石渠寶笈續編(養心殿),第二冊,頁1058&*故宮書畫錄(卷五),第三冊,頁413-414&*故宮書畫圖錄,第八冊,頁139-140&*1.〈明陸師道臨文徵明吉祥庵圖〉,收入國立故宮博物院編輯委員會編,《園林名畫特展圖錄》(臺北:國立故宮博物院,1987年十月初版),頁75-76。 &* 陸師道(一五一0-一五七三)字子傳,號元洲,更號五湖。長洲人。明嘉靖十七年進士,累官尚寶少卿。晚年師事文徵明,工詩文書畫,人謂徵明四絕,並能得之。畫山水澹遠似倪瓚,精麗者不減趙孟頫。 此圖臨文徵明吉祥庵圖,二人坐小庵敞軒中,几榻明淨,童子方烹茶,庭前植椶、芭蕉,布置奇石流泉,筆墨設色皆極淡雅。 按文徵明繪吉祥庵圖在清初流傳不止一本,今僅見著錄,由陸氏臨本可知文徵明原蹟為五十二歲盛年之筆。 &*Two gentlemen sit in an open verandah uncluttered with furnishings save a low couch; outside a servant is preparing tea. A flowing stream winds through the garden planted with banana trees, coir palms, and an unusual rock. Lu Shih-tao has delicately handled the brushwork and coloring of this copy of Wen Cheng-ming’s (1470-1559) Studio of Auspiciousness. Written records indicate that Wen’s paintings of the studio, works no longer extant, existed in several versions in the early ch’ing. Stylistically Lu’s copy indicates that Wen painted the original of this version when he was fifty-one. In his later years Lu studied with Wen Cheng-ming and was said to have acquired the spirit of Wen’s “Four Excellences” of poetry, prose, calligraphy, and painting. Lu’s landscapes evince the serene placidity of those of Ni Tsan (131? -1374) and the subtle beauty of the works of Chao Meng-fu (1254-1322).