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仇英《独乐园图》局部之《读书堂》
2019年是司马光诞辰一千周年。明代著名画家仇英绘制的《独乐园图》（见图）再现了司马光退居洛阳、躬耕独乐园、编撰《资治通鉴》的情景。
宋熙宁四年（1071），司马光向朝廷请求任职西京留司御史台，淡出政治，心无旁骛，一心一意编撰《资治通鉴》。司马光到洛阳后，自号“迂叟”。熙宁六年（1073），在尊贤坊北关买了20亩地，隐居其中，命名为“独乐园”。因司马光崇尚节俭，园子面积不大，格调简素。独乐园既是司马光的寓所，又是《资治通鉴》编写书局所在地。书局编撰人员常住其中。他在《独乐园记》中说：“迂叟平日多处堂中读书，上师圣人，下友群贤，窥仁义之源，探礼乐之绪，自未始有形之前，暨四达无穷之外，事物之理，举集目前。”当时洛阳的名贤学者也常来此聚会，堪称是一个学术中心。司马光让工匠在园中挖了个又大又深的坑，砌成一间地下室，作为写作之所，美其名曰“壤室”。地下室冬暖夏凉，又无人打扰。司马光有《独乐园七题·读书堂》诗曰：“吾爱董仲舒，穷经守幽独。所居虽有园，三年不游目。邪说远去耳，圣言饱充腹。发策登汉庭，百家始消伏。”司马光就在这间壤室里默默辛勤耕耘15年，加上之前共耗费19年时间，终于完成中国史学巨著《资治通鉴》。
《独乐园图》画卷内容是根据司马光的《独乐园记》立意，从右至左，描绘了司马光在文中提到的主要园景。画卷起首为弄水轩，画面上垂柳依依，杂树葱绿，司马光身穿白袍，在轩内以手戏水。第二个场景是读书堂（见图），“其中为堂，聚书出五千卷，命之曰读书堂。”画面上篱笆院墙，古树参天，草堂内藏书众多，司马光正端坐在案前读书。第三个场景是钓鱼庵，画面上司马光身着青袍，正坐于岛上的翠竹之下，专心致志垂钓。第四个场景是种竹斋，画面上修竹茂密，青翠欲滴，园工们正在栽植竹子。司马光身穿青袍，坐于木椅之上，观看园丁植竹。第五个场景是采药圃，画面上修竹成林，各种草药生长于畦间，司马光身穿白袍，携鹤斜倚在竹林中的虎皮褥上，怡然自得。第六个场景是浇花亭，画面上苍松古柏，藤萝缠绕，草亭中的司马光坐于榻上，悠闲自得。花圃中鲜花盛开，两个花童正在挑水浇花。最后一个场景是见山台。画面上水波涟漪，木桥飞架，连廊迂回，司马光立于檐下，眺望远处的连绵群山。
仇英在绘画中综合融会前代各家之长，既保持工整精艳的古典传统，又融入文雅清新的趣味，形成工而不板、研而不甜的新典范，所画人物、山水、花鸟、界画，无不精妙。《独乐园图》中的竹林、人物、建筑、家具、景色、台观，皆借鉴古贤名笔，斟酌而成，都是一笔一画地精描细染，清晰明丽。画面中司马光反复出现，体现出他的“独乐”之趣。
画卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》，另项禹揆等人题跋，孙家鼐等人观款。此卷现藏于美国克利夫兰艺术博物馆。
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