陈洪绶作为晚明时期代表性画家一直颇受研究者关注。本文着眼于陈洪绶绘画中的瓶花图像，尝试结合西方图像学理论，由此发掘其入画原因、基本样貌类型及其图像意义，进而就陈洪绶绘画的研究提出一些新的观点。

本文循着图像学解释三层次理论逐层剖析陈洪绶绘画中的瓶花图像，试图阐述和解决的问题是：第一，对陈洪绶绘画作品中的瓶花图像进行较为全面的整理分类，建立图像志；第二，对瓶花图像的类型和形式进行归纳和分析后，将重点放在瓶花图像隐喻及象征意义的解读；第三，发掘陈洪绶绘画作品中出现瓶花图像这一现象的历史原因，探寻时代背景对个人创作的影响。

本文认为：作为容器的瓶反映了明代的复古潮流，作为主体的花体现出明代插花艺术的流行。瓶花艺术与绘画艺术二者交融互渗，彼此影响。第一章引入陈洪绶与瓶花的关联性，并说明图像学视角的引入价值以及图像学方法在本研究中的应用方式。第二章将陈洪绶绘画作品分为“清供图”“人物画”两类分别讨论，按照其绘画作品中瓶花图像的表现方式、画作题材等，对其中出现的花卉与花器类型予以统计分析，进行图像志归类，并进一步从色彩、造型、构图三方面论述其作品的形式美感。本文定义“隐喻”为作者意图，“象征”为理解者赋予作品的意味。第三章从晚明时期社会背景、政治局势及陈洪绶的身份境遇、文人审美等角度展开分析，考镜源流，深入分析陈洪绶绘画中瓶花图像的隐喻意图与象征意义，并从瓶花的人格化探讨其中体现出的中西方哲学思想的差异。如此本文将对陈洪绶绘画中瓶花图像的研究，经由主体性的阐释，复归到现实层面的思考。

Chen Hongshou, as a representative painter of the late Ming Dynasty, has always been highly regarded by researchers. This article focuses on the bottle flower images in Chen Hongshou's paintings, and attempts to combine Western iconography theory to explore the reasons for their inclusion in the painting, basic appearance types, and image meanings. Furthermore, some new perspectives are proposed on the research of Chen Hongshou's paintings.

This article analyzes the bottle flower images in Chen Hongshou's paintings layer by layer based on the three-level theory of image interpretation. The problems attempted to elaborate and solve are as follows: firstly, comprehensively organize and classify the bottle flower images in Chen Hongshou's paintings, and establish an image chronicle; Secondly, after summarizing and analyzing the types and forms of bottle flower images, the focus will be on interpreting the metaphorical and symbolic meanings of bottle flower images; Thirdly, explore the historical reasons for the appearance of bottle flower images in Chen Hongshou's paintings, and explore the impact of the era background on personal creation.

This article believes that the bottle as a container reflects the retro trend of the Ming Dynasty, and the flower as the main body reflects the popularity of Ming Dynasty flower arrangement art. The art of vase flowers and painting blend and influence each other. The first chapter introduces the correlation between Chen Hongshou and the vase flower, and explains the value of introducing an imaging perspective and the application of imaging methods in this study. In the second chapter, Chen Hongshou's paintings are divided into two categories: "Qing Gong Tu" and "figure painting". According to the way of expression of the bottle flower image in his paintings and the subject matter of his paintings, the types of flowers and flower vessels that appear in them are statistically analyzed, and the image chronicles are classified, and the formal beauty of his works is further discussed from the three aspects of color, shape, and composition. This article defines "metaphor" as the author's intention, and "symbol" as the meaning given to the work by the reader. The third chapter analyzes the social background, the political situation, Chen Hongshou's identity and the literati's aesthetic experience in the late Ming Dynasty, examines the origin of the mirror, deeply analyzes the metaphorical intention and symbolic significance of the bottle flower images in Chen Hongshou's paintings, and discusses the differences between Chinese and western philosophy reflected in the personification of bottle flowers. In this way, this article will study the vase flower images in Chen Hongshou's paintings, and return to the practical level of thinking through subjective interpretation.