梳理分析比對後的情況。 論文第四章，綜合第二章及第三章比對的結果，加以分類說明各版本圖與文之關聯性，除了討論插圖與文本間契合及悖離關係，另外針對袁無涯本不同於容與堂本特有現象，進一步加以敘述。 論文第五章，利用容與堂本《李卓吾先生批評忠義水滸傳》文本內容比對陳洪綬版畫《水滸葉子》，分析《水滸葉子》人物形象與小說《水滸傳》文本所描述之人物特色之關聯性。 第六章統整上述說法，藉由上述章節分析，說明插圖和小說文本間圖文互釋關係的存在及其優劣、契合，加以說明探究所得。 Water Margin is an important and classic work of Chinese literature. It is an accumulation of works by several writers throughout history. Originally pure text, it was transformed into a novel with illustrations during Ming Dynasty. This study mainly focuses on the exploration of relevance between text and illustration with an attempt to analyze the correspondence or contradiction among the text and the illustration in the Water Margin. At the same time, the thesis is to evaluate formats and compositions of illustrations in different versions of Water Margin. Chapter one deals with the motivation for the study. It demonstrates the focused version of illustrated Water Margin among a collected repertoire, as well as the version that serves as a contrary. An analysis is provided to verify the notion that illustrations and virtual text can be mutually interpreted. Chapter two and three establish a comparison of Rong Yu Tang’s drawings in Mr. Li Zhuwu Criticized the Water Margin and other drawings from the perspective of mutual translation between text and illustrations. Chapter four synthesizes the outcome of comparison in Chapter Two and Chapter Three. The relevance between illustrations and text is explored. The correspondence and contradiction between the illustrations and texts is also discussed. A further explanation on the features of Yuan Wu Ya’s version that differentiate itself from Rong Yu Tang’s version is displayed. Chapter five analyzes the relevance between character imagery in Chen Hong Tuan’s block print Water Margin Leaves and the character imagery in the text of Water Margin. The rationale in Rong Yu Tang’s Mr. Li Zhuwu Criticized the Water Margin serves as reference in the analysis. Chapter six provides an overview of the theory. Based on the analyses in previous chapters, the researcher demonstrates the mutual interpretation between illustrations and the novel itself. Findings about the advantages, disadvantages, and correspondence of illustrations and text are also exhibited.