Auction introduction: A great art collection is a work of art itself. It offers a unique perspective on the tastes, perceptions and connoisseurship of an individual, and when done well, brings together works from across the history of art in a dialogue that enriches each of them. The Leshantang collection formed by Tsai I-Ming is just this. Spanning a millennium of artistic production, the collection is a storied one, representing a connoisseurial depth and art historical breadth with few equals in the world of Chinese art today. The distinctive refinement of the collection epitomises the celebrated Shanghai taste, which has come to be indelibly associated with figures such as Edward T. Chow and J.M. Hu, whose pieces are represented in the collection. Incidentally, it was through a chance encounter with J.M. Hu that Tsai first marvelled at the unparalleled craftsmanship and legacy of Chinese art at a young age – without realising at the time that he was to become one of the most celebrated collectors himself. From that golden era, few collections remain today and the Leshantang collection, which seamlessly weaves together masterpieces of Chinese art from across painting, calligraphy and imperial porcelain, comes as a testament both to the genius of Chinese artists through the centuries and Mr Tsai’s boundless curiosity and exacting eye. Imperial porcelain stood at the genesis of Tsai’s collecting journey, which impressively lasted close to half a century. Decades after his first meeting with J.M. Hu, Tsai chanced upon one of the earliest Sotheby’s auctions in Asia in the early 1970s while he was on a business trip in Hong Kong, and thereafter began amassing the stellar Leshantang collection. Far from being driven by an investment mindset, the assemblage of the Leshantang collection was a deeply personal and visceral journey steeped in anecdotal gems lying behind every acquisition.