A RARE IMPERIAL EMBROIDERED YELLOW SILK TWELVE-SYMBOL DRAGON ROBE FOR AN EMPRESS, JIFU

VISUALISING RANK JOHN E. VOLLMER Chinese society was shaped by secular values and philosophies that came to prominence at the end of the Zhou dynasty (c. 1100-256 BC) when various scholars and teachers offered their services to rulers as advisers on the methods of government, war, and diplomacy. Collectively their teachings and writings became the driving forces for the unification of China under Qinshiwangdi, China's first emperor. He established a strong central government, using both law and historical precedent to exert political control over, and to define, Chinese society. For over two millennia decrees emanated from the emperor while his appointed administrators enforced them. From the outset, court rank became the key determinant of social status, economic stability and prestige. Initially such privileges accrued to aristocratic families of military origin but by the Han dynasty (AD206-220) the central government laid the foundations of a professional civil service, which came to characterize the Chinese imperial government throughout the whole of the Qing period date. Clothing bearing signs of court status reinforced the privilege of an educated and sophisticated audience focused on the power of textiles to communicate, and appreciative of their effect on viewers. Subtle distinctions based on historical precedents and cultural significance, which court rank celebrated, was matched by an equally complex body of knowledge that was at the core of the education of the scholar-official class. The practice of using special textiles and garments to mark rank within the imperial government bureaucracy had already been established by the Tang dynasty (AD618-907). By the 14th century buzi, or pictorial badges, came to be prominently displayed on court robes, becoming the quintessential symbol of the Confucian scholar official. In 1391 the Ming dynasty (1368-1644) court codified the nine grade ranking system. Under the Ming and, subsequently, Qing dynasty badges with different categories of beasts were assigned to distinguish the aristocracy from the gentry, as well as to differentiate status within the military and civil bureaucracies. Although the Ming dynasty court was the first to institute a comprehenisive programme of badges to designate rank at court, the fact that festival, and other celebratory badges co-existed with them quite probably reflects the survival of earlier practice. The splendid Wanli period emperor's birthday badge (Lot 3145) with a deer supporting a shou, or long life character, flanked by wan characters and flowers of the four seasons conveying wishes for "ten thousand years of longlife, wealth and good fortune" is a rare survival. By the mid-Qing dynasty many of the uses for specialized badges had been subsumed into functions of rank badges. In the mid-seventeenth century the placement of rank badges changed. Formerly they were an intregal part of the court robe; after the Manchu conquest they were applied to the simple dark-colored surcoats worn over official court attire. Whether robes for the emperor, such as the early 19th century embroidered yellow satin twelve-symbol semiformal robe, (Lot 3143) or the mid-19th century blue twill robe with couched gold threads and a fur and sheepskin lining (Lot 3144), these depictions of the cosmos, over which the emperor held sway, were nearly totally obscured by garments identifying rank. Those for the imperial family were round in shape like several examples in this sale, while other aristocrats and officials the badges were square. From the earliest court records that discuss insignia, mythical beasts were assigned the highest ranks. From at least the Tang dynasty dragon insignia distinguished members of the imperial family. Like the Yuan, the Ming used different kinds of dragons. Long and mang were assigned to members of the imperial family. The nobility and military officers were assigned animal badges. Badges with birds were assigned to civil officials (Lots 3145-3153). The Qing dynasty court continued this system of distinguishing rank with very few changes. During the Qing dynasty four round dragon badges were emblazoned on the surcoats of the emperor, the emperor's sons and uncles. Eight roundels ornamented the coats of empresses and higher ranking court princesses and noblewomen. All other ranks had pairs of badges displayed at the back and on the chests of their surcoats. The shift to an outer garment necessitated dividing the front badge vertically to accommodate the front opening of the surcoat. Although not sanctioned by legislation, wives and children of courtiers often wore garments ornamented with rank badges. Some of these, particularly those made for children are roughly half the size of their adult counterparts. From the 14th century, all of the animal and bird emblems were depicted within landscape settings. During the early sixteenth century Ming pattern designers added waves breaking against rocks along the lower edges of composition and more abstract prism-shaped mountains, thus suggesting a cosmic landscape. This was particularly noticeable for the imperial imagery, which featured dragons on robes, but quickly included rank badges as well. The demand for court textiles encouraged the development of extensive marketing and distribution systems. The exacting production standards made Chinese luxury goods desirable both within and outside China. Traditionally largese was centered on the person of its ruler. In theory all status markers were gifts of the emperor, in that he granted the titles and rank that demanded their recipients acquire the wardrobes that allowed them to dress in prescribed ways. For centuries securing the loyalty of subordinates and the support of foreign allies involved distributing titles and lavish gifts. Sanctioned trade, the corollary of gift-based diplomacy, spread Chinese luxury goods and ideas far beyond the borders of the empire. China introduced rank badge systems at the courts of Korea and Vietnam and influenced notions of prestige and luxury thorughout East Asia. Through trade, gifts and manupulating local markets for silks, China's imperial rulers used rank and position through appointment, entitlement and tributary relationships to keep the empire at the center of the civilized universe. Adapted from "Reading the signs at court" by John E. Vollmer in Power Dresssing: Textiles for Rulers and Priests from the Chris Hall Collection, Singapore: Asian Civilisations Museum, 2006, pp., 48-61. A SELECTION OF FINE TEXTILES FROM A EUROPEAN GENTLEMAN (LOTS 3143-3153)

明黃緞五彩雲蝠金龍十二章吉服

清十九世紀

細節

清十九世紀　明黃緞五彩雲蝠金龍十二章吉服

明黃緞，圓領，襟左右開，馬蹄袖，裾四開，直立式袍。領、袖邊石青地上繡海水龍蝠紋，領、襟綴鎏金鏨花扣四枚。袍面以彩線繡如意雲紋和十二章圖案，金線繡龍紋，翩翩起舞的紅蝠穿插其中，火珠、火焰於四周飄繞。下幅繡八寶立水圖案。

據《清史稿．志七十八．輿服志》記載：「龍袍，色用明黃。領、袖俱石青，片金緣。繡文金龍九。列十二章，間以五色雲。領前後正龍各一，左、右及交襟處行龍各一，袖端正龍各一。下幅八寶立水，襟左右開，棉、袷、紗、裘，各惟其時。」由此可見清代對龍袍在形制、製作工藝、裝飾圖案以及對於衣服的色彩上都規定得十分嚴謹苛刻。　

此龍袍2004年9月21日於紐約佳士得拍賣，拍品87號。

來源

Previously sold at Christie's New York, 21 September 2004, lot 87

榮譽呈獻

Aster Ng

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拍品專文

This robe is identifiable as one which would have been worn by a lady due to its lack of vents at the front and back; and the additional band of ornament at the top of the sleeve extensions. Compare a slightly later example, also a woman's robe, included in the exhibition, Secret Splendors of the Chinese Court: Qing Dynasty Costume from the Charlotte Hill Grant Collection, Denver Art Museum, 30 December 1981 - 21 March 1982, pp. 60-1. Compare, also, an empress' robe, from the same period, but of kesi woven with a wan-fret ground, sold at Christie's New York, 1 December 1994, lot 306.

清十九世紀

榮譽呈獻

拍品專文

更多來自 重要中國瓷器及工藝精品 I 及 II

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