AN IMPERIAL 'TWELVE SYMBOL' GAUZE SEMI-FORMAL DRAGON ROBE, JIFU QING DYNASTY, QIANLONG PERIOD

exquisitely woven in multi-coloured threads with nine scaly five-clawed dragons, one on the inner flap, soaring amidst cloud scrolls and chasing flaming pearls, interspersed with bats, stylised shou characters and the 'Twelve Symbols of Imperial Authority', all against a fret-diapered yellow ground, the borders at hem and sleeves worked with crashing waves and terrestrial diagrams, clouds and lishui bands, the collar band and cuffs similarly decorated with dragons writhing sinuously above cresting waves and chasing flaming pearls against a black ground

Collection of Paul Pelliot (1878-1945).
Christie’s Paris, 7th December 2007, lot 281.

The overall condition is very good. The colours are bright and appears to have been preserved well and not faded. The robe has a few expected loose couched-gold threads to the collar and cuffs. There are also typical reinforced areas, especially to the seams and inner flap. The left sleeve has a water-stained patch. There is also typical minor wear and tear especially to the yellow gauze section of the sleeves (visible in the catalogue). Some unevenness of form, suggesting possible modification in antiquity, as typical of Qing robes.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Imperial jifu richly woven with nine dynamic dragons and the Twelve Symbols of Imperial Authority were exclusively reserved for the use of the Emperor. Jifu were worn at the Qing court for imperial birthday celebrations and on less formal occasions, together with the jifu dai (festive dress belt), the jiguan (festive hat), the court necklace and a surcoat. According to Linda Wigglesworth and Gary Dickinson in Imperial Wardrobe, Berkeley, 2000, p. 159, the tailoring of the jifu is quite different from the chaopao (official court robe) and was based on the traditional Manchu garment rather than the Ming-style formal dress construction.

Compare two related embroidered yellow jifu with a similar wan-fret ground, from the collection of Bernard Vuilleumier, one now held in the Victoria and Albert Museum, London, illustrated in Verity Wilson, Chinese Textiles, London, 2005, pl. 86, the other published in Bernard Vuilleumier, Symbolism of Chinese Imperial Ritual Robes, London, 1939, pl. I, together with another imperial yellow robe, but with shuangxi ('double-happiness') characters, pl. XIII; another in the Minneapolis Institute of Arts, Minneapolis, included in the Museum's exhibition Imperial Robes and Textiles of the Chinese Court, Minneapolis, 1943, cat. no. IV; and a further example sold at Christie's Hong Kong, 26th April 2004, lot 1014. See also an uncut dragon robe, sold in our New York rooms, 20th March 2002, lot 321.

The use of the Twelve Symbols of Imperial Authority dates back to at least the Han Dynasty, although according to the Shujing (Book of Documents), it was the legendary Emperor Shun who stipulated that they ought to appear on ceremonial robes. After having being discarded in the early Qing dynasty, this tradition was reinstated by the Qianlong Emperor, and the symbols were for the first time recorded in the Huangchao liqi tushi (Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court). Here it is recorded that the use of the symbols was restricted to imperial robes, although the emperor could, as a favour, allow a family member to wear them.

Paul Pelliot (1878-1945) was a distinguished French sinologist who travelled extensively in China and Central Asia in the early 20th century, in a search for manuscripts. A gallery in the Guimet Museum is named after him.