馬圖是元代繪畫中的重要類目，不但作品數量大而且文人題詠也多，長期以來便受到藝術史學界的關心。但是多年來的討論，除了依循「復古」舊說仍能貼近歷史現象外，新的探索不是受本論文透過對趙雍《駿馬圖》而解讀，確認圖中「揩癢馬」為武將摩拭舊傷思欲重上戰場的寓意，進而得剔苀代社交網絡中畫、畫主與題跋者藉助畫作相互逾揚的關係。馬圖之所以能發揮此社交功能，實緣於漢、蒙、回等各族士人所組成的交往圈已然形成所致。他們靠著馬圖的製作與相互餽贈，連結彼情誼，並為元代馬可增益更豐富的文化內涵。 此說除代下可廣佈之現象以更合理的解釋外，同時也揭露蒙元帝國多施文化生動的一面，較之舊說更貼近歷史真實。

　　　　　Paintings of horses constitute an important genre in the Yuan paintings. Not only great in number, they also attracted many Yuan literati to compose poems and articles for them, so it is no wonder that they have been a popular topic in the historical studies of Chinese paintings. However, of all the studies on the Yuan paintings of horses of far, only “fu-ku” approach sounds historically relevant; new approaches are unconvincing either because of lacks of a solid foundation on material or committing the mistake of over-interpretation. Focusing on Chao Yung’s “Noble Steeds”, this paper tries to explain what made the painting of horses so popular in Yuan dynasty. In this painting, Chao Yung used the metaphor of Scratching horse“ to suggest military generals touching their old wounds and aspiring to return to battlefields. The genre of paintings presents us a clue to the social network in which the Yuan painters, literati who wrote poems and articles for the paintings, and their sponsors helped each other rise to a higher cultural and political plane. The social function of the paintings was possible mostly because a multiethnic ruling stratum had formed in Yuan dynasty.