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A SET OF FOUR FAMILLE-ROSE style in porcelain design. This in! uence can be ͏ ˮೡeจڤe၀ޙʿЯԈ͞Ъ
PLAQUES seen in the present lot with his use of rapid and ४ନؐɓࢁ̬܈
expressive brushstrokes to create whimsical,
BY WANG QI, CHENG YITING, exaggerated " gures with calligraphic inscriptions Չɓ
DENG BISHAN, AND YU JIANTIAN, in cursive script, all within a sparse setting. ᕚᗆj
REPUBLIC PERIOD By fusing Huang’s style with Western painting ГᝅరՑ؇ᝅஈ อරڀɓတആ ᤚ༸
techniques, such as the use of light and shade, ɛ
each " nely painted in a soft palette, the " rst with
Wang’s personal style emerged. Comparable Ι˖jГˮೡ
a scholar holding a wood sta> accompanied by
panels include a set of four sold in these rooms,
his attendant holding a basket of chrysanthemum Չɚ
17th-18th March 2015, lot 295; and another
blossoms under gnarled pine trees, the second ᕚᗆj
with a ! amboyant peacock standing atop included in the exhibition Brush and Clay. Chinese
Porcelain of the Early 20th Century, Hong Kong ́ԕ̷˜ͷձڤج ➙ʆจڤӱᄳमʆ
rockwork under a wutong tree, the third with a
Museum of Art, Hong Kong, 1990, cat. no. 29. Խ̚ᓈ
carp swimming toward a group of small " shes
frolicking among clusters of waterweeds, the Cheng Yiting (1895-1948), a native of Leping, Ι˖jӱ จڤ
fourth with a scholar sitting on a rock cli> Jiangxi province, began learning to paint on Չɧ
under overhanging pine trees in a mountainous porcelain from the age of sixteen at the Jiangxi ᕚᗆj
landscape, all plaques with poetic inscriptions Ceramics School in Poyang. In 1925 he moved ғറᚔॎᗝശ߇ દ҈౮㊎І͟
followed by artist seals, two dated wuchen year, from Jiujiang to Jingdezhen and set up his own
corresponding to 1928, framed (4) business before traveling to Shanghai in 1931 ௰၀ࢤᛷɨᅂ ࠬᖸνᇞ˜νན ́ԕ߇˜
Height 32¼ in., 82 cm; Width 7⅞ in., 20 cm to study under the Zhe School artist, Cheng ၀ޙमʆ܄ڒʘی
Zhang (1869-1938). It was during this period that Ι˖j၀ޙ
These masterfully painted panels represent the
his skills greatly improved and developed the
new styles pursued by porcelain artists upon Չ̬
exquisite bird and ! ower painting style for which
the fall of the Qing dynasty. With imperial orders ᕚᗆj
he is most famous. Two plaques decorated in a
discontinued, craftsmen in the porcelain center ͷරᚲʆዙج ЯԈ͞ᄳमʆᛓؒᓈ
of Jingdezhen were released from the constraints similar style were included in the exhibition ibid.,
cat. nos 47 and 48. Yu Jiantian was a student of Ι˖jԈ͞ ЯΙ
of the court and eagerly sought to develop new
Cheng, and was heavily in! uenced by Cheng’s
markets. In 1928 eight of the leading artists
subtle tonal gradations.
formed a group called Yueman hui (Full Moon
Society), as they met to exchange ideas during Deng Bishan (1874-1930), a native of Yuganxian,
the full moon. This group later became known Jiangxi province, excelled in painting " sh
as Zhushan Bayou (Eight friends of Zhushan), swimming amongst aquatic plants in a style that
comprised of Wang Qi, Cheng Yiting, Deng re! ects a degree of Japanese in! uence. Well
Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi educated and a skilled calligrapher, he was highly
Botao, Xu Zhongnan and Tian Hexian. respected by porcelain painters in Jingdezhen,
teaching Wang Qi calligraphy and portrait painting
Wang Qi (1884-1937), a native of Xinjianxian,
on porcelain. A set of four " sh plaques, from
Jiangxi province, went to Jingdezhen at the age
the collection of the Hon. Andrew Li Kwok Nang,
of seventeen and was the founding member
was sold at Christie’s Hong Kong, 1st December
of Zhushan Bayou. The development of his
mature style can be traced to a trip he made to 2010, lot 2832; and another was included in the
exhibition ibid., cat. no. 82, together with four
Shanghai in 1916 to see an exhibition of paintings
smaller plaques, cat. nos 78-81.
by the Yangzhou Baguai (Eight Eccentrics of
Yangzhou). Wang was so impressed by the $ 30,000-50,000
paintings of Huang Shen, one of the Eight
Eccentrics, that he started to emulate Huang’s
END OF SALE
240 SOTHEBY’S
