Wang Qi Famille Rose Porcelain Plaque Depicting a Genre Scene with Common Figures (Republic of China Period, First Half of the 20th Century)

拍品描述

Dimensions: Porcelain plaque 51.5 cm high (approximately 20.28 inches, 1.69 feet) and 37.5 cm wide (approximately 14.76 inches, 1.23 feet); 20th century, Republic period，Condition & Provenance: The porcelain plaque is preserved in overall good condition, with a clean white glazed surface and well-preserved famille-rose figure painting and black-enamel inscription. No obvious major cracks, significant rim losses, or extensive enamel loss are visible. Retained within its original-style two-tone wood hanging frame with metal suspension ring; the frame displays natural age-related wear and handling marks while remaining structurally sound. Private collection, New York.Description: This figural porcelain plaque is painted in the expressive famille-rose technique associated with Republic-period Jingdezhen porcelain painting. Executed against a largely undecorated white ground, the composition deliberately eliminates a conventional landscape or architectural setting and places the entire visual emphasis on the animated interaction between two monks. At the upper left is an extensive inscription written in fluid black-enamel cursive script, accompanied by the signature identifying “Caiyun Ke Midaren Wang Qi, painted at Zhushan,” and two square red seals. The integration of painting, calligraphy, and seals gives the plaque the cultivated character of a traditional Chinese literati work translated into porcelain. The principal figure at right is a bald monk dressed in a loosely flowing pale-blue patched robe accented with soft yellow. He dramatically raises a long bamboo staff above his head while extending his other arm toward his companion. His forward movement, bent posture, and sharply observed facial expression create a strong sense of spontaneous action. The face is modeled through delicate famille-rose shading combined with confident linear drawing, carefully defining the brow, wrinkles, mustache, beard, and individual features. The second monk turns and crouches away in an exaggerated evasive gesture. Dressed in a grayish-lavender patched robe over pale yellow trousers, he raises one arm defensively while extending the other outward, his lifted leg and smiling expression adding humor and theatrical energy to the scene. The robes are outlined with lively, calligraphic brushwork and lightly washed in blue, lavender, yellow, and touches of pink, allowing the white porcelain ground to remain an active part of the composition. Scattered bamboo staffs, footwear, and small objects along the lower edge provide narrative detail without distracting from the figures. The extensive use of negative space is especially effective, isolating the two monks and emphasizing their gestures, expressions, and comic interaction. The combination of finely modeled faces, spontaneous line work, restrained famille-rose color, and expressive movement reflects the sophisticated figural tradition of Republic-period Jingdezhen porcelain painting. The plaque remains housed in a traditional two-tone wood frame with a black outer border, reddish-brown inner molding, metal hanging ring, and solid wood backing, giving the work a strong presentation suitable for a study, gallery, or formal interior.

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