故宮書畫錄(卷五),第三冊,頁484-485&*故宮書畫圖錄,第九冊,頁207-208&* 劉度(約一六三三-一六七一年)字叔憲,浙江錢塘(今杭州)人。山水師法藍瑛,追摹李思訓、趙伯駒等北宗畫法,而以秀麗見長。設色豔麗、仕女樓閣俱工緻,為明代職業畫家代表人物之一。幅中曲徑通往鐘乳石山洞,道旁有高士對談。作者雖無題款說明所畫主題,就當時習好,所畫當是宜興張公洞。畫法上青綠顏色只施於少數山頭,與同幅中赭色對比,益顯出色。這也是青綠山水以少許來表答的一種方式。&* Liu Tu (style name Shu-hsien) was a native of Hangchou, Chekiang. For landscape painting, he studied the style of Lan Ying and copied paintings by Li Ssu-hsün, Chao Po-chü and other Northern Sung artists. He strove to develop a refined, beautiful style, and he was able to produce exquisite colors. He was also skilled in painting female figures and architecture. Liu Tu is representative of professional painters in the Ming dynasty. In the center of the composition, a winding path leads to a mountain cave adorned with stalactites. Beside the path scholars chat. Although the artist did not inscribe the painting with an explanation of the subject, in comparison with Jade Cave in the Mountains of the Immortals by Lu Chih, the subject matter must be the Chang-kung Cave in I-hsing. In terms of painting style, Liu Tu added blue and green to only a few of the mountain peaks. However, the colors stand out from the general umber cast of the painting. This is a variation of blue-and-green landscape painting in which colors are used sparingly. &*1.王耀庭,〈明劉度山水〉,收入王耀庭編,《青綠山水畫特展圖錄》(臺北:國立故宮博物院,1995年七月初版一刷),頁94。