Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Inventory number ‘709’ to backside.
Condition: Good condition with some wear and minimal firing flaws. One chip to lower right corner.
Weight: 1382 grams.
Dimensions: 38 x 25 cm.
Wang Xizhi (303-361) was a Chinese writer and official who lived during the Jin Dynasty, best known for his mastery of Chinese calligraphy. Wang is generally regarded as the greatest Chinese calligrapher in history and was a master of all forms of Chinese calligraphy, especially the running script. Emperor Taizong of Tang admired his works so much that the original Preface to the Poems Composed at the Orchid Pavilion (Lanting Xu) is said to have been buried with the emperor in his mausoleum. Wang Xizhi was said to derive inspiration from natural forms such as the graceful neck movements of geese.
Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. Lot 38, 39, 40, 41, 42 a fine example of his use of rapid and expressionistic brush strokes, as illustrated for example by the intense concentration on the faces of the immortals on the plaques dated 1931. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center of China. Porcelain artists, released from Imperial restraints, developed their own styles based upon famous scroll painters of earlier periods. Eight of the leading artists formed a group, which although calling it 'The Full Moon Society', came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. This influence can still be seen one some of the present lots with their whimsical, sometimes exaggerated figures with sparse backgrounds juxtaposed with long calligraphic inscriptions in running script, similar to examples of Huang's works illustrated in Yangzhou Bajia Huaji, Tianjin, 1995, nos. 75, 59, 64, 71-76 and 78. Not content to just emulate Huang's style, Wang created his own by incrementally incorporating Western techniques in his work. This is also seen in the use of light and shading on faces and clothing of the immortals in the plaques dated 1931 where realism and impressionism are harmoniously blended.
來源：德國私人收藏，1960-1970閒購於中國，之後一直保存在收藏中。背面有老收藏編號 "10" 以及紙質標簽上有中文字樣。
品相： 品相極好，輕微磨損及極少燒製缺陷。 瓷板右下角有極小裂口。
尺寸： 38 x 25 厘米