王振鵬活躍於十四世紀上半蒙元宮廷，以建築畫與白描人物畫聞名，本人擬就國立故宮博物院藏品中，劃歸王振鵬名下之龍舟圖作品群進行研究。本文將針對這幾件龍舟圖中圖像組件的互通與使用，劃歸此批龍舟圖與作坊創作的可能關係。並藉由龍舟競渡內容與《東京夢華錄》所記載金明池競渡的對照，針對其與文獻不符之處，推敲其圖像的來源與重組之意涵。藉此進而解釋龍舟此一原屬帝王乘坐用具，在王振鵬的畫作中，如何重組著跨越北宋、南宋、元代的活動細節，疊合著原屬汴京、臨安乃至的都的各式圖像，構成一個象徵理想盛世的龍舟圖式，並且持續於後世相關題材作品中產生影響。

　　　　　Wang Chen-'eng was a painter who served in the Yuan court and was active during the first half of the fourteenth century. He is best known for his line paintings of human and architectural subjects. This paper examines a series of dragon boat race depictions attributed to Wang Chen-p'eng in the collection of the Museum. I will look at the usage of and relationship between certain elements shared by these painting, and seek to establish connections between these elements and the creative process in the imperial workshop. Furthermore, through a comparison of the events as depicted in the paintings and records of the dragon boat race contained in the Tung-ching meng-hua lu, I will attempt to discern the meaning behind, and origins of, these elements. In addition, I will attempt to discern the meaning behind, and origins of, these elements. In addition, I will show how Wang incorporates and combines elements from the competitions, which were essentially reserved for the imperial family, held during the Northern Sung, Southern Sung and Yuan dynasties. Specifically, I will examine how he mixes details from K'ai-feng, Lin-an and Ta-tu to achieve an idealized vision of the dragon boat race, and how this influenced the artists who would follow.