A PORCELAIN PLAQUE BY WANG QI, 1932China, signed Taomi sanren Wang Qi and dated 1932. Seal Tao Zhai. Depiction of Lin Bu with plum blossoms attached to his bamboo cane. Painted in fine polychrome enamels. One poem in black ink.Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Chinese two-character inscription, old paper label with inventory number and stamped seal to backside.Condition: Superb condition with minor wear and some minimal firing flaws. Minor fritting to upper edge. Weight: 1488 grams.Dimensions: 38 x 25 cm.Lin Bu (967-1028), art name Hejing, was a Chinese poet during the Northern Song dynasty. One of the most famous verse masters of his time. His works and theatrical solitude won him nationwide fame, and he was offered prestigious government posts, although he refused all civic duties in pursuit of his poetry. Long after he died, Lin's eccentric attitude and his works retained a vivid place in Song cultural imagination and later works. He wrote countless poems on the plum blossom. Among the most famous is 'Shanyuan Xiaomei'. It reads 'Among withered flowers plum trees brightly bloom, dominating garden with beauty unsurpassed.'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.1932年王琦瓷板畫中國，"陶迷散人王琦"款，應爲1932年制。"陶齋"章。淺絳彩描繪林逋手持梅花，背面有詩文。 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。 瓷板下方有極小裂口。重量：1488 克尺寸： 38 x 25 厘米