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Hi All,
This plaque is larger than it looks; the frame is 29 inches x 21 inches, and the plaque, about 21 inches x 13 inches. The paint job looks to be above average--the children's faces are neatly done, and there is shading on their clothing, and the tree and the rock are well done. The coloration of the needles and leaves is neatly done and doesn't spill over to the nearby areas (in general).
On the other hand, the children's faces are all pretty much identical. I am not certain if it is Elkof's q23 (Republic to early PROC), of if it is q29 (last quarter of the 20th century), which he describes as being similar to this, but for which he does not show any good examples for children.
FYI, Chatgpt says the poem describes the coming of spring:
“Spring arrives and the winter frost fades.
Lanterns are hung to celebrate the new season.
Joy fills the heart; wine is gladly poured.
Peach branches bloom into flowers,
and all things revive with the coming of spring.”
No cyclic date.
Any thoughts?
Thanks,
Charles
The inscription on this porcelain plaque attributes the painting to an artist named “刘希任.” Below is background information about him for your reference.
Liu Xiren (1906–1967), a native of Nanchang in Jiangxi Province, was a renowned porcelain painter active in Jingdezhen during the Republican period. By the 1930s he had already achieved prominence, particularly for his famille-rose figure painting. His themes frequently drew on classical literature and historical narratives, and his artistic style shows affinities with that of Wang Qi, the leading figure among the “珠山八友.”
(As for whether your piece was actually painted by “刘希任” himself, you will need to consult a qualified specialist for an authoritative assessment.)
Chinese antique porcelain
Thank you, Tony. Although I like the plaque, after looking at other work by Liu Xiren, I have to conclude that this plaque is unlikely to have been painted by him! It lacks the subtlety of his work, and the individuality and quality of the character faces.
Charles
On the other hand, I just found these, that look rather similar.
Bonhams : A pair of enamelled ceramic plaques Attributed to Liu Xiren (1906-1967), 20th century (2)
It's a very nicely painted plaque.
I do not believe it's a period example but likely later 20th Century or even a 21st Century attribute.
All these Republic period porcelain artists are highly sought after and hence being copied. Some are even better than the masters themselves.
For my eye the colours are a little bit off for Republic period. The faces all look the same
The calligraphy is in my opinion wrong and this is where one can safely distinguish between real and copies. To copy the hand style is very difficult.
Mark
One from Simon KWAN book on Republic period porcelain.
One from Christies in 2010
Another approach is to examine the reverse side of the porcelain plaque to assess the texture and material quality of the body, which can help determine whether the plaque itself is genuinely old. However, even if the porcelain body proves to be antique, questions remain as to whether the enameling was applied later and whether the work can truly be attributed to Liu Xiren. These issues require further research. At the very least, this method allows us to establish the age of the porcelain plaque.
Chinese antique porcelain
Did Republic artists always do their own calligraphy?
It seems that some did not. Whether by apprentice artists in their own studio, invited artists, or imitators, I have seen quite varied calligraphy in pieces attributed to the same person by reputable sources. Yes, there are copies, to be sure, which adds to the difficulty. (Note: I am not saying that Liu Xiren did not always do his own work -- I have not studied this artist and have no opinion.)
I would appreciate your comments on this, as I find it very confusing.
Many thanks,
Carol
Yes some students of the masters often signed work of the artist as a tribute or attribute.
As far as I am aware all the artists actually did their own calligraphy.
@tonyshu2573,
Yes I agree that the back is important to establish whether or not it is Republican or later as the method of manufacture was obviously different from wood kiln to gas kiln. However more recently they have started reusing the old technique of wood kiln.
Mark
@imperialfinegems Thank you, Mark.
Here are a couple of quotes on the subject from Simon Ng on an old Gotheborg.com thread:
"...........an important point in Qianjiang Ware about 'Calligraphy'.
"It seems many Qianjiang Painters would invite a Calligrapher to write for them after painting. The clue comes from after comparing with many Qianjiang works by different Artists, many of these works although done by different Artists, carry the similar calligraphy out of one hand.
"This is not the same thing as fakes.
"It's true some Qianjiang Painters painted well but calligraphy not equally well, so they would invite good calligraphers to write for them. But it's also a tradition in the Chinese painting circle that many would invite their teachers, friends to write for them as a gesture of honor, respect to the calligrapher."
And..................
"Mike may agree or can confirm the above point, named as 代筆 (Daibi, to write for) or there is even a term, 代筆人 (Daibiren, a ghostwriter)."
Mike answered, ".............this same word was also used to describe an amanuensis - someone writing at the instruction of another - exactly the function Simon has described above."
So, many of the qianjiang artists did their own calligraphy as well as, at times, having someone else do it. It can be very confusing to us amateurs! Adds another layer to the identification conundrum.
Thank you again,
Carol
Oh that's interesting to read from Simon NG.
All the important artist like Wang Dafan and members of the eight friends of zushan all did their own calligraphy with their particular seal or read mark.
It's plausible that some minor artists called in calligraphy experts to complete their works.
If the seal mark differs from known examples and this in conjunction with different style of calligraphy would indicate to me that the work is either done by a student or is a much later version.
Mark
You are absolutely right. Examining the reverse side of a porcelain plaque not only reveals whether it was fired in a wood-burning kiln or with other firing devices, but also provides insight into the clay body and the techniques used in shaping the plaque.
Chinese antique porcelain
Hi All,
Thanks for the input.
Here are some photos of the back of the plaque. It is more interesting than I thought it would be, although I don't know what it tells us. There are stripes of material that look like mortar across the back, and my first interpretation was that the plaque had been removed from something else, maybe a piece of furniture.
But on closer examination, I don't think that is true. The glaze along one side OVERLAPS the mortar, indicating the mortar was applied before firing. Now, I suspect that the strips of "mortar" were applied simply as kiln furniture, to support the plaque and keep the plaque off the shelf, so the glaze did not run over and cause the plaque to stick to the shelf. At least, that makes sense to me!
Not sure what this means about age...
Charles
Not very old.
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