- 720
民國 王琦、程意亭、鄧碧珊及余見田作粉彩瓷板一套四屏 |
估價
30,000 - 50,000 USD
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招標截止
描述
- porcelain
其一題識：西籬尋到東籬處 新得黃花一滿筐 匋迷道人畫印文：西昌王琦其二題識：戊辰巧月仿和亭法 翥山意亭程甫寫於珠山佩古齋印文：程甫 意亭其三題識：弄萍躍破鏡華秋 掉尾揚鬐得自由 最怕碧峰巖下影 風藤如線月如鉤 戊辰秋月鄧碧珊畫於珠山客邸之南窗印文：碧珊其四題識：仿黃鶴山樵法 余見田寫於珠山聽松齋印文：見田 余印
Condition
各屏均整體品相良好。粉彩完好，惟少許細小局部略乾、帶細微剝落，於此類器物屬正常。屏框見些許裂紋、細小缺損及輕微褪色。
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。
準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。
準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。
拍品資料及來源
These masterfully painted panels represent the new styles pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928 eight of the leading artists formed a group called Yueman hui (Full Moon Society), as they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Wang Qi, Cheng Yiting, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan and Tian Hexian.
Wang Qi (1884-1937), a native of Xinjianxian, Jiangxi province, went to Jingdezhen at the age of seventeen and was the founding member of Zhushan Bayou. The development of his mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of paintings by the Yangzhou Baguai (Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang’s style in porcelain design. This influence can be seen in the present lot with his use of rapid and expressive brushstrokes to create whimsical, exaggerated figures with calligraphic inscriptions in cursive script, all within a sparse setting. By fusing Huang’s style with Western painting techniques, such as the use of light and shade, Wang’s personal style emerged. Comparable panels include a set of four sold in these rooms, 17th-18th March 2015, lot 295; and another included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. no. 29.
Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain from the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous. Two plaques decorated in a similar style were included in the exhibition ibid., cat. nos 47 and 48. Yu Jiantian was a student of Cheng, and was heavily influenced by Cheng’s subtle tonal gradations.
Deng Bishan (1874-1930), a native of Yuganxian, Jiangxi province, excelled in painting fish swimming amongst aquatic plants in a style that reflects a degree of Japanese influence. Well educated and a skilled calligrapher, he was highly respected by porcelain painters in Jingdezhen, teaching Wang Qi calligraphy and portrait painting on porcelain. A set of four fish plaques, from the collection of the Hon. Andrew Li Kwok Nang, was sold at Christie’s Hong Kong, 1st December 2010, lot 2832; and another was included in the exhibition ibid., cat. no. 82, together with four smaller plaques, cat. nos 78-81.
Wang Qi (1884-1937), a native of Xinjianxian, Jiangxi province, went to Jingdezhen at the age of seventeen and was the founding member of Zhushan Bayou. The development of his mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of paintings by the Yangzhou Baguai (Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang’s style in porcelain design. This influence can be seen in the present lot with his use of rapid and expressive brushstrokes to create whimsical, exaggerated figures with calligraphic inscriptions in cursive script, all within a sparse setting. By fusing Huang’s style with Western painting techniques, such as the use of light and shade, Wang’s personal style emerged. Comparable panels include a set of four sold in these rooms, 17th-18th March 2015, lot 295; and another included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. no. 29.
Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain from the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous. Two plaques decorated in a similar style were included in the exhibition ibid., cat. nos 47 and 48. Yu Jiantian was a student of Cheng, and was heavily influenced by Cheng’s subtle tonal gradations.
Deng Bishan (1874-1930), a native of Yuganxian, Jiangxi province, excelled in painting fish swimming amongst aquatic plants in a style that reflects a degree of Japanese influence. Well educated and a skilled calligrapher, he was highly respected by porcelain painters in Jingdezhen, teaching Wang Qi calligraphy and portrait painting on porcelain. A set of four fish plaques, from the collection of the Hon. Andrew Li Kwok Nang, was sold at Christie’s Hong Kong, 1st December 2010, lot 2832; and another was included in the exhibition ibid., cat. no. 82, together with four smaller plaques, cat. nos 78-81.