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Notable for its highly-refined embroidery Garments decorated with roundels always occasions for which the surcoats were worn.
depicting elegant roundels with multi-coloured signalled formality. This decorative scheme Roundel schemes were particularly popular
designs of butterflies and double gourds, can be traced to the Tang dynasty and may during the Ming dynasty for both Court and
the present lot is a rare example of formal have been influenced by Western Asian unofficial wear and the Manchu rulers of the
surcoats worn by the highest-ranking women traditions; see Huang Nengfu and Chen Qing dynasty appear to have continued this
of the Qing Court. Juanjuan, Origins of the Art of the Chinese tradition. By the eighteenth century, the formal
National Costume, Beijing, 1994, p.209; see design of a distinct wave border at the hem
The surcoats made for the highest-ranking also J.Watt and A.Wardwell, When Silk Was appears to have become the favoured style.
female members of the Qing society were Gold: Central Asian and Chinese Textiles, New
decorated by eight roundels over elaborate York, 1998, pp.21-29. Compare with three related blue-round silk
lishui borders at the hem, such as displayed kesi informal surcoats, mid-19th century,
on the present lot; see V.Garrett, Dragon While the dragon-patterned roundels signified illustrated by J.Vollmer, Imperial Silks.Ch’ing
Robes, Oxford, 1998, p.35 and J.Vollmer, official attire, medallions decorated with Textiles from the Minneapolis Institute of Arts,
Imperial Silks. Ch’ing Dynasty Textiles from the seasonal flowers, butterflies, cranes and Minneapolis, MA, 2000, p.269, n.104, p.271,
Minneapolis Institute of Arts, Minneapolis, MA, other auspicious imagery underscoring the no.105, p.273, no.106. A related silk kesi
2000, p. 54. wishes for good fortunes, wealth, happiness, surcoat, Yongzheng/Qianlong, was sold at
typically indicated the informal nature of the Christie’s New York, 19 March 2008, lot 83.
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