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Lot 23
An Imperial pale-blue-ground satin embroidered 'phoenix and peony' informal robe, chenyi Guangxu period, from the wardrobe of Empress Dowager Cixi
2 April 2025, 16:00 AEDT
SydneySold for AU$307,500 inc. premium
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An Imperial pale-blue-ground satin embroidered 'phoenix and peony' informal robe, chenyi
Guangxu period, from the wardrobe of Empress Dowager Cixi
130.0cm long, 130.0cm wide
130.0cm long, 130.0cm wide
Footnotes
Provenance:
Linda Wrigglesworth, London, 17 Jul 1993 (receipt)
Published:
Claire Roberts eds., Evolution and Revolution: Chinese dress 1700s to now, Sydney: Powerhouse Museum, 1997, p. 38
Exhibited:
ibid., 25 June 1997 - 26 July 1998
清光緒 月白緞平金平綉鳳穿牡丹壽字襯衣
傳承：
倫敦 Lingda Wrigglesworth，1993年7月17日（收據）
錄著：
Claire Roberts eds., Evolution and Revolution: Chinese dress 1700s to now，悉尼：動力博物館，1997，頁38
展出：
同名展覽，1997年6月25日至1998年7月26日
Embroidered boldly with an asymmetrical descending phoenix in the centre amidst a ground of peony of shimmering pastel shades of creamy silver, apricot, lavender, and bluish teal, this decorative style of informal inner gown is characteristic of the innovation associated with Empress Dowager Cixi. Herself being an avid opera lover, a lot of these gowns are influenced by Court opera costumes with flamboyant palettes with enlarged and asymmetrical patterns.
With the increasing diplomatic exchanges and international expositions during the late Qing period, the importance of these informal robes in these occasions are recorded in photographic and oil-painting portraits serving political purposes. Carefully designed to avoid accusations that she is transgressing into the emperor's role, these gowns bear auspicious motifs such as the phoenix and peony on the current lot, instead of dragon. However, her ambition and power is conspicuous: eight mythical phoenixes, with a hidden ninth one under the outer flap, cover the robe in a pattern similar to a dragon robe alluding to the "heavenly perfection" of high-ranking wearer. Together with the king of flowers, the peony, one of Cixi's favourite flowers, the symbolism of this gown turns a flowery dress into the embodiment of late Qing sovereignty.
Compare with two other 'phoenix and peony' gown with near identical placement and embroidery techniques of these motifs to this current lot, see the University of Alberta Museums acc.no.2005.5.250, and John E. Vollmer, In the Presence of the Dragon Throne, Toronto:1977, p.78. The latter is identical in almost every aspect except for the patterns of the hems and sleeves to the current lot. Other extant robes influenced by Cixi's taste and power include another 'phoenix and peony' gown exhibited in The Cixi exhibition: China's hidden century 1796-1912, London: The British Museum, 2023, p.69, pl.1.49, and another one from the University of Alberta Museums acc.no.919.6.128.
此件襯衣，大膽地以非對稱構圖繡出一隻翩然下落的鳳凰，周圍點綴著以粉色系的乳銀色、杏色、紫羅蘭及青藍色交織而成的牡丹花紋。這種裝飾風格的便服體現了與慈禧太后相關的創新設計。慈禧太后熱愛戲曲，許多此類袍服的設計受宮廷戲服影響，採用華麗的配色和放大而不對稱圖案。
隨著晚清時期外交活動和國際博覽會的增加，這類便服在外交場合的重要性可從當時的照片和作為政治宣傳的油畫肖像中得以見證。為避免被指摘为對皇權的僭越，本拍品上的吉祥紋樣採用女性題材的鳳凰和牡丹，而非象徵皇權的龍。然而，龍的缺失難掩慈禧的野心與權勢：袍服外的八隻「百鳥之王」的鳳凰，加之衣襟內側隱藏的第九隻，它們的排列方式與龍袍相似，暗喻穿著者「天命所授」的崇高地位。搭配慈禧太后最喜愛的花卉之一的「花中之王」牡丹，這件便服將繁花錦簇的圖案轉化為晚清皇權的象徵。
「鳳穿牡丹」紋樣以龍袍形式的無疑將慈禧個人審美的偏好與其對皇權的掌控完美結合。另兩件類似設計的襯衣，見加拿大阿爾伯塔大學博物館，acc.no.2005.5.250、及acc.no. 919.6.128。其他受慈禧品味與權力影響的現存袍服，包括一件展出於2023年大英博物館 The Cixi Exhibition: China's Hidden Century 1796-1912 中的「鳳穿牡丹」便服，見同名圖錄第69頁，圖版1.49。