張瑞圖 1570-1641

款識：
西園雅集圖記。
李伯時仿唐小李將軍為著色，泉石雲物，草木花竹，皆絕妙動人。而人物秀髮各肖其形，自有林下風味，無一點塵埃氣，不為凡筆也。其乌帽黄道服捉筆而書者為東坡先生，仙桃巾紫裘而坐觀者為王晉卿，幅巾青衣據方几而凝竚者為丹陽蔡天啟，捉椅而視者為李端叔。後有女奴，雲鬟翠飾，倚立自然，富貴風韻，乃晉卿家姬也。孤松盤鬱，上有凌霄纏絡，紅綠相間，下有大石案，陳設古器瑶琴，芭蕉圍繞，坐于石盤傍，道帽紫衣，左手倚石，右手執卷而觀書者为苏子由。團巾繭衣，手秉蕉箑而熟觀者為黄鲁直。幅巾野褐，據横卷畫淵明歸去来者為李伯時。披巾青祓，撫肩而立者為晁無咎。跪而捉石觀畫者為張文潛。道巾素衣，抱膝而俯視者為鄭靖老，後有童子執靈壽杖而立。二人坐于盤根古檜下，幅巾青衣，袖手側聽者為秦少游，琴尾冠紫道服摘阮者為陳碧虛。唐巾深衣，昂首而題石者為米元章。幅巾袖手而仰觀者為王仲至。前有鬅頭頑童捧古研而立，後有錦石橋，竹径繚繞于清溪深處，翠筠茂密，中有著袈裟坐蒲團而說無生話者為圓通大師，傍有幅巾褐衣而諦聽者為劉巨濟，二人并坐于怪石之上，下有激湍潀流於大溪之中，水石潺湲，風竹相吞，爐煙細裊，草木自馨。人間清曠之樂不過于此，以視汹湧於名利之域而不知退者，豈易得此耶？自東坡而下，凡十有六人，以文章議論、博學辯識、英辭妙墨、好古多聞、雄豪绝俗之資、高僧羽流之傑，卓然高致，名動遐邇。後之覽者，不獨圖畫之可觀，亦足髣髴其人耳。瑞圖。

鈐印：「瑞圖」。

- Overall in good condition. - Some light wears can be found along the edges, particularly on the first and the last scrolls. - Some minor restoration of wormholes and crackings can be found. - One minor stain spot can be found on the first scroll. - A conjunction line can also be found at the middle of each scroll.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Artist's inscription:
On the painting of an Elegant Gathering at West Garden.
Li Boshi (Li Gonglin, 1049-1106) painted this painting after General Xiaoli (Li Zhaodao, 675-758) of the Tang. It is colored. The springs, rocks, clouds, as well as the vegetation are all virtuosic and affecting. The human figures with elegant hair are all lifelike, conveying the sense of reclusion in nature and without one bit of vulgarity. It was no common painting. Among the figures, the one wearing a black cap and a yellow Daoist robe and holding a brush to write is Master Dongpo (Su Shi, 1037-1101). The one watching him in an 'Immortal Peach' cap and a purple coat is Wang Jinqing. The one in a head-cloth and blue robe, sitting at the square desk and watching intently is Danyang Cai Tianqi, and the one holding his chair and watching is Li Ruishu. Behind him is a female servant, with a cloud-shaped topknot and jade jewellery, standing leisurely and exuding an elegant charm. She is Jinqing¿s concubine. A solitary pine is bent and with dense leaves. Above it are twisting clouds, such that red and green are interwoven. Below is a large flat boulder with ancient vessels and a zither, surrounded by a plantain tree. The spectator seated next to a boulder, in a Daoist cap and purple clothes, with his left arm on the boulder and right hand holding a scroll is Su Ziyou. The intent spectator in a head cloth and a silk robe and holding a plantain-leaf fan is Huang Luzhi. The one with a rough head cloth, seated at a handscroll and painting Tao Yuanming's Returning Home is Li Boshi. The one leaning in a head cloth and blue robes is Chao Wujiu. The one kneeling by a rock and studying the painting is Zhang Wenqian. The one in a Daoist head cloth and plain robes, with his arms around his knees and looking downwards is Zhang Jinglao. Behind him stands a boy servant holding a longevity staff. There are two men seated under an ancient juniper tree with gnarled roots. The one in a head cloth and blue robes and listening with folded hands is Qin Shaoyou. The one in a zither-end cap and purple Daoist robes playing a pipa is Chen Bixu. The one in a Tang-style cap and long robe, with his head raised and inscribing a rock is Mi Yuanzhang (Mi Fu, 1051-1107). The one looking upwards in a head cloth and with folded hands is Wang Zhongzhi. In front of them there is an urchin with disheveled hair holding an ancient ink stone. Behind them is a stone bridge. A winding, bamboo-lined path leads deep into a pure stream. The bamboo leaves are thick and luxuriant. In the middle, Monk Yuantong, in a kasaya and seated on a cushion, is explaining Buddhist teachings. Next to him, listening intently in a head cloth and dark-colored clothing, is Liu Juji. The pair are seated together on a strange boulder, beneath which a large stream rushes rapidly. Water flows slows and rushes against rocks. Wind and bamboos are absorb each other. Smoke flows elegantly from the stove. The grasses and trees are fragrant. Such is the pleasure of reclusion in nature--how can it be easily enjoyed by those who see the dangers of the realm of fame and fortune and yet refuse to retreat from it? Aside from Dongpo, there are sixteen others. They are all known for their writings and debates, broad knowledge and discernment, brilliant rhetoric and calligraphy, and love of and curiosity about the ancients. Heroic and uncommon talents, outstanding Buddhists and Daoists, they are lofty and elegant, renowned near and far. For those who view this painting afterwards, not only is it impressive to see, but we also seem to hear their names and deeds. Ruitu.