DIMENSION: Width - frame: 95.8 cm, content: 79.2 cm; Height - frame: 184.5 cm, content: 168 cm.
Yu Da, style name Han Qing, alias Ai Mo Shan Ren, Chuan Fang Ju Shi, also known as Master of Qinping Painting Studio, as well as Zhuo Weng in his later years. He was born in 1904 and died in 1987, and was a native of Leping, Jiangxi. He was well-read in literature since childhood and loved painting. Later on, he moved to Jingdezhen owing to family poverty for the creation and research of ceramic arts. He specialized in flowers, plumes, fish and insects, fruits and vegetables, and also practiced painting landscapes, figures, antiques and animals. He was not only a dedicated researcher on poetry, calligraphy and seal engraving, but was also able to integrate poetry, calligraphy, painting and printing, and his unique style of painting on paper was favored by collectors; he was also capable of painting, drawing, inscribing and writing on ceramics, to complete a ceramic art work independently. This was especially uncommon in the meticulous division of Jingdezhen ceramic industry, and also accomplished his noble character of adhering to the own style without compromising to the trend. His profound attainments are on a par with the "Eight Friends of Zhushan", however, different from these famous artists, he had in-depth cultural skills and teaching techniques, which made him one of the first founders of Jingdezhen Ceramic Institute as well as one of the only few associate professors in the 1950s and 1960s. In 1959, he was among the first batch of ceramic artists awarded the title of "Ceramic Artist" by the Municipal Government of Jingdezhen. He once served as Member of the China Artists Association, Provincial and Municipal Federation of Literary and Art Commissions, Consultant of the Jingdezhen Painting and Calligraphy Institute, and Identification Member of the Municipal Administration of Cultural Relics.
Yu Hanqing devoted his life to study and learning, and he focused on observation and experience of life and nature. He loved planting flowers and catching butterflies, and then carefully studied them, and also kept pigeons to observe them for painting. His early works feature neat and elegant styles, delicate brushwork, hair-thin lines, bright and clean flowers, elegant color schemes, and true-to-life images. The "Republic of China ceramic", an antique book published in Beijing, introduced him as follows: "Mr. Yu Hanqing was a renowned ceramic painter in Jingdezhen, enjoying a reputation as early as in the 1930s. For example, the ceramic plate painting of "Warm Spring" is a great depiction of spring and its brilliance among traditional painting subjects, but it is not common to see Mr. Yu Hanqing painting from such a perspective. A trunk stretches upward from the tree, with the scene of creatures waiting to be fed in the lush leaves and branches coming to life, foreshadowing spring as the season of flourishing life.”
Making famille rose ceramic plaque painting is more difficult than traditional paper painting, because it has to be fired twice in the kiln and there are risks of cracking or deforming. However, the color enamels used in ceramic plaque painting are more stable and the texture is stronger. Ceramic plaque painting has more layering and is more three-dimensional than paper painting. Moreover, it can be permanently preserved, avoiding insect bites and weathering.
Pine and Crane for Longevity is a common expression of blessing in China. Actually, the crane has four toes, with three toes in the front and one toe in the back. The back toe is small without touching the ground, making it impossible to perch on trees, but only on the shallow shoals of lakes and marshes.
Pine is an evergreen tree and has been regarded as the “King of Woods” as well as an immortal symbol of longevity and ambition. The crane serves as a bird of longevity. According to legend, Ding Linwei from East Liaoning was transformed into a crane immortal after receiving the Enlightenment. It also features the story of the ancient legendary immortal Chi Songzi and Wang Qiao, expressing the intention of praying for longevity. According to the Book of Wonderland, there was a couple who lived in seclusion in a stone room for Enlightenment in the Han Dynasty, and then they were transformed into white cranes. As such, the auspicious symbolism of "Pine and Crane for Longevity" has given rise to numerous auspicious paintings for longevity, and has become a common auspicious subject in Chinese ceramic decoration, such as the present ceramic painting.
GV-PP-2112-023 NFC ID: 04:8B:10:7A:E6:72:80