民國 淺絳彩花鳥山水紋象首耳方瓶

拍品描述

英文品名：A REPUBLICAN QIANJIANG-CAI SQUARE CONG-FORM VASE WITH BIRD-AND-FLOWER, QUAIL AND LANDSCAPE PANELS, SIGNED WANG FENGCHI 尺寸：L:14cm;H:31cm 琮式方瓶，兩側塑素胎象首銜環耳。器身四面分飾不同畫面：一面繪花枝棲鳥，題「辛巳秋月 丹臣王鳳池寫」；一面繪雙鵪鶉草地間；一面繪淺絳彩山水。設色淡雅，具文人畫意趣。底白釉，有礬紅方形篆書款，字樣待核。淺絳彩是晚清景德鎮新興的釉上彩品種，約道咸間始見，同光間最盛。「淺絳」本指元代黃公望一派山水畫用淡赭石渲染的設色法，瓷畫家借而施於瓷：先在白瓷上以墨線勾出圖稿，再淡赭、淡綠渲染，不施濃豔粉彩，色調溫潤如紙絹，故又稱「軟彩」。擅此者多為金匱、鄱陽、珠山一帶文人畫家，於瓷上題畫、題詩、鈐印，將文人畫移入瓷面。民國以後漸為新粉彩取代。 A square cong-form vase with biscuit elephant-head handles and ring loops on two sides. Each of the four faces is differently decorated in qianjiang cai: one shows a bird perched on a flowering branch, inscribed Autumn of the Xinsi year, painted by Danchen Wang Fengchi; another depicts two quails on the ground; a third is painted with a literati landscape. The palette is subdued and scholarly. The base is glazed white and bears an iron-red square seal mark, the characters illegible. Qianjiang cai is an overglaze porcelain palette that emerged in Jingdezhen in the Daoguang-Xianfeng period and flourished under Tongzhi and Guangxu. The term originally described the ink-and-light-ochre landscape manner of the Yuan master Huang Gongwang; ceramic painters borrowed this muted manner onto porcelain, first outlining the design in ink and then shading with pale ochre and green instead of bright famille rose colours. The result resembles painting on paper or silk. Most artists were literati from the Jingui, Poyang and Zhushu area, who added poetry and seals on the porcelain surface.

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