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A QIANJIANG CAI ‘SCHOLAR AND ATTENDANT’ BRUSHWASHER BY THE HANKOU GANXIN COMPANY, LATE QING DYNASTY TO REPUBLIC PERIOD 清末民初漢口贛新瓷業公司淺絳彩人物場景花口筆洗
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

China, c. 1910-1949. Skillfully potted with a distinctively lobed rim and finely painted to depict an elderly scholar leaning on his staff while his boy attendant carries a basket of flowers under a gnarled pine tree with bright green pine needles in a fenced garden. The base lacquered with a Shou character. The figures are painted inside a garden fence, standing next to a tall pine tree with bright green pine needles.

Inscriptions: Center left, ‘Hankou Ganxin Ciye Gongsi’. One seal.

Provenance: Belgian trade.
Condition: Very good condition with minor wear, traces of use, and firing flaws, light scratches to the base.

Weight: 436.5 g
Dimensions: Width 29 cm



The Hankou Ganxin Company was an offshoot of the Jiangxi Porcelain Company based in Hankou, Hubei province, one of three towns along with Wuchang and Hanyang that were merged in 1949 to become Hubei’s new capital Wuhan. The Jiangxi Porcelain Company (or Jiangxi Ciye Gongsi) is the most well-known Chinese porcelain studio of the first half of the 20th century, located in Jingdezhen. It was established in 1910 as a large semi-government company funded by private owners and the five provinces of Hebei, Hubei, Jiangsu, Anhui, and Jiangxi. It is located near the Zhushan – the Pearl Hill – adjacent to the former Imperial porcelain workshops. It is often said that the Jiangxi Porcelain Company of the early 20th century replaced the Imperial kilns, making porcelains for the court in the last years of the Qing Dynasty.

Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the late Qing dynasty and 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.



清末民初漢口贛新瓷業公司淺絳彩人物場景花口筆洗

中國,約1910-1949年。花口淺筆洗,平底。洗中淺絳彩描繪松下站著一位文人,拄著手杖,一男童提著一籃子花。底座隱約可辨一個“壽”字。

款識:漢口贛新瓷業公司

來源比利時古玩交易。
品相狀況極好,有輕微磨損、使用痕跡、燒製缺陷,底座有輕微劃痕。

重量:436.5 克
尺寸:寬29 厘米

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