A PORCELAIN PLAQUE BY WANG QI (1884-1937) China, signed Taomi sanren Wang Qi. Depiction of Wang Xizhi with a pupil feeding two geese. Painted in fine polychrome enamels. One poem in black ink. One seal. Provenance: From a private estate in the United Kingdom. Condition: Good condition with some wear and minimal firing flaws. Weight: 266.5 g including frame Dimensions: 22.2 x 14.5 cm including the frame 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. With a European frame. (2) Wang Qi (1884-1937) Wang Qi was the most outstanding porcelain painter of his day. The present plaques, lot 359, 360, 361 and 362 are fine examples of his use of rapid and expressionistic brush strokes. 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 despite calling themselves '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 and sparse backgrounds juxtaposed with long calligraphic inscriptions in running script. 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 four present plaques, where realism and impressionism are harmoniously blended. 人物瓷板畫，王琦 (1884-1937) 中國，落款"陶迷散人王琦"，描繪王羲之戯鵝圖。設色暈染，題詩，印章。 來源：英國私人遺產. 品相：品相良好，一些磨損和輕微燒製瑕疵。 重量：266.5 克 含框 尺寸：22.2 x 14.5 厘米 含框 王琦 (1884-1937) 王琦是十九世紀末二十世紀初著名陶瓷人物肖像畫藝術家之一。拍號359、360、361及362表現了他部分筆墨特點。王琦是"珠山八友"之首，他的成熟風格的發展可追溯到1916年去上海觀看"揚州八怪"作品展覽，深受黃慎畫風感染。 在他的一些人物肖像瓷板畫中仍然可見黃慎的影響，這些作品構圖誇張，背景稀疏，提款流暢。王琦并不僅僅滿足於模仿黃慎的風格，他不斷在自己的作品中融入西方繪畫技術，由此創造自己的風格。現在的四件肖像瓷板畫中對人物的面部以及衣服部位使用光影都可以看出他把現實主義和印象派和諧地融合在一起。