《五同会图》卷，明，绢本，设色，纵41cm，横181cm。
本幅无款识。画卷引首有蔡之定篆书“五同会图”，钤“蔡之定印”、“柽毂山人”印二方。原题跋已不存。现卷后有清嘉庆十一年（1806年）翰林院编修颜莼抄录的吴宽《五同会序》和《五同会诗》、《新岁与玉汝、世贤、禹畴、济之为五同会，玉汝以诗邀饮，因次韵，时玉汝初治楚狱还》二诗，王鏊《和原博韵题五同会后》、《次韵玉汝五同会》二诗，陈仁锡（陈璚族孙）跋，陈鹤（陈璚十一世孙）赞五首及颜莼本人跋，其后又有嘉庆十二年（1807年）翁方纲跋、秦瀛跋、翁方纲题诗、法式善跋，嘉庆十三年（1808年）初彭龄题诗，嘉庆十五年（1810年）韩是升题跋，嘉庆十四年（1809年）仲冬蔡之定题跋以及李锡题诗、姚鼐题诗、倪伯敬题诗等。
据抄录的陈璚族孙陈仁锡跋，此图原有5本，“五人各摹图藏诸家，岁时展玩，以消聚散合离之感”，后陈璚家藏本毁于火。据颜莼嘉庆十一年跋，时陈璚十一世孙陈钟麟又获此本，转归其族兄陈鹤，当时只剩画卷，“图无款识”，乃转录上述吴宽序、诗及王鏊诗。又据翁方纲题诗及注，清初朱彝尊曾在吴洪五世孙家见过吴洪家藏本；又据韩是升跋，约在乾隆十五年（1750年），其父也曾观看过吴洪家藏本。流传至今的除此本外，上海博物馆还有一本，应是吴洪家藏本或另一本。
此图描绘明中期弘治末年，5位苏州籍高官在北京的雅集活动。根据卷末颜莼抄录的吴宽于明弘治十六年（1503年）所写的《五同会序》（又据吴宽《家藏集》卷四十四，颜莼录为“弘治十八年”实误），所谓“五同”，即“同时也，同乡也，同朝也，而又同志也，同道也，因名之曰五同会，亦曰同会者五人耳”。“吴人出而仕者率盛于天下，今之显于时者仅得五人”。画中人物自卷首始依次为礼部尚书吴宽、礼部侍郎李杰、南京都察院左佥都御史陈璚、吏部侍郎王鏊及太仆寺卿吴洪。5人皆为苏州人，同在朝廷为官，志同道合，“去岁，五人者公暇辄具酒馔为会”。与泛泛的雅集不同，他们“坐以齿定，谈以音谐，以正道相责望，以疑义相辨析。兴之所至，即形于咏歌；事之所感，每发于议论，庶几古所称莫逆者也”。一开始五人还能凑在一起经常聚会，但不久陈璚升任南京都察院左副都御史，王鏊因故离京，聚会者只剩下3人，吴宽因而感叹自己年事已高，又将引退，虽然可能会有新人到来而使聚会复盛，只怕等不到那个时候了。从吴宽序及诗看，画卷记录的应是5人的最后一次聚会，以资留念。
画面中，5人身着官服，神态自然平和，具有儒雅的风韵。场面气氛融洽，使人感受到相互间的契合。人物分为两组：右边，吴宽、李杰坐于罗汉床上，以年纪最长的吴宽为主。吴宽合手而坐，弓背，鬓发斑白；李杰身略右倾，左手扶膝，右手扶床，神情关切，似在问候。左边，闲步交谈的3人中以陈璚为主。陈璚行于前，面色白皙，秀雅端庄；王鏊面微方，神采奕奕，合手立于中，认真恭听，态度谦和；吴洪面目慈祥，左手握带，右手持书册，欣然似有所感。画面以庭园为背景，刻画精工。仙鹤、麋鹿、松树寓示吉祥延年，琴棋书册、芭蕉竹石则烘托出文人雅致。背景后段留有相当一部分画面描绘具有江南情调的板桥和宽阔的江面，似有意安排出空间，营造出江南景色，以慰乡情。在画法上，5人肖像或正面，或微侧，相互呼应，均先以淡墨色勾勒形态，用笔精微。傅色变化细腻，色泽明润，先以赭石和朱膘渲染，白皙者再施粉，凹凸变化自然。人物眼、鼻、唇的刻画用笔极为精细，表现出不同的神采和性格。背景中的山石树木、童子、器具等更可见笔致的精到，体现出画家高深细腻的写实技巧和绘画风格。
关于绘者，从吴宽序中所说“禹畴（吴洪）以越人丁君彩妙绘事，俾写为图，饰为长卷”来看，画家姓丁，来自浙江，可能是活动在京城的一位民间画师，与吴洪有私交，惜其生平未见画史记载。
《五同会图》不仅是明代群体肖像画中的一件佳作，也是了解明中期高官雅集与交游的形象资料，为认识当时的政坛情况、文化风俗及苏州籍官员与苏州文化的关系提供了一个独特的窗口。
--------Introduction in English--------
Wutong Tu Volume, Ming Dynasty, Silk, Colouring, 41 cm in length and 181 cm in breadth.
There is no money in this picture. The scroll is headed by Cai Zhiding's seal book "Five Together Map", Jun's "Cai Zhiding Seal" and "Zhihu Shanren" seals. The original title and postscript no longer exist. After this volume, there are Wu Kuan's Preface to the Five Conferences and the Five Conferences Poems, Xinnian and Yu Ru, Shixian, Yu Chou and Ji Zhi, which were copied by Yan Yin, compiled by Hanlin Academy in the eleventh year of Jiaqing in the Qing Dynasty (1806). Yu Ru invited to drink with his poems. Because of the second rhyme, Yu Ru first managed Chu Prison, two poems by Yu Ru, two poems by Wang Ru, two poems of "After the Five Conferences with the original rhyme title", and Chen Renxi (Chen Pu nationality). Sun) postscript, Chen He (Chen Pu XI Sun) praised five postscripts and Yan Yin's postscript, followed by Weng Fang Gang postscript, Qin Ying postscript, Weng Fang Gang inscription poem and French Shan postscript in the twelfth year of Jiaqing (1807), Peng Ling inscription poem in the early thirteenth year of Jiaqing (1808), Han in the fifteenth year of Jiaqing (1810), Cai Zhiding postscript in the mid-winter of Jiaqing (1809) and Li Xiying inscription poem, Yao Ying inscription poem and French inscription postscript poem. Ni Bojing's poems on honor, etc.
According to the transcript of Chen Bing's grandson Chen Renxi Ba, the original five copies of this picture, "Five people each imitate the collection of various families, play when they are old, in order to gather and disperse the sense of separation", and later Chen Bing's collection was destroyed in fire. According to Yan Yin's postscript of the eleventh year of Jiaqing, Chen Pu XI Sun Chen Zhonglin got this book again and returned to his brother Chen He. At that time, there were only scrolls of paintings, which were transcribed from Wu Kuan Xu, poems and Wang Gu's poems. According to Weng Fanggang's poems and notes, in the early Qing Dynasty, Zhu Yizun had seen Wu Hongjia's collection in the Sun family of Wuhong V, and according to Han Shishengba, his father had also seen Wu Hongjia's collection in the fifteenth year of Qianlong (1750). In addition to this book, there is another one in Shanghai Museum, which should be Wu Hongjia's collection or another.
This picture depicts the elegant gathering activities of five senior Suzhou officials in Beijing at the end of Hongzhi in the mid-Ming Dynasty. According to Wu Kuan-yu's preface to the Five Communities written in Hongzhi's 16th year (1503), which was copied by Yan Yin at the end of the volume (and according to Wu Kuan's Collection of Family Collections, Volume 44, Yan Yin's record is actually wrong for "Eighteen Years of Hongzhi"). The so-called "Five Communities" means "at the same time, comrades, comrades, and comrades, also comrades, because of their names, the Five Communists, also known as the Five Ears of the Comrades". "Wu people come out of office and the rate is high in the world. Today, only five people show up in the time." From the beginning of the scroll, the characters in the painting are Wu Kuan, Li Jie, Zuo Shudu Royal History Chen Juan of Nanjing Capital Procuratorate, Wang Gu, the official waiter, and Wu Hong of Taipu Temple. Five people are all from Suzhou. They are all officials in the court. They share the same ideals. "When they are old, five people will have wine and drink in public time." Unlike general elegant collections, they "sit with teeth, talk with harmony, look at each other with justice, and discriminate with doubts. The place of prosperity is in chanting, and the feeling of things is always in discussion, which is called "the irreversible person" in ancient times. At first, five people could gather together regularly, but soon Chen Pu was promoted to the rank of left Deputy imperial governor of Nanjing Capital Procuratorate. Wang Chang left Beijing for some reason. There were only three people left for the gathering. Wu Kuan lamented that he was old and would retire again. Although some new people might come and make the gathering prosperous, he was afraid that it would not be time. According to Wu Kuanxu and his poems, the scroll record should be the last gathering of five people for remembrance.
In the picture, five people wear official clothes with a natural and peaceful manner and elegant charm. The atmosphere of the scene is harmonious, which makes people feel that they are in harmony with each other. The characters are divided into two groups: on the right, Wu Kuan and Li Jie are sitting on the bed of Luohan, with Wu Kuan as the oldest. Wu Kuan sat hand in hand, bowed back, white temples; Li Jie leaned slightly to the right, left knee in hand, right bed in hand, looking concerned, as if he were greeting. On the left, Chen Juan was the main one among the three people who talked idly. Chen Bing was white and elegant; Wang Tuan was slightly facial, graceful, cooperative, attentive and modest; Wu Hong was kind-looking, left-handed and right-handed, with a book in his hand. The picture takes the garden as the background and depicts the fine workmanship. Cranes, elk and pine trees symbolize auspicious extension of life, while books of piano and chess and bamboo and stone of banana and banana show the elegance of literati. In the back part of the background, there are quite a number of pictures depicting the Banqiao with Jiangnan flavor and the broad river surface. It seems that space has been deliberately arranged to create the scenery of Jiangnan to comfort the homesickness. In painting, the portraits of five people, frontal or micro-side, echo each other, first outline the form with light ink, with a fine pen. Fu's color changes delicately and its color is bright and moist. It is first rendered with ochre and Zhu Fang, and then powder is applied to the white one. The concave and convex changes naturally. The characters'eyes, noses and lips are depicted with very fine brushes, showing different looks and personalities. In the background, rocks, trees, children, utensils and so on can be seen more exquisite, reflecting the painter's deep and delicate realistic skills and painting style.
As for painters, according to Wu Kuan-xu's statement that "Yu-chou (Wu Hong) painted by Ding Jun-cai, a Yue native, picturing and decorating as a long scroll", the painter's surname is Ding, who came from Zhejiang Province. He may be a folk painter who was active in Beijing and had private relations with Wu Hong, but unfortunately his life has not been recorded in the history of painting.
Wutong Tu is not only a masterpiece of group portraits in the Ming Dynasty, but also an image material for understanding the elegant collection and communication of senior officials in the mid-Ming Dynasty. It provides a unique window for understanding the political situation, cultural customs and the relationship between Suzhou officials and Suzhou culture at that time.
