Frontispiece and Colophons to the Album "Five Old Men of Suiyang"

Inscription: Label strips

1. Unidentified artist (19th c.), 1 column in clerical script (Leaf A):

Five Old Men of Suiyang, a Song dynasty painting

宋睢陽五老圖

2. Unidentified artist (19th c.), 1 column in standard script (Leaf R):

Five Old Men of Suiyang, folio one

睢陽五老圖上冊

Frontispiece

Zhu Yizun 朱彝尊 (1629–1709), 4 large characters in clerical script and 1 column in standard script, undated; 3 seals (Leaves B, C):

Five old men of Suiyang, written by Zhu Yizun. [Seals]: Oufang, Yizun siyin, Zhucha

睢陽五老，朱彝尊書。 [印]： 醧舫、彜尊私印、竹垞

Colophons

1. Qian Mingyi 錢明逸 (1015–1071), 11 columns in standard script, dated 1056 (Leaf D):

The "Five Old Men" achieved both fame and fortune without stooping before men of wealth and power. To reach such success in one's career without tarnishing one's character is a rare accomplishment. Mr. Du, retired Prime Minister, is possessed of an enduring patience and a conciliatory temper, a quick intelligence and wide learning. His writings are serious and gentle, his character pure, and his honor irreproachable. He has therefore become an example that all men will wish to emulate. When his work as Prime Minister was finished, he bid farewell to the emperor and retired. Events that others had seen as calamity, he could look upon with calm; tasks that others regarded as impossible, he could do with ease. When he reached old age, he retired to Suiyang with his four friends. Wang Huan, born in Taiyuan, before retirement held the office of binke. The deceased Bi Shichang, a native of Hedong, held the office of weiwei [Minister of Military Affairs]. Zhu Guan, of Peiguo, worked in the Ministry of War. Feng Ping, born in Shiping, was an officer in the Ministry of Transportation. In those days of leisure, they spent much time travelling throughout the countryside, passing pleasurable hours in conversation, feasting, and drinking. They soon became known as a group, The “Five Old Men." The “Five Old Men" were especially known for the great deal of time they spent reciting spontaneous poems and answering in harmonious verse. A Song painter has commemorated the flourishing of this group. Similarly, the Tang dynasty poet, Bai Juyi was famed for the gathering of nine old men at his home in Luoyang. The painting before me pays tribute to the "Five Old Scholars of Suiyang," recognizing that their group was truly a superior one. In the hundred years since Bo Juyi, no one has brought together a gathering as worthy of admiration as the "Nine Old Men of Luoyang." Yet now, if we compare the circle of Suiyang with the "Nine Old Men of Luoyang," we see that these five men of our own time surpass their predecessors in greatness. I, Mingyi, have studied for a long time with Master Du Yan at his home. We were from the same district; moreover, our families have been extraordinarily close for generations. Recently he gave me the key to his home so that I could daily go up and observe these portraits in order to compose this preface honoring my friend and teacher, but, alas, I have been able to recount only one ten-thousandth of his virtue. On the mid-autumn day of the bingshen year of the Zhihe reign era [September 26, 1056], Qian Mingyi.

夫蹈榮名而保終吉、都貴勢而躋柴遐耇白首一節，人生所難。今致政宮師相國杜公雅度敏識，圭璋巖廟，清德令望，龜準當世，功成自引，得謝君門，視所難得者則安享之。謂所難行者，則恬居之燕申睢陽，與太原王公、故衛尉河東畢卿、兵部沛國朱公、駕部始平馮公咸以耆年掛冠，悠遊鄉梓。暇日宴集為五老會。賦詩酬唱，怡然相得。前人形于繪事，以紀其盛。昔唐白樂天居洛陽為九老會，于今圖識相傳以為勝事。距茲數百年無能紹者，以今況昔，則休烈鉅美過之。明逸游公之門久矣，以鄉閭世契，倍厚常品，今假守留鑰，日登翹館，因得圖像，占述序引，以代鄉校詠謠之萬一。至和丙申中秋日錢明逸序。

2. Shengyu 盛昱 (1850–1899), 1 column in standard script, dated 1889 (Leaf D):

光緒十五年九月國子監祭酒宗室盛昱搆藏于京師崇文坊里第。

3. Li Zaixian 李在銑 (active late 19th c.), 1 column in standard script, dated 1890; 3 seals (Leaf D):

光緒庚寅六月涿鹿李在銑敬觀。[印]： 李在銑印、芝陔、芝陔病手書

4. Jin Cheng 金城 (active early 20th c.), 2 columns in seal script, dated 1914; 2 seals (Leaf D):

甲寅五月吳興金城敬觀于京師景氏之半畝園。[印]： 金共北、金城之缽

5. Wang Xun 王遜（1337–after 1417), 51 columns (2 columns partially lost) in standard script, Dated 1388; 2 seals (Leaf E):

Notes on the scroll Five Old Men of Suiyang.

In the wuchen year of the Hongwu reign era [1388], Zhu Fuji of Suzhou, soon to return from Xixia, showed me this painting of his ancestor and asked me to write a rapid history of it. Zhu Guan, his tenth generation ancestor, is particularly venerable. The "Five Old Men" retired during the reign of Renzong [r. 1022-63] in the Song dynasty. With the same idea in mind, all went to the country. There they were at ease, gathering to chant poetry, sing, and toast their friends with wine, thus passing their old ages in great happiness. Although men of their time admired them greatly, less material than we might hope has been recorded. On the portraits and in the texts, the ranks, surnames, given names, and ages have been preserved. In the time of Zhenzong [r. 998-1023], there was a famous battle at a place known as Chanyuan. After the battle, Zhu Guan begged the officer Kou Zhun not to kill the prisoners, but to forgive them. Therefore, although his official career cannot compare with the accomplishments of the other four friends, he was included in this gathering because his extraordinary character and morality continued to grow throughout his lifetime, eventually reaching a very lofty point. One remarks the particular features of each old man as one looks at the paintings. Du Yan has long ears and large cheeks. Wang Huan's face is broad and flat, his chin massive. Bi Shichang's visage is oval-shaped, leading down to a noticeably protruding jaw. Zhu Guan is marked by thick eyebrows and a flowing beard. Feng Ping has a wide forehead and round skull. Wang Huan and Du Yan are wearing round-necked robes, high cylindrical hats, and red cloth belts. The other three are garbed in open-necked robes and high, more angular hats. All wear shoes of a subdued color. With such personalized treatment of each man's appearance, the unresolved question is even more pertinent: what was the execution date of the painting? Was it painted before or after the deaths of the five friends? In reading Qian Mingyi's preface, one notices that the Chief Minister of the Court of the National Granaries, Bi Shichang, is referred to in different terms. The preface, written in 1056, calls him the "deceased Mr. Bi." Soon after this date, Du Yan died, so it is clear that the painting was done after the death of one of the members of the group, but while the others were in reasonably good health. It is also not known when the colophons accompanying the portraits were written. In the absence of Bi Shichang, the other four friends would not necessarily inscribe the painting when it was executed. We will now investigate an inscription written by Du Yan's descendant Du Wan: "My great-uncle, Prime Minister at Yanzhou, having reached the age of sixty-nine, knew that he would have to ask for retirement the next year. He spent the last fifteen years of his old age in restful gatherings." In the fourth year of the Qingyuan [sic., probably a mistake for "Qingli"] reign period [1044], Du Yan began work as Prime Minister. In the first lunar month of the next year, after 120 days of work, he put down the affairs of state. For the next seven [sic.12] years he was retired, and in the second year of the Jiayou reign era [1057] he died. He was eighty years old on his death. It is therefore clear that the gathering of five old men lasted less than ten [sic.12] years, and Du Wan's statement that Du Yan lived in retirement for fifteen years is mistaken. The date of Qian Mingyi's preface then becomes believable. From the time of the preface to the present is three hundred thirty-three years. In this time, many eminent Song and Yuan scholars have written prefaces or poems, forty-three men in all. The three generations of Du Wan and Zhu Zirong are not included in this count, and have provided many more. From the inscription of Ji Nanshou, we see that the scroll was remounted in 1167, and that it was still in the Bi family collection. From Hong Gua's inscription we know that, after the exile of Zhu Zirong, the scroll stayed in his family. When Zhu Zirong possessed the scroll, he recorded the transmission from one owner to the next. One can count him as a very conscientious collector. Zhu Zirong passed the scroll on to Zhu Dayou. From Dayou it passed to the private secretary of the provincial censor, Zhu Yingde; Yingde left it to the Changzhou district school supervisor Zhu Qiong. From him it passed to Zhu Derun. Zhu Derun was Fuji's father. Zhu Fuji asked me to record this transmission through the six generations and one hundred and nighty-eight years, so that his descendants may faithfully preserve their family history. This is a rarely accomplished feat.[1] ………. Respectfully recorded by Wang Xun from Jinling [Nanjing] on the third day of the tenth lunar month in the winter of this year [November 1, 1388]. [Seals]: Wang Xun Shimin, ? ? Daoshi

《睢陽五老圖巻》 記

洪武戊辰歲姑蘇朱復吉將自西夏歸，出其世傳《睢陽五老圖巻》速記於遜。蓋五老者在宋仁宗朝，以年德致仕，相與鄉里宴集倡酬，以樂餘齒。時人慕者為作圖像以紀希有。其圖像之上又為書其官爵、姓諱、壽歲，曰：‘太子太師致仕祁國公杜衍八十歲’、‘禮部侍郎致仕王渙九十歲’、‘司農卿致仕畢世長九十四嵗’、兵部郎中致仕朱貫八十八嵗‘、‘駕部郎中致仕馮平八十七歲。’盖諱貫者復吉九世祖也。真宗澶淵之役所得降人，實請寇準不殺，而悉宥之。以所書官爵，視前諸老固有不逮，而種德之多，則有在矣。觀所圖像，若杜之大耳魁頦，王之伏犀豐下。畢之長面升唇，朱之秀眉美髯，馮之廣額圓首，五老之中，峩冠圓領而束帶者，杜與王也；餘則角巾方袍也；服色皆玄也；履色皆素也。其皆生於文明之世，故其狀貌清古瓌奇而威儀偉重，使後世瞻拜者莫不斂袵起敬，猗歟盛哉。然不知其圖像之作，將在亡恙之時乎，抑在既歿之後乎？為讀錢明逸之序，獨於畢曰，故衛尉河東畢卿與所書不同，以序為于至和三年，按是年九月改嘉祐元年，其明年而杜始薨，則知圖像之作在于畢歿之後，諸老亡恙之時明矣。然又不知所書壽歲果何時耶，於畢固無他說，不應諸老亡恙而與畢俱書邪。及讀杜之從孫綰跋曰，伯祖丞相出知兗州歲六十有九，明年致仕，凡十五年與諸老宴集。按慶元[2]四年杜為丞相，至五年正月纔百二十日，罷知兗州，七年致仕，至嘉祐二年正月薨，適歲八十，與諸老宴集者僅十年耳。而綰曰“明年與凡十五年”者皆誤也，用是則知所書壽歲在於錢序之後無疑也。自至和三年至今戊辰凡三百三十三年，其間宋、元名臣為之序跋，若詩與觀在卷者，自錢以下凡得四十有三人。而綰銍子榮，乃杜、王、朱三氏諸孫不與是數焉。以季南壽跋曰，‘此卷再裝榹於乾道三年’，知在畢氏，以洪适跋曰‘紹熙二年，兵部曾孫子榮始以地入畢氏而易得之’，知在朱氏。”及考蔣璨、錢端禮跋於紹興者，皆專美於畢氏。若謝覿、洪邁、游彥明、范成大跋于淳熙者，皆兼美於朱氏，豈以子榮能慎承哉。至誦張貴謨詩，知其果為異論人也。在寧宗朝，嘗指論太極圖說之非今，其詩云：‘駟馬鮮能容白髮，萬釘終不潤黃壚。烏鞾席帽紅塵裏，幻出睢陽五老圖。’”非異論，何哉？若歐陽希遜之詩，則有羨勵之意焉。何異之跋？以畢高年有以齒不以官之論而譏於錢序，其得達尊之道者歟。又若黃纓，謝如晦之觀于紹興，楊万里，餘端禮之觀於紹熙，皆幸挂名於此卷者，非有慕其年德故哉。故子榮既得此卷之十五年，又跋以傳其後，可謂能愼承矣。子榮傳太學錄大有，大有傳秘書省檢閱文字應得，應得傳瓊，為元長洲縣學教諭，教諭傳中書省儒學提舉德潤，復吉父也。德潤當延祐間，用趙孟頫薦召見玉德殿，命為應奉文字同知制誥兼國史院編脩官。英宗嗣位，太尉瀋王表授是官。故此卷至德潤之世，所得趙孟頫、虞集、柳貫、杜本、李道坦、周伯琦、叚天祐之跋，若張翥、俞焯、李祁之詩，與程鉅夫、姚燧、馬喣、元明善、曹元用、馬祖常、王守誠、趙期頤、泰不華、韓鏞、劉致、周仁榮、曹鑒、鄧巨川、郭畀、錢瓊、斡玉倫徒之觀爾而幸挂名者，視子榮之世益多焉。今傳在復吉，茲以南歸，乃遜速記，竊惟子榮自得此卷以傳至今，復吉速記之，歲凡六世而一百九十八年。非其子孫亦能愼承若此哉，是亦希有也。巳矧復吉席其累世儒業，在壯囗囗囗囗囗囗囗囗囗囗囗囗囗囗囗囗。[3]珪、璠皆從遜學，以兵部種[德]之多，又於是乎。在乃為悉有所述，其在卷囗囗囗[4]皆從列之，俾傳悠久焉。是歲冬十月三日金陵王遜謹記。 [印]：王遜時敏、囗囗道士

6. Li Gan 李幹 (1318–after 1388), 28 columns in semi-cursive script, dated 1388; 1 seal (Leaf F):

故宋賢臣致仕睢陽五老，往時幹在國掌獲口縉紳先生，嘗聞其出處梗概，未見有圖像題詠。洪武乙卯竢責鳳陽，既而遷戌寧夏，識同事朱復吉，言處既習，情如相孚，因出示其家藏先世手澤圖書，始得觀《五老圖像》並宋、元名公題詠，幹再拜退。嘆失心若痴，仰思五公道德積于初、功業昭于時，退謝歸老，澤遺後人，其賢矣哉！宋自翰林錢公而下，元自承旨趙公以後，班班輩出，亦皆時得道行，名節始終，生千年壽死，祔宅兆。其文辭遺跡，溫雅飛動，儼然聲容在人耳目，此可見乙嘆當時文物之盛也。像中兵部郎中公，復吉之九世祖也；卷中提舉公復吉之父也。及趙公、虞公皆友善。復吉生二子：曰珪，曰璠。提舉公沒于元至正丁未，生時海。復吉曰“吾祖宗陰德，在人世尚清白，克昌在吾後亡者，尓其善以持身，慎守家法，勿虧世澤。”復吉承海行，年五十而兢業戒懼，以圖從海言不怠思。惟先隴薦嵗久不省視，二弟逢吉，蒙吉別來廿載，子珪，璠生不相識，故玆給告。擕珪歸視塋域，接見顏色，痛悼先世魂魄。吳中于安子姓瞻拜圖像是依，亦奉圖卷歸付二弟藏諸家廟。嵗時展謁，庶幾祖宗之霛不泠胥于羌戎，以爲先世羞也。竊惟變故以來，中原萬里為丘墟，為煨燼，為鬼物，父子夢内不相顧，何有文物云乎哉。仲陽幼承義，方壯際明時，身奉家全，雖處憂患，克自振也。斯亦賢矣！其保守先業不墜厥緒。蓋由陰德遠厚冥冥之中有祐相友子孫也!仲陽言別，僭為書於圖卷別幅，以伸其志焉。仲陽復吉字云。洪武二十一年戊辰冬十月上澣壽春李幹七十一嵗拜手書于寧夏之營居。 [印]： 龍河

7. Yao Guangxiao 姚廣孝 (1335–1418), 19 columns in semi-cursive script, dated 1416; 2 seals (Leaf G):

大夫士之功成名遂身退者有之，而富壽福樂，子孫緜遠能兼有之者亦尠矣。此皆在乎天，而不在乎人也。睢陽五老、宋人，在朝為顯官，年老致政，一時同歸桑梓，富壽福樂，子孫緜遠，合兼有之。惟司農公九十四，五老中年最高，兵部公八十八，其子孫於五老中最綿遠。若以仁者壽賢者必有後，胡為五老之盛德令望引退，福樂相似，而壽與子孫不同。豈天之私於二老也哉，抑亦偶然也哉！而於理有不可曉者，兵部公之玄孫吉以《五老圖》寶藏于家，今春出示於余，余時年八十有二。尚叨天祿未得退休，展卷拜觀，曷勝感愧。吉為本朝中書舍人，有三子，曰定安、曰泰安、曰永安，有二孫，曰敬，曰春，皆讀書好學能不墜其家聲，益可敬也。此豈易得者哉。永樂十四年倉龍丙申春三月上巳日資善大夫太子少師吳郡姚廣孝書。 [印]： 太子少師姚廣孝圖書、壽椿堂

8. Shen Shixing 申時行 (1535–1614), 24 columns in standard script, dated 1610; 3 seals (Leaf H):

世傳 《睢陽五老圖》 與香山並著，為千古不朽盛事。題詠頌讚皆當代聞人，余心慕好之，未之覩也，圖自睢陽歸吳中，語在 《朱氏家乘》。余歸田數年，而社友朱兆嘉氏睢陽裔孫也，以其族子所藏圖卷質余。余展玩數四，因歎以為茲圖朱氏世寶，奈何屑越播蕩委之他氏乎？則以歸兆嘉及其子名佐，俾世守之。而兆嘉為余言往時名賢論著多所闕軼，先曾祖日南贈公[朱夏]嘗搜得而手錄之。若歐陽文忠公詩一首，本朝王處士行、行方正學孝孺、唐體陸得舉、夏太常昶、葉文莊公盛、蘇平、蘇正、商瑜、司馬垔，張和雜文題識十一首，當并附之圖後以詒來禩，所恨者，吳中祝京兆、文翰林、唐、李[李應禎]諸君子所鑑定名畫法書甚眾，而不及茲圖。蓋吾宗閟之不出，諸君子未之見也。嗟乎！諸君子所不得見，而余得寓目焉，豈非幸哉! 然余因是有感焉，君子之澤常斬于五世，而惟銘之鼎彝、書之竹帛，則百世而不墜，蓋有所托而傳也。五老之風範，托于茲圖；茲圖之流傳託于朱氏，朱氏之保有茲圖，綿引勿替，託于賢子孫，視鼎彝、竹帛，不有餘燿乎？語云“物因人重”，良不虛矣。余故泚筆而題其後。萬曆庚戌初夏休休居士申時行書。 [印]： 瑤泉、大學士印、崇綸堂

9. Zhu Zhifan 朱之蕃 (1558–1624), 14 columns in standard script, dated 1624; 4 seals (Leaf I):

睢陽五老宋人豪，同德同隱年同高。皤然鶴髮相輝映，招邀花月擅風騷。寫入丹青存盛事，不數天球與赤刀。時代遷移陵谷變，神物呵護深藏弢。得失幾經龍劍合，光儀儼肅列仙曹。五百年來勤世守，萬代瞻仰爭揚褒。恭靖文孫稱濟美，芳馨披拂沾餘膏。稽首先哲興讚歎，依稀蠡測驚洪濤。為語象賢傳遠裔，國楨人瑞繼貞操。大明天啟甲子歲孟秋六日金陵後學朱之蕃撰并書。 [印]： 元介、朱之蕃印、狀元天官、沛國

10. Gu Qiyuan 顧起元 (1565–1628), 10 columns in standard script, dated 1625; 2 seals (Leaf J):

童顏鶴髮儼神仙，盛事遙從畫史傳。星聚虞庭同入昴，樹封秦嶺共擎天。鹿冠籠雪廻仙駕，鳩杖扶雲集綺筵。誰向梁園尋舊蹟？匡盧五老隔風烟。天啟五年乙丑仲夏日江寧顧起元觀此圖，謹題一詩，以致景仰之意。 [印]： 顧起元章、會元及第

11. Wei Wanchu 魏浣初 (1580–1638), 20 columns in standard script, dated 1633; 2 seals (Leaf K):

此圖為玄字所藏，雖故物儼然，而歲月既久，五老之衣冠肖貌，顏未免丹青剝落。余婿汝梅復令善手裝潢一過，生氣煥發，披對之餘，不覺喜而有作。

誰傳阿堵虎頭工？尺幅如披五老峯。嘉祐典型存有宋，睢陽耆舊亢而宗。常憑風雨聞龍吼，莫使烟雲被蠹封。東壁圖書好呵護，西垣還想嗣高蹤。謂恭靖公勉阿舒、阿興兩甥也。

汝梅又索余和五老原韻得二首。鵷鷺同朝遞引年，掛冠相笑勝彈冠。八仙酒國名齊李，太白自稱臣是酒中仙。五霸詩壇業盛桓。神彩各瞻顴骨異，典型獨凜髩毛寒。香山洛社前徽在，孝子慈孫後代看。杜詩有“孝子忠臣後代看”之句。

事去耆英六百年，憑誰父老問衣冠。遺容恍被清風穆，正氣仍存貫日桓。霄漢翮閒偏倚瘦，棟樑材大飽經寒。功成多少身難退，都儗凌煙閣上看。

再和歐文忠公 《借觀五老圖》 原韻字，公首句以“閒”字換“年”字。

皤皤黃髮共投閒，肅肅深衣對正冠。元祐似知終禍宋，甘陵早鑒本因桓。漢桓帝。惟將和氣調元化，還保貞心歷嵗寒。展卷儼如清廟入，雲雷彜鼎炫人看。崇禎癸酉秋日參政致仕魏浣初重題。 [印]：魏浣初印、仲雪

12. Zhu Jihuang 朱集璜 (1597–1645), 11 columns in standard script, dated 1645; 2 seals (Leaf K):

余家世傳 《睢陽五老圖》。重我祖兵部公，并重諸老也。初秘閣公以汴之故地易而有之。繼少宰公呼號於夏氏而復之，最後轉質入申少師[申時行]家。從伯祖巨川公於少師為素交，感奇兆而歸之，三公皆有功於家之重寶者也。巨川公又三世，今藏於冢曾孫汝任之家。汝任溫厚愨謹，貧能修行，克承諸祖緒，見祖澤所托，如見祖焉。昔此卷在其弟汝梅所者幾三十年，汝任以為在此猶彼，弗忍奪諸弟。近歲汝梅奄逝，猶子幾不保遺物，汝任懼，乃思還之計諸所費，雖貧，勉為之。即高堂之養，獨力以將，不責猶子。嗟乎！汝任於是乎能守先人之遺矣。使居地有餘，循身多媿，往蹟雖存，神將去之。若志氣可通衣德、足绍百世，猶將眷此矣。汝任之子孫勉乎哉。有明弘光元年五月晦日睢陽裔孫集璜盥手百拜書。 [印]： 朱集璜印、觀復堂

13. Gui Zhuang 歸莊 (1613–1673), 7 columns in semi-cursive and standard scripts, undated; 2 seals (Leaf L):

拜觀 《睢陽五老圖》 次歐陽文忠公韻。蒼顏白髮並蕭閑，平世耆英早挂冠。無意釣璜寧羨呂，自誇稽古卻嗤桓。盛時尚德推人傑，仁里尊年表歲寒。勝事相傳六百載，披圖鄭重爇香看。崑山後學歸莊敬題。 [印]： 歸莊之印、元功

14. Gui Zhuang 歸莊 (1613–1673), 22 columns in semi-cursive script, undated; 1 seal (Leaf L):

《睢陽五老圖》，久聞為崑山朱氏所藏。庚戌暮春余表姪顧君天忱攜此巻相示，屬之題詠。盖朱氏質於他姓，顧從而贖之者也。因得瞻五老之遺像，并遍覽宋，元以來諸公題跋，知此圖先屬畢氏，後朱氏以土田易之。昔鄭以泰山之祊與魯易許田，君子交譏之，謂其地皆受之天子，傳之祖先，不當私相易也。若此圖則凡五老之後人皆得而寶藏之，畢氏不私為己有以與朱氏，而別圖一本以藏，君子無譏焉。而朱氏重先世之遺澤而易之以歸，此仁人孝子之心也。圖既屬朱氏，至今已五百餘年，中間嘗入夏太常家，又入申相國家，皆旋歸之朱氏。相國跋云“朱氏以玆圖質余，余以為此朱氏世寶，奈何屑越委之他氏。“遂以歸朱，俾世守之，盖未嘗責其償也。”相國之好義如此，今忽又屬顧氏，余謂此巻在他姓不過古翫而已，在五老之後人，則先世之遺澤存焉，河圖大訓不是過也。顧君貧士非申相國比，難望以義舉，倘朱氏之有力者能恢復舊物亟付裝潢，俾先世之遺容儼然如在，諸公之題跋完好無失，其與五百年前之遠祖以地易之者，仁孝之心先後如一矣。申相國以此巻歸朱之年，据跋署萬曆庚戌，越今六十年，又值庚戌矣。干支相配，數窮六十，數百年古物，其亦將復其始乎？余既次歐陽公韻題一詩，又為之書其後，顧君雅好事，欲收藏古翫，而余題辭如此，殆非其意也。莊又識。 [印]： 歸莊之印

15. Li Xun 李珣 (19th c.), 1 column in standard script, dated 1883 (Leaf L):

光緒九年十一月三韓李珣敬觀。

16. Xu Jiong 徐炯 (active ca. 1682–1716), 21 columns in standard script, dated 1707; 3 seals (Leaf M):

余二十年前知朱氏藏《睢陽五老圖》，冀一瞻仰，時在柏廬先生所，屢訂其門人王素岩同詣請觀，輒為事阻。今春，顧維岳邀余至其家觀牡丹，忽出圖示余。余敬瞻五老遺像及宋、元名賢題識，竊欣欣自幸，謂一朝得慰夙志。轉而嘆息，柏廬即世未久，何此圖輒委之他姓？詢顧子，知為洞庭人所得，謀付裝潢，冀轉售以獲厚利。顧子謬以余能賞鑒，留以示余，且勸余償其直而有之。余謂在余不過前人墨跡耳，在朱氏乃其世寶，宜仍歸朱氏。囑顧子勿令其再售他所，以故得留浹旬未付裝潢家。越數日，朱氏兄弟欽安等造舍，叩頭以請，求復此圖。余從顧子索卷至，即日歸之。嗟嗟茲圖，自朱氏世守以來，曾入夏太常、申相國及顧君天忱家，皆仍歸舊主。然當此崇尚古玩之日，宋、元墨跡片紙殘箋輒為好事者購取，而茲圖之不至展轉相易者，殆有神物焉為之呵護，抑亦五老之靈爽式憑也。欽安贖此圖，重加次第而裝之。棄此圖者，欽安復憫其窮而恤之金，而費乃倍焉。子孫之賢不肖相去何如哉！余於是圖無申相國質金之費，而洞庭人又非顧氏收藏者比，故歸之較易。然洞庭人不至再易一手，實顧子與余調護之力也。書此以美欽安兄弟之賢，而尤望其戒飭子孫勿蹈不肖之轍，長保遺跡綿引勿替，則斯圖之幸，吾里之光也。欽安名懋修。時康熙四十六年丁亥夏六月，同里後學徐炯謹跋。 [印]： 徐炯之印、章仲、誦芬堂

17. Zhu Maoxiu 朱懋修 (1627–1698), 17 columns in standard script, dated 1707; 3 seals (Leaf M):

此圖自南渡始，祖直秘閣公以廢宅與畢氏易歸吳中，子孫世守，中間雖遭散失，賴列祖苦心恢復，不敢委諸他姓。遞傳至郡族某以父喪貧不能殮，質金於顧姓。至康熙庚戌歲，從叔祖孝定公訪得其實，謀諸通族，醵金十二購歸。孝定公以祖宗世澤莫大乎是寶，藏之者幾三十載。不意公歿數年，嗣孫某為匪人所誘，潛售包山金氏，將謀遠徙。適表弟胡表被館郡城徐學憲[徐炯]齋見之，歸向懋修言，并為陳可贖狀。懋修即聞之族尊轉貸十六金挐舟入郡者再，并藉徐學憲調護之力，始得歸趙。夫以祖宗七百餘年遺容墨跡，一旦棄擲他氏之手，假令孝定公而在，必有不忍默然者矣。乃孝定之門人有力者，知懋修之贖歸也，復為某出身主持，有不願歸子姓意。懋修不得已，又輾轉稱貸數餘金畀之，始飽其欲而後已焉。顧自念余髪種種矣，且又無子，夫豈欲藏弆而射利哉？亦念列祖保守恢復若是之不易，今幸有可復之機，懋修力雖至薄，又何愛數十金，而不為祖宗延一綫之脈耶？善乎表被之言曰：“吾所能為者盡吾力而已。後世倘有賢子孫必不使此圖廢墜也。”自茲以往，子姓有有志自好能守是圖者，懋修不吝捧出歸之，而後之人披圖展拜祖先像貌宛然，當念前人恢復守護苦心，兢兢永保勿替，庶無忝孝友後人歟！圖向鱗次而下，絹素駁落，不利卷舒。孝定公欲裝潢而未逮，懋修復出十金委郡城名手顧君重整頓之。若能善守，又復可數百年，所望後人共體之而已。康熙歲丁亥十一月望日睢陽朱氏裔孫懋修百拜謹識。 [印]： 朱懋修印、欽安、睢陽

18. Gao Tingcan 高廷璨 (18th–19th c.), 1 column in standard script, dated 1818; 1 seal (Leaf M):

嘉慶戊寅四月戊辰朔當湖高廷璨拜觀。 [印]： 高廷璨廿一

19. Zuo Zongtang 左宗棠 (1812–1885), 11 columns in standard script, dated 1878; 2 seals (Leaf N):

觀詧王君霞軒以所藏《睢陽五老圖》貺我，展翫十數過，儀表清奇，衣冠甚偉。神游其間，不復作千載後想也。五老當年同仕於朝，致仕歸里，優游以終其餘年。風流餘韻，照耀無極，異世快睹者且謂至幸。況當時瞻其丰采，接其緒論者哉。周，秦以還，世風近古者，漢為文帝，宋則仁宗。太和翔洽，士大夫以名德耆耇著聞其時，亦稱極盛，五老跌宕淮陽，盖值仁宗享國，眾正盈朝，其遭際固不同也。茲當西戎即敘海宇澄清，而此樂不可復得。盡瘁以仕，縱賦歸來訪舊，亦多陳人矣，可勝嘅慕。意數十年後，其必有望古遙集續為圖畫、託之詠歌者，青眼高歌是在諸少年人矣。書此以還霞軒，如遇五老後裔，仍擧此畀之，於誼尤協耳。光緒四年歲在戊寅孟夏，湘陰左宗棠并識，時年六十又七。 [印]： 青宮太保愙靖伯、大學士章

20. Li Ciming 李慈銘 (1830–1894), 45 columns in semi-cursive script, dated 1893; 5 seals (Leaves P, Q):

《睢陽五老圖》 後記

宋 《睢陽五老圖》，無畫人姓名，有至和丙申吾鄉錢修懿序其繪象之制，及宋、元人題跋。明洪武中，金陵王時敏遜攷之詳矣。修懿序言“假守留鑰，日登翹館”，又云“游杜公之門久”。考修懿嘗知應天府正獻，卒於嘉祐二年丁酉，年八十，丙申為至和三年，即嘉祐元年，是年九月改元，故修懿於丙申中秋，猶偁至和所序。自正獻外，王、畢、朱，馮皆以官為次，而稱畢為故衛尉河東畢卿，王、朱、馮皆偁公，是作序時，畢已逝而四公無恙，此會之始不知何年？而正獻詩云“五人四百有餘歲”，畢公詩云“非才忝預最高年”，則此會，盖亦無幾時，其象之左右所題年歲，皆據其卒年。在修懿作序之後人所追題明矣。五公自正獻外，惟畢為文簡之子，名見《文簡傳》末，餘皆無所攷。縉雲謝氏跋言寇萊公澶淵之役，朱兵部貫以僚屬徙行首，以不殺為請，得降人皆宥之。是其遺事之僅存者，然澶淵之役，遼勢甚盛，徒以達蘭倉猝飲羽僅而得和，安所得降人而譏之，是亦出於宋人張大之說，不足盡信也。修懿之序及五老之詩其全，僅見於《事文顏聚》中，是圖不載五公之詩。紹興丙辰正獻從孫綰跋言“頃嘗閱此圖於錢某家，今復開卷。”是此圖本不在杜氏。據南宋諸公跋，則紹煕以前藏於畢氏，紹煕以後，朱氏子孫以地易而有之，守之數百年，至國朝康煕中，累失而復得，申文定及歸元恭，徐章仲皆備記之。”朱氏世居崑山，修懿序偁沛國者，舉郡望也。今亂後，為臨桂王氏所得。王本越產也，嘗以贈湘陰左文襄，文襄跋而還之王，王今以售之余同年宗室伯希祭酒[盛昱]，而屬余為之記。余謂是圖歷四朝名公卿大夫題跋咸在，誠足以寶貴矣。然余不能無慨者，正獻世居越，而老于睢陽，不復返里，其清德偉行照耀史冊。然當仁宗之世，正人滿朝，號偁太平，而屢見阨小人，至及其愛婿幾興大獄，入中書百餘日，主眷忽替，出帥兗州，上章請老，一疏即允。以故相之重，僅得東宮少師，自是十五年僅一召郊祀而亦不至，深以嘆天下之治日少，而正人君子得君之難。雖遇極盛之時，亦有不能一日安者。此直道之所以不可行，而儒者引君當道之志，所以終不獲遂也。故觀是圖者，無不以為期頤光大，比之擊壤，觀河景慶，僅見而不知其貌。先年老懿然、穆然，固亦有大不得已者，而況所生者非公之時，其年位又遠不及公者，欲進退綽然，優游尊俎，其可得乎，抑余尤有感者？正獻後人今尚居越，其族猶盛。余家與杜氏世姻，道光時，尺莊徵君收藏甚富，搜脅文獻不遺余力，而獨未聞有此圖，蓋越中無此本久矣。歸氏，徐氏皆謂此圖在他人，不過玩好，在其子孫則球圖之重，其言皆可以泣鬼神。朱氏後人懋修一跋，其言尤痛。故申吳門購之而不有，左湘陰得之而不居，皆君子之用心也。然懋修言其始質之顧氏不過十二金，其後再售復贖亦止十六金耳。則歸申氏時，數當更少，而歸徐雨君已極言所贖之不易，且力頌文定之好義。今祭酒以三百金得之，則其子孫必不能復贖，亦必無此好義者出鉅金以歸之，是亦近日書畫之妖，可謂太息者矣。祭酒儻能訪吳中朱氏之後人、賢而能守者，擧以還之，此豈特兕觵歸趙之比，藝林韻事，傳想千秋，而陰德及人，亦必有隋珠雀環之報，或朱之後無聞而以畀之。吾鄉杜氏，則匪特其世世萬子孫尸祝不忘，吾知正獻有靈，念當日致政以後，不能歸老鄉閭，雍容過從，修里社雞豚之樂，猶得於八百餘年後返此圖於桑梓，歲時瞻拜，稍慰平生，而余以鄉邦後學獲觀其盛，其所遇之榮，有較之修懿所謂代鄉校詠歌之萬一者，更倍蓰過之，是則所不能無望於祭酒者也！光緒元黓执徐[壬辰]嘉平之月立春前三日會稽李慈銘謹撰，時年六十有四。 [印]：越縵六十以後作、西郭虹橋市人、李慈銘字愛伯、湖唐林舘山民、道光庚戌秀才咸豐庚申明經同治庚午舉人光緒庚辰進士

Collectors' seals

Zhu Maoxiu 朱懋修 (1627–1698)
Suiyang shuzi jiacang (10 times) 睢陽叔子家藏
Suiyang 睢陽

Di Xuegeng 狄學耕 (active mid-19th c.)
Di Xuegeng 狄學耕
Mannong 曼農
Shidian 石顛
Zhongshi Xuan zhencang 種石軒珍藏
Di shuzi Mannong 狄叔子曼農
Liyang Di shi Zhongshi Xuan jiancang yin 溧陽狄氏種石軒鑑藏印

Qian Tianshu 錢天樹 (1778–1841)
Ceng cang Qian Menglu jia 曾藏錢夢廬家

Chen Changji 陳長吉 (active late 19th c.)
Dantu Chen Changji zi Shiyi yin 丹徒陳長吉字石逸印

Jin Cheng 金城 (1878–1926)
Gongbo pingsheng zhenshang 鞏伯平生真賞
Wuxing Jin Cheng jianding Song Yuan zhenji zhi yin 吳興金城鋻定宋元真跡之印

Unidentified
Si shi 姒氏
Suiyang 睢陽
Chishang Caotang zhencang 池上草堂珍藏

Note

For the portrait of Bi Shichang, one of the Five Old Men of Suiyang, see 17.170.1.

[1] Translation after Li Lin-ts’an, “Suiyang wu lao tu,” National Palace Museum Bulletin, vol. 8, no. 5 (Nov.-Dec. 1973), pp. 6–8.
[2] “慶元” should be“慶曆”.
[3] ‘嵗即由科舉為湖州學錄入皇朝，官翰林’十六字破損，據 《趙氏鐡網珊瑚》 補。
[4] ‘名筆，並’ 三字破損，據 《趙氏鐡網珊瑚》 補。

Lai Yuan and Company , (until 1917 donated to MMA)

Washington D.C. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. "Chinese Figure Painting," 1973.

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Cahill, James. An Index of Early Chinese Painters and Paintings: T'ang, Sung, and Yüan. Berkeley: University of California Press, 1980.

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Zhu Cunli 朱存理. Tiewang shanhu 鐵網珊瑚 (Coral treasures in an iron net). Edited by Zhao Qimei 趙琦美. Postscript dated 1600, juan 3 of painting section. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 3, pp. 691–97.