在晚明江南商品經濟與印刷出版業蓬勃的背景下，「無書不畫」的氛圍促使瓷器紋樣與版畫、詩歌互相借鑑。景德鎮作坊將版畫題材改為瓷器裝飾，並汲取唐宋詩歌、元明戲曲與當朝詩詞短句，形成兼具詩意與畫意的冊頁式風格，於天啟、崇禎年間廣受歡迎，並見於輸日訂製瓷。本研究以89件景德鎮傳世瓷器與考古出土物為樣本，首先從詩歌文類分布分析題記的採用情況；接續比較「圖文並置」與「詩文裝飾」兩種紋樣風格，探討作坊如何滿足中國和日本市場對「詩畫一體性」與「裝飾性詩文」的不同器用偏好。再則，聚焦唐宋詩歌的選用依據——以《千家詩》等詩歌選本為主——分析如何契合一般識字消費者對唐宋詩歌的認知與閱讀習慣。最後，從生產、消費端和產品研發策略等三個視角，檢視當詩畫圖轉移到瓷器紋樣後，器用者究竟是將其視為日常用品、閱讀載體，抑或兩者兼備。研究結果顯示，景德鎮作坊通過對唐宋詩歌的市場測試，驗證天啟年間早期市場導向的生產策略的有效性；也確認詩、書、畫、印一體的新式風格是在崇禎年間由作坊導入詩畫圖紋樣的關鍵節點。此發現豐富了對明末景德鎮作坊的產品開發與市場調整過程的理解，並深化器物與詩歌在「器用」與「閱讀」之間轉換的交互機制。

Amid the flourishing commercial economy and print culture of late Ming Jiangnan, the aesthetic trend of “no text without image” fostered mutual borrowings between porcelain decoration, woodblock prints, and poetry. In response to market demand, Jingdezhen kilns adapted popular print motifs—such as landscapes, figures, and opera scenes—into ceramic ornamentation, incorporating Tang and Song poetry, Yuan-Ming dramas, and contemporary verse into a “poetry-painting album” style that gained popularity during the Tianqi and Chongzhen reigns and was frequently used in export wares to Japan. This study examines 89 extant and excavated porcelain pieces from Jingdezhen. It first analyzes the distribution of poetic genres used in inscriptions. Next, it compares two main decorative strategies, poetry-painting compositions with integrated imagery and text and poetic inscriptions used as decorative fragments, and evaluates how each of these strategies addressed different consumer expectations in China and Japan. It then explores the rationale behind the kilns’ reliance on accessible anthologies like Qianjia shi (千家詩), focusing on how these selections aligned with the reading habits of literate but non-elite consumers. Finally, from the perspectives of both production and consumption, the study investigates whether these porcelain wares were perceived as utilitarian vessels, literary media, or aesthetic objects. It finds that Jingdezhen kilns employed early market-testing strategies during the Tianqi reign, validating the commercial viability of Tang-Song poetic inscriptions. This finding enriches our understanding of the introduction of integrated poetry-calligraphy-painting designs in the Chongzhen period by showing that it marked a key moment of stylistic innovation, and demonstrates that late Ming porcelain was a site of textual, material, and cultural convergence.