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A ‘QIANJIANG CAI’ ENAMELED ‘LUSH FORESTS AND HIGH BAMBOO’ PLAQUE, BY JIN PINQING (1862-1908) 金品卿(1862-1908) 淺絳彩《茂林脩竹》瓷板
奥地利
2024年03月01日 开拍
拍品描述 翻译


Please note this Lot is to be sold at No Reserve. 本拍品不設底價

Expert’s note:
Qianjiang cai or 'pastel palette' enamels reflected the late Qing potter's increasing inability to produce the more technically demanding vibrant colors of the earlier High Qing or the later Republic period. To borrow a modern aphorism however, the determined late Qing artisans turned this 'bug' into a 'feature' – notably the dreamlike faintness of these colors became popular with the melancholy intelligentsia of the time and led to masterworks by the best, with Cheng Men (1833-1908) and Jin Pinqing (1862-1908), the painter of the present lot, being the most renowned.

The rectangular plaque painted in orange, green, and blue tones with thinly applied enamels depicting a forest landscape with hills and mountains, bamboo groves and pine trees in the foreground. Two scholars sit conversing in a field while a third approaches them on foot, two houses with a tranquil river running beside it which disappears into the mountains. The plaque with a lengthy dedication written by Wang Fengchi (1824-1898), a scholar and official who was friends with Jin Pinqing and often collaborated with him on porcelain paintings.

Inscriptions: Top center, titled ‘Lush Forests and High Bamboo’, signed ‘written by Jin Pinqing’, two seals. Top left, inscribed ‘Some time ago in the Yijin Studio in the capital, I saw an ink painting by the master Wang Jian from Taicang with a lush forest. The landscape was quite unique. The [present] painting was painted for me by Pinqing in the style of porcelain paintings from Zhushan. The paintings complement each other. The ink style is so gentle and mild like a breath of air. The [original] painting was done in the Spring of the Year of Dingchou [corresponding to 1877] in the third year of the Guangxu era. I am very touched, thus I wrote this dedication. Wang Fenchi.’

Provenance: Boston trade. Acquired from a private estate.
Condition: Good condition with minor wear and firing irregularities, some of the enamels slightly faded and with minor rubbing and minimal losses, and light surface scratches.

Weight: 2,651 g
Dimensions: Image size 26.3 x 40.7 cm. Size incl. frame 34.1 x 48.6 cm.



With an associated gilt wood frame. (2)

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: Christie’s London, 16 May 2014, lot 1254
Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing
Description: A large circular famille rose ‘landscape’ plaque, late 19th/20th century, dated Bingzi year, corresponding to 1874
Expert remark: Note the size (47.6 cm diameter).

Auction result comparison:
Type: Related
Auction: Bonhams San Francisco, 11 December 2015, lot 2291
Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writing
Description: A qianjiangcai enameled plaque, dated by inscription to 1894
Expert remark: Note the size (55.2 cm).



金品卿(1862-1908) 淺絳彩《茂林脩竹》瓷板
長方形瓷板,薄施琺瑯,以淺絳彩描繪出山林景觀,前景為竹林和山巒。兩位文人坐在田野間交談,第三位文人正朝他們走進。兩間房子旁邊有一條河流。瓷板由王鳳池(1824-1898)所題,他是一位學者兼官員,與金品卿是好友,經常合作創作瓷畫。畫面筆力瀟灑,設色清麗。

款識: 品卿金誥寫;前在京都詒晉齋,見太倉王遠照先生有《茂林修竹》墨綃一幅,覺蘭亭風景皆入筆妙。此黟山品卿居士以珠山瓷笺寫寄吾宗。逢卿刺史,以補映帶者。覺筆墨間亦含惠風和暢之致。是幅成於光緒三年丁丑暮春之初,愚見而動幽情,書此訂再暢敘。王鳳池。

來源:波士頓貿易,購自私人莊園。
品相:狀況良好,有輕微磨損和燒製不規則,一些琺瑯輕微褪色,有輕微摩擦、缺損,以及輕微的表面劃痕。

重量:2,651 克
尺寸:畫面26.3 x 40.7 厘米,總 34.1 x 48.6 厘米.

配有金漆木框。 (2)

拍賣結果比較:
形制:相近
拍賣:倫敦佳士得,2014年5月16日,lot 1254
價格:GBP 18,750(相當於今日EUR 32,000
描述:1874年丙子年粉彩山水瓷屏
專家評論:請注意尺寸(直徑47.6 厘米)。

拍賣結果比較:
形制:相近
拍賣:舊金山邦翰斯,2015年12月11日,lot 2291
價格:USD 21,250(相當於今日EUR 25,500
描述:1894年淺絳彩瓷屏
專家評論:請注意尺寸(55.2 厘米)。

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