Färg och tusch på siden. Avbildandes en högt rankad adelskvinna med fint målat ansikte, klädd i en formell manchu dräkt, bestående av cape, rock och kjol. Med hallband med pärlor och vad som troligen är jade plaketter, långt halsband så väl som en lång vit sjal. Mått motiv 95x165 cm. Motiv med ram 107x178 cm.
Slitage, fläckar.
Proveniens
From a private Swedish Collector who purchased the two portraits from an Estate Sale in the early 1970's from a lady who lived in Sweden but had German/Austrian roots.
The subject of this portrait is annonymous, but the sitter's dragon robe, court necklace and elaborate headdress hint at imperial connections.
The three earrings in each earlobe indicate she is a bannerwoman. A persons rank was indicated by the colour of choufu worn.
Utställningar
Compare with an imperial portrait in the Metropolitan Museum of Art, New York, Credit Line: Rogers Fund, 1942, Object Number: 42.141.6.
Compare also with a portrait of Lady Guan, in the Arthur M Sackler Gallery in the Smithosonian Institution, Washington D.C. Depicted in the Exhibition Catalogue, 'Worshipping the Ancestors, Chinese Commemorative Portraits, 2001. Cat no 2.1. The important and extensive Collection of Richard G.Pritzlaff holds several examples.
Compare with a portrait sold at Sothebys Hong Kong, Fine Chinese Ceramics & Works of Art, lot no 1823, April 2010.
Litteratur
Worshiping the ancestors Chinese Commemorative Paintings,
Stuart, Jan; Rawski, Evelyn Sakakida; Freer Gallery of Art; Arthur M. Sackler Gallery (Smithsonian Institution), Freer Gallery of Art, 2001.
Bannermen were the Qing dynasty's military elite administered into divisions known as the Eight Banners. Apart from being soldiers, the banner system was also the basic organisational framework of all Manchu society and included various groups including Manchus, Mongols and Han Chinese.
Övrig information
It is fascinating to see how sensitively the sitters individual features is painted. This portrait shows how the traditional Chinese portrait painting during the 18th and 19th century was influenced with Western painting techniques introduced by Jesuit missionary artists at the court.
In accordance with the Chinese ancestor portrait tradition, the sitter is depicted in a rigidly frontal and symmetrical pose, in a chair whilst wearing formal, highly decorated clothing at the centre of the composition.
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