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A PAIR OF ‘QIANJIANG CAI’ ENAMELED ‘PEACOCK AND CRANE’ VASES, BY MA QINGYUN, DATED 1920
奥地利
2023年03月10日 开拍
拍品描述 翻译
A PAIR OF ‘QIANJIANG CAI’ ENAMELED ‘PEACOCK AND CRANE’ VASES, BY MA QINGYUN, DATED 1920
China. Each of bottle form with bulbous body surmounted by a cylindrical neck with straight rim, painted in bright enamels with a peacock and a pair of cranes perched on craggy rocks, with peonies and a gnarled pine tree. One side with a poetic inscription and signature. The bases with iron-red maker’s marks. (2)

Inscriptions: To one side, signed ‘by Ma Qingyun in Changjiang’, dated ‘in the Summer of the Year of Gengshen’ (corresponding to 1920), inscribed ‘The most beautiful woman compares to a peony, the Emperor glanced at her with pleasure, the beauty just, like a gentle wind in spring, removed of all resentment, in Chenxiang pavilion the Emperor and his concubine lean against the fence’, and ‘the poem titled Qingbingdiao by Li Qinglian’. To the base, ‘Ma Qingyun xie hua Yawan’.

Provenance
: From a noted Hungarian private collection.
Condition: Very good condition, minor wear, light scratches, and manufacturing flaws including firing cracks, dark spots, and minuscule fritting. One vase with a hairline along the base.

Weight: 3,762 g and 3,892 g
Dimensions: Height 34.6 cm and 34.5 cm

The inscription on the present vases is an excerpt from the poem Qingbingdiao, written by Li Qinglian, also known as Li Bai (701-762), one of China’s most famous poets from the Tang dynasty. The poem comprises three sections and illustrates the supposed love story between Emperor Xuanzong and his consort Yang Guifei, one of the Four Beauties of ancient China. According to some historical accounts, the Emperor and Yang Guifei would enjoy a nighttime celebration of peony viewing whenever the peonies were in full bloom. During one celebration, the Emperor was displeased with the selection of music and called for Li Bai to write a song. Li Bai, who was supposedly drunk during this time, rapidly composed this poem that pleased the Emperor.

Ma Qingyun was a painter, poet, and literary artist who was active from the late Guangxu period into the Republic period.

Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.

The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.

Auction result comparison:
Type: Related
Auction: Bonhams San Francisco, 13 March 2012, lot 3464
Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing
Description: A pair of polychrome enameled porcelain baluster vases, Republic period
Expert remark: Compare the related Qianjiang style, motif, poem, and seal mark. Note the different form and sizes (58 cm).



馬慶雲款一對淺絳彩花鳥賞瓶,1920
中國,長頸瓶,溜肩鼓腹,圈足外撇。淺絳彩描繪孔雀和一對仙鶴站在松下假山上,牡丹盛開。另一面書寫李白詩。圈足鈴印“馬慶雲畫雅玩”。

款識:名花傾國兩相歡,常得君王帶笑看。解釋春風無限恨,沉香亭北倚闌干。庚申夏右?李青蓮 清平調 則于昌江客邸馬慶雲寫之意 。

來源:知名匈牙利私人收藏。
品相:狀況非常好,有輕微磨損、劃痕和製造缺陷如燒製裂紋、黑點和微小的熔塊。其中一個花瓶底部有冲線。

重量:分別為3,762克與3,892克
尺寸:高34.6 厘米與 34.5 厘米

馬慶雲是活躍於光緒末年至民國時期的畫家、詩人、文學家。

拍賣結果比較:
形制:相近
拍賣:舊金山邦瀚斯,2012年3月13日,lot 3464
價格:USD 15,000(相當於今日EUR 17,500
描述:民國一對淺絳彩賞瓶
專家評論:比較相近淺絳彩、主題、詩和印。請注意不同的外形和尺寸(58 厘米)。

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