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A CHINESE QIANJIANG - STYLE ENAMEL LANDSCAPE AND POEM BRUSH POT, SIGNED BY CHEN SONG, EARLY 20TH CENTURY
澳大利亚
06月16日 上午8点 开拍 / 06月14日 下午3点 截止委托
拍品描述 翻译
Description A CHINESE QIANJIANG - STYLE ENAMEL LANDSCAPE AND POEM BRUSH POT, SIGNED BY CHEN SONG, EARLY 20TH CENTURY Chen Song, courtesy name Xueyan, was active during the transitional period between the late Qing dynasty and the early Republic, and is regarded as a notable artist of qianjiang-style (light iron-red) porcelain painting. His landscape compositions synthesize multiple traditions: whether drawing on the orthodox manner of the early Qing "Four Wangs" or emulating the Mi-family landscape idiom of the Song–Yuan period, he successfully transformed these sources into a highly personal style on porcelain, marked by clarity and individuality. He was also particularly accomplished in calligraphy, often inspired by Sun Guoting's Shupu (Treatise on Calligraphy) of the Tang dynasty; his extensive inscriptions are executed with vigorous brushwork and disciplined structure, displaying strong personal character. His works are predominantly executed in yangcai (enamel colours), though they differ from the more conventional Republican-period examples and are closer to what is now termed "luodicai" (ground-painted enamels). In his later "new famille rose" phase, he frequently signed with the studio name "Xichang Taojun." Collaborative works with Wang Yeting and Tu Juting are also known, in which Chen Song typically provided the inscriptions, sometimes signing as "Wanchun Shanjiao." He played a pivotal transitional role between qianjiang enamels and the development of the new famille rose palette, and his artistic achievements occupy an important place in the history of late Qing and Republican porcelain painting. Based on extant works, his output may broadly be divided into two stylistic categories. The first employs horizontal dotting in ink to emulate the "Mi-dot" landscapes of Mi Fu (Nangong) and Gao Kegong (Fangshan), vividly conveying mist-laden hills and atmospheric depth with a sense of ease and spontaneity. The second draws more directly from the "Four Wangs," especially Wang Shimin (Yanke), using ink outlines for rocks and trees, occasionally accented with touches of green enamel, and often punctuated by small figures in bright iron-red to enliven the composition. Alternatively, some works are executed solely in underglaze blue (or green enamel), rendered in fine, controlled brushwork, achieving an elegant refinement reminiscent of Wang Shimin's manner. Chen Song's approach to "imitation" or "after" earlier masters differs fundamentally from the formulaic pastiches of contemporary workshop painters; rather, it reflects a deep engagement with tradition combined with creative reinterpretation, resulting in a distinctive and original artistic voice. 陳松,字雪岩,活躍於晚清至民國過渡時期,為著名淺絳彩瓷繪藝術家。其山水創作兼融多家之長,無論取法清初「四王」,抑或追摹宋元米家山水筆意,皆能於瓷面化為自家面貌,風格鮮明而獨具一格。尤以書法見長,多取法唐人孫過庭《書譜》,長篇題跋筆力遒勁,章法嚴謹,極具個人特色。 其作品以洋彩為主,然不同於民國早期常見之洋彩風格,更接近今日所稱之「落地彩」體系。至新粉彩階段,常署「西昌陶峻」款,亦見與汪野亭、塗菊亭等合作之例,多由其題跋,間用「萬春山樵」署名,筆墨精到。陳松於由淺絳彩向新粉彩轉變之關鍵階段承前啟後,其藝術實踐在晚清民國瓷繪發展史上佔有一席之地,影響深遠。 就目前所見作品,大致可分為兩類風格:其一以墨彩橫點仿米芾(南宮)、高克恭(房山)之「米點山水」,表現煙嵐雲氣,意境空靈,氣韻閒逸;其二多取法清「四王」,尤近王時敏(煙客)一路,以墨彩勾勒山石林木,輔以綠彩點染,並常以醒目的紅彩點出行旅高士,以點睛全局;或純以藍料(或綠彩)細筆勾勒,格調清雅,頗具王煙客之神韻。其所謂「擬」「仿」,並非流於當時匠人慣稱之摹古程式,而是基於深厚傳統修養之上的再創造,兼具古意與個人風格。 13cm high; 11.9cm diameter Condition Report Overall in good condition, there are a few minute frittings on the mouth rim. The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to seek further information or request additional images during our pre-sale period where Leonard Joel staff are available for advice. Please note condition reports can be amended during the pre-sale period, so we strongly suggest any interested bidders check the published condition report available on the website before the auction commences. Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.

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