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AN EXCEPTIONALLY RARE YELLOW-GROUND SILK 'DRAGON' NOBLEWOMAN'S COURT ROBE, CHAOPAO Qianlong
英国
2022年05月12日 开拍
拍品描述 翻译
Qianlong
The remarkable robe made of fine brocade exquisitely worked in vibrant couched gold and multi-coloured threads with nine five-clawed dragons pursuing flaming pearls amidst wispy ruyi -form clouds, all on a yellow xiangse ground and above the lishui stripe interspersed with the terrestrial diagram, the collar flanked by raised shoulder seams similarly decorated with writhing dragons and ruyi clouds, lined in a rich coral-red silk brocade decorated with gold thread Shou medallions. 129.5cm (51in) long x 178cm (70in) wide. 清乾隆 香色緞織彩雲金龍紋女朝袍
Provenance: Sir William Edward Preston (1887-1932), and thence by descent
Featured on the BBC's 'Antiques Roadshow', 12 September 2021
來源:William Edward Preston爵士(1887-1932)舊藏,並由後人保存迄今
曾收錄於2021年9月12日,英國BBC《鑑寶路秀》節目
Superbly woven with nine resplendent five-clawed dragons riding the heavens, finely worked in metallic gold thread amidst a profusion of five-coloured trailing clouds, the present robe is tailored from rare yellow-ground Imperial silk reserved for making chaopao , the most formal amongst all ceremonial Court robes worn by Imperial consorts.
No other chaopao garments appears to be known outside public collections. Compare with a similar yellow-ground chaopao , mid-Qing dynasty, from the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Costumes and Accessories of the Qing Court , Shanghai, 2005, no.63.
The fact that chaopao robes for women appear to have survived in a small number compared to men's robes may be attributed to the fact that historically, women had fewer ceremonial duties than men and they were often excluded from important Court ceremonies. Yellow Court robes were typically worn during the performance of the most important state rituals, such as those performed at the Altar of Earth, and were also worn on the occasion of other ceremonies, such as the appointment of a new empress, the accession to the throne and the celebration of an Imperial birthday. A Court painting by Zhou Ben (active 1760s-1770s) depicts the eightieth birthday celebrations for the empress Dowager Chongqing, seated behind an altar table at the centre, wearing a yellow-ground chaopao , surrounded by other Imperial consorts and high-ranking officials in the Palace of Longevity and Health, which her son, the Qianlong emperor, had erected in her honour; see D.Yiyou and J.Stuart, Empresses of China's Forbidden City 1644-1912 , Salem, MS, 2018, p.85, fig.7. For an extensive discussion about Qing state rituals, see J.Ryan, Dragon Emperor. Treasures from the Forbidden City , Beijing, 1988, pp.67-91.
Chinese Court dress had long been regulated by sumptuary laws since the Zhou dynasty (1050-221 BC). Each succeeding Imperial dynasty issued its own set of regulations and rules regarding colours and designs of official costume. The Court attire employed by the Qing dynasty was highly complex and detailed. The right to wear a 'dragon' robe and its accessories was conferred by rank and entitlement. In 1748, the Qianlong emperor ordered a review of Court dress regulations to examine all previous Qing dress codes and developed a comprehensive strategy for the garments and ceremonial trappings of the Court. The 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court', Huangchao liqi tushi 皇朝禮器圖式 completed in 1759, illustrated the strict codes of official dress which were categorised according to colour, symbolism and social status.
The 'Regulations' brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons, writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the empire. In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the well-being of his subjects. Wearing robes decorated with dragons, therefore, facilitated the Qing foreign rulers' transformation of image in the eyes of the Han population from provincial tribal leaders to legitimate rulers of China.
By the Qing dynasty, the use of yellow, traditionally associated with the Imperial family, became stricter than ever and a hierarchy of four different shades of yellow was instituted to differentiate rank within the various family members. Yellow silk, characterised by a slightly greenish tone, for example, was referred to in the 'Regulations' as 'incense colour' xiangse . This shade, displayed on the present robe, was reserved for use by the daughters of the emperor and other Imperial consorts ranking below the empress, the empress Dowager and Second and Third Degree Princesses; see M.Medley, The Illustrated Regulations for Ceremonial Paraphernalia of the Ch'ing Dynasty , London, 1982, and L.Wrigglesworth, Imperial Wardrobe , Berkeley, 2002, pp.14-30. See also the colour illustration of a yellow-ground chaopao , in the 'Imperial Regulations', illustrated by J.Vollmer and J.Simcox, Emblems of Empire: Selections from the Mactaggart Art Collection , Winnipeg Canada, 2009, p.12.
Many commemorative portraits of empresses and Imperial Consorts, executed by Court painters during the early Qing period, depict Imperial consorts in a formal pose, seated on a throne and clad in a similar ceremonial garment as the present robe. Imbued with realism and ritual reverence, these paintings are precious testaments for studying complete ceremonial outfits worn at the time. See for example, the portrait of empress Xiaoxian (1712-1748), in the Palace Museum, Beijing, illustrated by L.Wrigglesworth, Imperial Wardrobe , Berkeley, 2002, p.171.
Chaopao garments included winter and summer versions, and whilst the former types were normally lined with fur, the latter were lined with thinner materials and had all the exposed edges finished with brocade borders, just like the present robe. No ceremonial outfit was complete unless the chaopao was worn in conjunction with a full-length sleeveless 'dragon' vest, a wide pointed collar, a heavily-jewelled headdress, pearl earrings, at least three ceremonial necklaces and a long silk kerchief suspended from the chest; see J.Vollmer, Ruling from the Dragon Throne , Berkeley, 2002, pp.69-77.
Compare with a related yellow-ground chaopao , mid-18th century, from Museum of Asian Art, Cologne, illustrated by J.Vollmer, Ruling from the Dragon Throne , Berkeley, 2002, p.73, fig.3.13.

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