石渠寶笈初編(御書房),下冊,頁1050&*故宮書畫錄(卷八),第四冊,頁38&*故宮書畫圖錄,第十七冊,頁219-222&*王振鵬(活動於西元一三一○—一三五○年),字朋梅,永嘉(浙江溫州)人。官至漕運千戶。最擅作宮殿樓閣等建築界畫,極得仁宗賞識,賜號孤雲處士。又間作山水及宗教人物畫,能於筆致纖細中,不失飛動的氣勢。存世作品有「龍池競渡」、「伯牙鼓琴」等。 本幅以白描法畫鍾馗簪花騎驢,偕同鬼卒二十餘,浩浩蕩蕩地護送小妹出嫁。鑑於鬼卒們所持諸物,多蘊涵有祥瑞的寓意;加以畫法與王振鵬細密工整的作風不似,因而推測「鍾馗嫁妹」應屬後代畫家的託名之作。&*Wang Chen-p'eng (style name P'eng-mei) was a native of Yung-chia (modern Wen-chou, Chekiang). As an official, he served as Grain Transport Commissioner, but he is better known for his paintings in ruled-line manner of architectural subjects, such as pavilions, buildings, and palaces, which were admired by Emperor Jen-tsung (r. 1312-1320), who awarded him the sobriquet "Hermit of Lonely C1ouds." Wang was also gifted at landscape and religious painting, working in an exceptionally fine and delicate manner not lacking in force, energy, and spirit. His surviving works include "Dragonboat Regatta on Lake Lung-ch'ih" and "Po-ya Playing the Lute." In this monochrome outline painting traditionally attributed to Wang Chen-p'eng, Chung K'uei appears with blossoms in his cap and riding on a donkey. He is assisted by more than twenty demons working diligently to send off his sister in marriage. The objects carried by the demons are related to auspiciousness. This, when combined with the style differing from the ultra-refined and detailed execution of Wang's other paintings, suggests it was done by a later artist and provided with an interpolated signature of Wang Chen-p'eng.&*1.劉芳如,〈傳元王振鵬鍾馗嫁妹〉,收入國立故宮博物院編輯委員會編,《迎歲集福 — 院藏鍾馗名畫特展》(臺北:國立故宮博物院,1997年二月初版一刷),頁136-137。