清 后妃官服圖

Description

清 王後官服圖

参考： 北京保利2018秋季拍卖会 >宫廷艺术与重要瓷器、玉器、工艺品
6554 清 后妃吉服像

后妃吉服像
拍品信息
LOT号 6554
作品名称 清 后妃吉服像
作者 —
尺寸 173×98cm
创作年代 清
估价 150,000-200,000
成交价 RMB —

拍品为清代后妃吉服画像一副。画像上人物端坐椅中，两手相覆放于腹前。面容端正，长眉细目。头戴吉服冠，帽檐上仰，冠顶缀朱纬，朱纬加捻均匀整齐，冠顶为金錾莲花座，花形顶托镶嵌大红宝石一颗。一耳三钳。内穿蓝底吉服袍，可见江崖海水、火焰宝珠纹样，外罩黄缎云龙纹吉服褂，圆领，对襟，平袖端，在黄色缎地上正面饰四爪龙4条，两边袖子上各饰一条，间饰五彩行云及火焰宝珠，下摆饰福山寿海及杂宝纹。挂珊瑚朝珠，由一百零八颗珊瑚珠串结而成，由三颗青金石佛头分成四等份，每份各有珊瑚珠二十七颗，青金石记念三串，每串由十颗青金石组成。戴披领。从其所着服饰形制及龙纹造型来看，所处年代应为清代早期，因此推论画像中人应为清初后妃之一。

中国历代的宫廷中，都容纳了众多画家供职，清朝依照前代，同样也在宫廷内搜罗画家，进行绘画创作。规模很大，流传下来的作品也非常多。在宫廷中供职的画家，绝大部分为来自民间的职业画家，另外还有若干欧洲来华的传教士画家。画家无专门职称，康熙、雍正时称为“南匠”，乾隆时改称“画画人”。画家分派在各宫殿作画，称为“某某宫画画人”，见于记载的有“慈宁宫画画人”“南熏殿画画人”“启祥宫画画人”“如意馆画画人”“咸安宫画画人”“礼器馆画画人”“春雨舒和画画人”等。宫廷绘画大致可分为纪实绘画、装饰绘画、历史题材绘画和宗教绘画四类。纪实绘画包括皇帝后妃及文武大臣的肖像、皇帝日常生活的图景和记录当时重大事件的画幅；装饰绘画包括大量粘贴于宫殿墙壁和案头观赏的山水、花鸟画；历史题材绘画创作不多，宗教绘画，佛道题材均有其中一部分受西藏嘛教艺术的影响，颇具特色。纪实绘画中人物肖像、服饰、武备、仪仗、阵式、舟车等的描绘具体写实，具有极高的史料价值。部分山水、花鸟画往往描绘塞外景物，在题材上有新的开拓。欧洲传教士画家带来的西方绘画技法，中西合璧的画风，在传统画风之外，别具风格。本件拍品即为一件不可多得的清代宫廷纪实后妃肖像画。

参考：LOT 1060 ANONYMOUS (18TH/19TH CENTURY)
PORTRAIT OF A CIVIL OFFICIAL
Price realised USD 74,500
Estimate USD 40,000 – USD 60,000

ANONYMOUS (18TH/19TH CENTURY)
Portrait of a Civil Official
Scroll, mounted and framed, ink and color on silk
61½ x 30 in. (156.2 x 76.2 cm.)

Provenance
Acquired in New York in 1984.

Lot Essay
This portrait depicts a Qing dynasty civil official of the second rank, according to the golden pheasant on his rank badge and the coral bead on the finial of his official black velvet cap. The peacock feather suspended from his hat indicates that he received an award from the emperor. His wealth and prestige are further evidenced by his long pearl necklace, tiger skin seat cover, and finely carved wood chair. Portrait of Lirongbao, who was the father-in-law of Emperor Qianlong, was painted posthumously during the 18th/19th century and is now in the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., as illustrated in J. Stuart and E. S. Rawski, Worshiping the Ancestors: Chinese Commemorative Portraits, Washington, D.C., 2001, p. 161, fig. 6.8. Both portraits display the same realistic treatment of the face and sensitively describe the texture of the soft fur of the tiger’s pelt and coat edges, as well as the rough quality of the embroidered cloud-scroll bands of the coat cuffs; thereby, indicating that both works share the same date and level of artistic skill.

Pre-Lot Text
PROPERTY OF A NEW YORK COLLECTOR