石渠寶笈續編(重華宮),第三冊,頁1543 &*故宮書畫錄(卷四),第三冊,頁85-88 &*故宮書畫圖錄,第十七冊,頁25-28 &*1.〈宋人畫司馬光獨樂園圖〉,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72。 &*宋神宗初年,司馬光以翰林學士官御史中丞,與倡新法的王安石不合,求去,判西京御史臺,閒居洛陽。熙寧六年(1073)築獨樂園,作詩文以記之。園有七景:讀書堂、弄水軒、釣魚臺、種竹齋、采藥圃、澆花亭、見山臺,都與古代有道的隱士相關。後代畫家沿用為園林畫的題材,藉以表達仕隱的觀念。 本幅水墨界畫獨樂園景,畫中布置亭閣茅舍、園圃、竹林、柳樹、雜木、奇石、小徑等,未見人跡。筆墨淡雅,構景似有拙趣。&*In the first year of Emperor Shen-tsung's reign (1067), the Hanlin Academy scholar-official Ssu-ma Kuang resigned from his position as Vice Censor-in-chief as a result of a disagreement with Wang An-shih, who advocated and enforced new laws. He was then demoted to a Censor and lived idly in Loyang. In 1073 he constructed a garden named Tu-lo Yüan ( a garden where one enjoys himself alone) and composed poetry and prose to commemorate it. The garden here has a total of seven scenes; a study hall, a water porch, a fishing platform, a studio with bamboo, a garden of medicine, a pavilion of flowers, and a porch for viewing mountains. Each scene bears a relationship with recluses in past dynasties. Later painters continued to employ this type of garden scene as a theme to express the concepts of recluses. Arranged in this garden scene is a pavilion, a thatched house, an orchard, bamboo, willow trees, miscellaneous wood, odd stones and small paths, but with no trace of human life anywhere. The composition possesses an awkward feel, but the brushwork and application of ink are light and elegant.