本文旨要探討南京博物院收藏沈周《東莊圖》之真偽，過往學者因圖版品質欠佳，故較少致力於風格上之分析，有幸現今已有高清彩圖出版，能逐一從細節處比對該件作品與沈周標準件之異同。本文以史料考察、題跋印鑑分析、筆墨風格、空間構圖的比對來作為鑑定的主要依據，並嘗試探究後代可能的畫風，進一步追溯該套作品之於畫史脈絡上的定位。在本文的研究與分析後，判斷該套冊頁年代上限只能訂定於晚明清初時期，考慮作品的鑑賞與收藏紀錄，以及其在風格呈現上的表現特徵，該套作品可能能視為迥異於蘇州地區畫風系統下，江蘇與松江地區園林繪畫題材的創作表現。

The purpose of this article is to explore the authenticity of Shen Zhou's "Dongzhuang Atlas " collected by Nanjing Museum. Previous scholars were less devoted to the analysis of style due to the poor quality of the drawing board. Fortunately, high-definition color pictures have been published. Now researchers can compare the similarities and differences between this work and Shen Zhou's standard works in detail. This article uses historical data investigation, inscription and postscript seal analysis, painting style, and spatial composition comparison as the main basis for identification. And try to explore the possible painting styles of future generations, and further trace the position of this set of works in the context of painting history. After the research and analysis of this article, it is believed that the upper limit of the set of albums can only be set between the late Ming and early Qing dynasties. Considering the work's appreciation and collection records, as well as its performance characteristics in style presentation, this set of works may be regarded as a creative expression of garden painting themes in Jiangsu and Songjiang under the Suzhou style system.