目的 结合古代文献，归纳明代春凳在尺度结构方面的特征，理清明代春凳与靠凳的关系，阐释春凳在我国传统家具中所展现的与椅类家具所代表的礼仪相反的自在文化。方法 运用古代文献，梳理相关概念，结合版本学推测《鲁班经》版本流传过程中出现的问题，利用格式塔心理学中视觉上的完形理论证明“琴”与“春”的转换，以图像学视角分析明代图画所展现出的集体无意识，进而明晰春凳所展现出来的明代文化意蕴。结论 明代的凳即为现在所说的长凳，春凳是长凳的一种，与靠背凳的区别仅在于靠背，《鲁班经》中的“琴凳式”条款为“春凳式”，春凳不同于代表礼仪的椅类家具，展现了一种淡化礼仪束缚的自在文化。

This paper aims to summarize the characteristics of the scale structure of the spring stool in Ming Dynasty, clarifies the relationship between the spring stool and the back stool in Ming Dynasty, and explains the free culture of spring stool in Chinese traditional furniture opposite to the etiquette represented by chair furniture. According to the ancient literature and in combination with the relevant concepts and edition theory, the problems in the circulation of Lu Ban Jing were conjectured on. The paper proved the transformation of Qin and Chun by Visual Gestalt Theory in Gestalt psychology, analyzed the collective unconsciousness displayed in the pictures of Ming Dynasty from the perspective of iconography, and then clarified the cultural implication of Ming Dynasty displayed by the spring stool. The Ming stool is now known as the bench, which contains the spring stool. And the only difference between the spring stool and the back stool falls on the back. The "Qin stool type" clause in the classic of Lu Ban Jing is a "Spring stool type". The spring stool is different from the chair furniture representing etiquette, showing a kind of free culture that desalinates the shackles of etiquette.