Page 198 - Bonhams Asian Art May2016 UK
P. 198

THE LEFEBVRE COLLECTION OF CHINESE ROBES

                                                LOTS 489-501

                                                This collection of Royal women’s dress from the Imperial Court of the
                                                Qing dynasty were gathered from sources that spanned both Asia and
                                                the West.

                                                Women’s dress at the Qing court was elaborate, ethereal and elegant.
                                                Wonderful garments were created through the ingenious adaptation of
                                                the newly-introduced vibrant dyes from the West to the delicate hues
                                                of the vegetable dyes already available in the East. The dazzling flowers
                                                and symbols decorating these costumes were imbued with auspicious
                                                symbolism that conveyed the cultural values and aspirations of their
                                                wearer, such as longevity, success and fertility.

                                                Women became butterflies shimmering amongst the heavenly gardens
                                                of the palaces, embodying cherry blossoms, prunus, peony and
                                                chrysanthemum flowers that symbolised the Four Seasons. The changyi
                                                or changfu informal dresses included in this collection were worn in
                                                occasion of festivities such as court rituals, seasonal changes, birthdays
                                                and New Year celebrations. One such festivity includes the Double Ninth
                                                Festival, considered auspicious because of the homophonic nature of
                                                the number nine with the word ‘forever’. On this occasion, women wore
                                                chrysanthemum blooms in their hairs and on their garments as they
                                                attended a ceremony that paid homage to their ancestors.

                                                The Institute of Indulgences, Ruyi guan, 如意館, designed the courtly
                                                garments through the creation of painted templates that conformed
                                                to the court regulations, Huangchao liqi tushi, 皇朝禮器圖示, or the
                                                fashion style of the moment as it was selected by the Empress of the
                                                imperial court. The templates were then sent to the imperial workshops
                                                of Suzhou for the production of the finest satin stich or to Nanjing for
                                                the weaving. The workshops worked long hours and often men were
                                                the most accomplished embroiderers. Time and precision, elaborate
                                                designs, silk threads of exquisite quality and dyes of spectacular
                                                colours, showed the power and beauty of the ‘butterfly’ courtesans of
                                                the Qing court.

                                                Women’s dress provides a rare insight into the romance and secret court
                                                life of the royal ladies, ‘a rare chance to peep behind the silk curtain of
                                                the court’ and own an important aspect of Chinese history.

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