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Join us for the exchanging of ideas and knowledge about the contemporary African fashion scene at this hybrid event, inspired by our exhibition.

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The lives of the Qing dynasty empresses offer a compelling tale of opulence and influence as told in this first-ever, in-depth exhibition of the subject. From their royal portraits and costumes they wore to Buddhist art displayed in the Forbidden City, the exhibition breaks stereotypes by showing how actively the empresses exerted influence in the arts, religion, politics, and diplomacy. Most of the artworks are from the Palace Museum, and many have never been exhibited outside of China. The exhibition is organized by the Peabody Essex Museum in Salem, Massachusetts; the Freer|Sackler; and the Palace Museum in Beijing, China.

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Empresses of China's Forbidden City, 1644-1912 | Smithsonian Institution

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The lives of the Qing dynasty empresses offer a compelling tale of opulence and influence as told in this first-ever, in-depth exhibition of the subject. From their royal portraits and costumes they wore to Buddhist art displayed in the Forbidden City, the exhibition breaks stereotypes by showing how actively the empresses exerted influence in the arts, religion, politics, and diplomacy.

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Object Details

Previous custodian or owner

Richard G. Pritzlaff (1902 - 1997)

H. Ross Perot (1930 - 2019)

Wu Ping-Chung

Wu Laixi 吳賴熙 (died ca. 1950)

Provenance

To ca.1949

Wu Laixi ??? (d. ca.1949-1950) reportedly acquired from decedents of noble Chinese families [1]

ca.1949 to 1959

Wu Ping-Chung (dates unknown and Chinese characters for the name unknown) inherited ownership upon Wu Laixi's death around 1949 [2]

1959 to 1985

Richard G. Pritzlaff (1902-1997) by transfer of ownership from Wu Ping-Chung on June 15, 1959 [3]

1985 to 1987

H. Ross Perot (1930-2019) purchased from Richard G. Pritzlaff in 1985 [4]

1987 to 1991

Richard G. Pritzlaff purchased from H. Ross Perot in 1987 [5]

From 1991

The Arthur M. Sackler Gallery acquired through partial gift and partial purchase from Richard G. Pritzlaff in 1991 [6]

Notes:

[1] Wu Laixi ??? (alternate romanization: Wu Lai-hsi) was an antiquities dealer who often sold high-quality, imperial goods sourced from Chinese nobles, among other sources. Active in the 1930s and 1940s, Wu Laixi purchased portraits in China, reportedly for his personal collection and for resale; he took great pride in his collection, labeling himself as the first collector of Chinese ancestor portraits.

In 1937, Wu sold portraits to the American, Richard G. Pritzlaff, who was visiting China. Pritzlaff and Wu remained in touch. In the 1940s, Wu worried about his financial security and the fate of his collection in China, where war with Japan and domestic turmoil threatened the security of private art collections. Wu wrote to Pritzlaff, asking if he could send portraits in exchange for money to survive. Between 1940 and 1948, Wu sent three shipments of portraits and other art objects to Pritzlaff's ranch in New Mexico. Wu intended for Pritzlaff to sell the majority of the art objects he sent, however, Pritzlaff did not want to disperse the collection, so he sent as much money as he could to Wu and retained the art. Pritzlaff reported that he "thought of himself as the owner of some paintings but wanted to be only a temporary custodian of others" and intended for Wu to one day collect the entire collection. It remains unclear which portraits Pritzlaff believed he owned. See letters from Wu Laixi to Pritzlaff, September 4, 1940; June 27, 1941; June 17, 1947; and August 6, 1948, copies in accession file.

[2] See note 1. Upon Wu's death, Pritzlaff contacted Wu's son, Wu Ping-Chung who lived in Taiwan; he declined to claim the collection but retained ownership rights until he transferred them to Pritzlaff in 1959. See the letter from Wu Ping-Chung addressed "To Whom it May Concern," June 15, 1959, witnessed by Major Thurman W. Oliver of the United States Army, copy in accession file. In the letter Wu declares, "I .... Hereby transfer, for remunerations received, my interest and rights inherited from my father, Mr. Wu Lai-hsi, deceased, in his collection of paintings, to Mr. Richard Pritzlaff of Sapello, New Mexico, U.S.A."

[3] See note 2. Richard G. Pritzlaff was a collector of Chinese art and a rancher who initially raised cattle but then became a well-known breeder of

Arabian horses. When studying landscape architecture at University of California at Berkeley and then at Harvard, he developed an interest in China. He traveled there in 1937 and began collecting Chinese objects. For Pritzlaff's account of how he acquired his collection, see letter addressed "Dear Sir" from Pritzlaff, October12, 1988, copy in accession file.

[4] H. Ross Perot was an American business magnate, billionaire, philanthropist and politician. He ran for president in 1992 and 1996, establishing the Reform Party. In 1985, Perot visited Pritzlaff's ranch to inspect his Arabian horses. After the visit, Perot unexpectedly approached Pritzlaff, proposing to purchase the collection of Chinese ancestor portraits and construct a museum in Texas to house them. In 1987, when it became clear that Perot had decided

not to construct the museum, Pritzlaff bought back the collection. For specifics of this transaction, see letter from H. Ross Perot's daughter, Nancy P. Mulford to James Cahill, December 26, 1986 and September 11, 1987, copies in accession file. James Cahill (1926-2014), curator at Freer Gallery of Art from 1958--1965 and then faculty at University of California at Berkley, evaluated the collection when owned by Perot. For an account of Cahill's experiences, see http://jamescahill.info/the-writings-of-james-cahill/responses-a-reminiscences/167-45-my-day-with-ross-perotw.

[5] See note 4.

[6] For the deed of gift and purchase arrangement, see accession file.

Credit Line

Purchase - Smithsonian Collections Acquisition Program and partial gift of Richard G. Pritzlaff

Accession Number

S1991.119

Restrictions & Rights

Usage conditions apply

Medium

Ink and colors on silk

Dimensions

H x W (painting): 161.2 x 94.9 cm (63 7/16 x 37 3/8 in)

Related Online Resources

Google Cultural Institute

See more items in

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ye32e28d20c-f10c-41e4-b1c3-82a8d6851930

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Portrait of Chinese Woman in a Kingfisher Headdress | Smithsonian Institution

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Previous custodian or owner Richard G. Pritzlaff (1902 - 1997) H. Ross Perot (1930 - 2019) Wu Ping-Chung Wu Laixi 吳賴熙 (died ca. 1950) Provenance To ca.1949 Wu Laixi ??? (d. ca.1949-1950) reportedly acquired from decedents of noble Chinese families [1] ca.1949 to 1959 Wu Ping-Chung (dates unknown and Chinese characters for the name unknown) inherited ownership upon Wu Laixi's death around 1949 [2] 1959 to 1985 Richard G.

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Object Details

Previous custodian or owner

Richard G. Pritzlaff (1902 - 1997)

H. Ross Perot (1930 - 2019)

Wu Ping-Chung

Wu Laixi 吳賴熙 (died ca. 1950)

Provenance

To ca.1949

Wu Laixi ??? (d. ca.1949-1950) reportedly acquired from decedents of noble Chinese families [1]

ca.1949 to 1959

Wu Ping-Chung (dates unknown and Chinese characters for the name unknown) inherited ownership upon Wu Laixi's death around 1949 [2]

1959 to 1985

Richard G. Pritzlaff (1902-1997) by transfer of ownership from Wu Ping-Chung on June 15, 1959 [3]

1985 to 1987

H. Ross Perot (1930-2019) purchased from Richard G. Pritzlaff in 1985 [4]

1987 to 1991

Richard G. Pritzlaff purchased from H. Ross Perot in 1987 [5]

From 1991

The Arthur M. Sackler Gallery acquired through partial gift and partial purchase from Richard G. Pritzlaff in 1991 [6]

Notes:

[1] Wu Laixi ??? (alternate romanization: Wu Lai-hsi) was an antiquities dealer who often sold high-quality, imperial goods sourced from Chinese nobles, among other sources. Active in the 1930s and 1940s, Wu Laixi purchased portraits in China, reportedly for his personal collection and for resale; he took great pride in his collection, labeling himself as the first collector of Chinese ancestor portraits.

In 1937, Wu sold portraits to the American, Richard G. Pritzlaff, who was visiting China. Pritzlaff and Wu remained in touch. In the 1940s, Wu worried about his financial security and the fate of his collection in China, where war with Japan and domestic turmoil threatened the security of private art collections. Wu wrote to Pritzlaff, asking if he could send portraits in exchange for money to survive. Between 1940 and 1948, Wu sent three shipments of portraits and other art objects to Pritzlaff's ranch in New Mexico. Wu intended for Pritzlaff to sell the majority of the art objects he sent, however, Pritzlaff did not want to disperse the collection, so he sent as much money as he could to Wu and retained the art. Pritzlaff reported that he "thought of himself as the owner of some paintings but wanted to be only a temporary custodian of others" and intended for Wu to one day collect the entire collection. It remains unclear which portraits Pritzlaff believed he owned. See letters from Wu Laixi to Pritzlaff, September 4, 1940; June 27, 1941; June 17, 1947; and August 6, 1948, copies in accession file.

[2] See note 1. Upon Wu's death, Pritzlaff contacted Wu's son, Wu Ping-Chung who lived in Taiwan; he declined to claim the collection but retained ownership rights until he transferred them to Pritzlaff in 1959. See the letter from Wu Ping-Chung addressed "To Whom it May Concern," June 15, 1959, witnessed by Major Thurman W. Oliver of the United States Army, copy in accession file. In the letter Wu declares, "I .... Hereby transfer, for remunerations received, my interest and rights inherited from my father, Mr. Wu Lai-hsi, deceased, in his collection of paintings, to Mr. Richard Pritzlaff of Sapello, New Mexico, U.S.A."

[3] See note 2. Richard G. Pritzlaff was a collector of Chinese art and a rancher who initially raised cattle but then became a well-known breeder of

Arabian horses. When studying landscape architecture at University of California at Berkeley and then at Harvard, he developed an interest in China. He traveled there in 1937 and began collecting Chinese objects. For Pritzlaff's account of how he acquired his collection, see letter addressed "Dear Sir" from Pritzlaff, October12, 1988, copy in accession file.

[4] H. Ross Perot was an American business magnate, billionaire, philanthropist and politician. He ran for president in 1992 and 1996, establishing the Reform Party. In 1985, Perot visited Pritzlaff's ranch to inspect his Arabian horses. After the visit, Perot unexpectedly approached Pritzlaff, proposing to purchase the collection of Chinese ancestor portraits and construct a museum in Texas to house them. In 1987, when it became clear that Perot had decided

not to construct the museum, Pritzlaff bought back the collection. For specifics of this transaction, see letter from H. Ross Perot's daughter, Nancy P. Mulford to James Cahill, December 26, 1986 and September 11, 1987, copies in accession file. James Cahill (1926-2014), curator at Freer Gallery of Art from 1958--1965 and then faculty at University of California at Berkley, evaluated the collection when owned by Perot. For an account of Cahill's experiences, see http://jamescahill.info/the-writings-of-james-cahill/responses-a-reminiscences/167-45-my-day-with-ross-perotw.

[5] See note 4.

[6] For the deed of gift and purchase arrangement, see accession file.

Credit Line

Purchase - Smithsonian Collections Acquisition Program and partial gift of Richard G. Pritzlaff

Accession Number

S1991.76

Restrictions & Rights

Usage conditions apply

Medium

Ink and color on silk

Dimensions

H x W (image): 188.9 x 98.4 cm (74 3/8 x 38 3/4 in)

H x W (overall): 353 x 135 cm (139 x 53 1/8 in)

Related Online Resources

Google Cultural Institute

See more items in

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ye33e57e2f0-ee88-4a34-b824-ff80145d4998

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Portrait of a Manchu Noblewoman (Lady-in-Waiting to Empress) | Smithsonian Institution

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Previous custodian or owner Richard G. Pritzlaff (1902 - 1997) H. Ross Perot (1930 - 2019) Wu Ping-Chung Wu Laixi 吳賴熙 (died ca. 1950) Provenance To ca.1949 Wu Laixi ??? (d. ca.1949-1950) reportedly acquired from decedents of noble Chinese families [1] ca.1949 to 1959 Wu Ping-Chung (dates unknown and Chinese characters for the name unknown) inherited ownership upon Wu Laixi's death around 1949 [2] 1959 to 1985 Richard G.

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Object Details

Catalogue Status

Research in Progress

Description

Beige figured silk richly embroidered in silk and metallic threads in a floral and strap work design.

Accession Number

1959-37-1

Restrictions & Rights

CC0

Medium

Medium: silk, metallic threads Technique: embroidered silk

Dimensions

H x W (Height of Center back; Shoulder Width): 142.2 × 27.9 cm (56 × 11 in.)

See more items in

Cooper Hewitt, Smithsonian Design Museum Collection

Textiles Department

Cooper Hewitt, Smithsonian Design Museum

Record ID

chndm_1959-37-1

GUID (Link to Original Record)

http://n2t.net/ark:/65665/kq430117eaf-02e8-4615-93c5-491f727f33ff

# data[].attributes.attachment_link.description
Catalogue Status Research in Progress Description Beige figured silk richly embroidered in silk and metallic threads in a floral and strap work design. Accession Number 1959-37-1 Restrictions & Rights CC0 Medium Medium: silk, metallic threads Technique: embroidered silk Dimensions H x W (Height of Center back; Shoulder Width): 142.2 × 27.9 cm (56 × 11 in.)

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Smithsonian Center for Folklife and Cultural Heritage

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一条卷尺，一块三角形的粉笔，这是记忆中我妈妈给我量尺寸做衣服时用到的工具。虽然比不上在商店买新衣服，但想到可以不用呆在家里写作业而是出门放风依旧是满心欢喜。那时候，妈妈会带着我去逛轻纺城，那是一个专门批发纺织用品的市场。每次她都会在一家店里反复挑选，然后让店里的阿姨只裁下一匹一米长的布，然后秉着一份给孩子缝制的手工匠人的骄傲，阿姨才勉强卖出。

我妈有一个小柜子专门存放收集的布料和一些自己不再"适合"的衣服。她总觉得年纪大了就不合适鲜亮颜色的衣服，所以会存起来留着给我穿。我一直知道有几件蓝色的衣服一直存于柜子的最里面，每年她都会挑个干爽天气将它们拿出来晒一晒。后来，她将那些蓝色的衣服改成了一条小裙子送给我。当然小孩子总是长的太快，我记得只穿过一回。这条被妈妈精心裁剪过的裙子后来就只能在柜子里落灰了。

当我渐渐长大，我才知道那些蓝色的布料来自蓝印花布，一种手工制作、染料天然的传统手工艺，来自我的家乡，中国江苏南通。

前段时间，我偶然看到一段手工染布的视频。视频的创作者是李子柒，她通过展示和外婆一起的世外桃源般的生活获得了千万粉丝。在视频中，她重现了从收获蓝草、制作染浆、设计图案到手工染布的过程。

李子柒的视频传达了家人之间真挚的情感和大自然的纯静，一种能给人归属感的淳朴和平和。我不禁想起了儿时的那条裙子，那条在年少的我看来不过是一件改造的旧衣，但如今却成为了我和家乡的羁绊。这种手工染料做出来的衣服仿佛能看见蓝草茂盛、欣欣向荣的景象，伴随着一种久违的舒适感。家，可以让你暂时躲避迫使你不断前进的现实的压力。现在，我在美国进行我第二年的研究生学习，照理说我应该早已渡过了想家的阶段，但每每看到和家乡相关的事物，乡愁总涌上心头。

南通，是蓝印花布传统工艺的所在地。它依山傍水，与上海隔江相望，具有都市感又有自己小城市的步调。一条长江贯穿城市汇入东海。这里曾经是一个港口城市，停靠着很多商船和渔船。可以想像当时应该有很多家庭靠着港口的贸易成为他们家庭收入的主要来源。

靛蓝植物，又称蓝草，在世界各地被广泛种植并运用到织物染色中，从它的叶子中提取蓝色色素。几千年来，民间艺人们借助黄豆、蜡、麻绳、刻版等生活中常见的工具将生活记录在在染布过程中，呈现出图案，展现生活之美。

黄豆，出现在中国人饮食的方方面面。从清晨喝的热气腾腾的豆浆到餐桌上各式各样的豆制品，其丰富的蛋白质含量是中国人重要的植物蛋白来源。当然，它还能用于其他非食品用途。当黄豆粉与水和石灰粉混合时，质地变粘。手艺人通过用镂刻的硬纸板将这种防染浆涂在布料上，然后将其浸入靛蓝染缸中，沾染的部分将不会染上颜色，留下图案的部分。南通的蓝印花布通过其防染工艺区别于其他蓝染工艺。

所有成分均来自自然，且生产全部是纯手工制作。蓝印花布的手工艺者需要花费数周的时间才能将一块生布染成所需的深蓝色。这种工艺的发展和成熟延续了近九百年。这种蓝色和白色的组合或是来自受到蓝天白云的启发，或是来自人们对大海的探索，源于人们对大自然的敬畏和对生活的认真欣赏。

"将蓝草放泡在染缸中，染浆会慢慢从绿色氧化为蓝色，最后呈现深蓝色，"南通蓝印花布博物馆馆长吴元新先生在采访中讲到了用蓝草制作染浆的过程，他是南通蓝印花布印染技术代表性传承人。

手工蓝染需要依靠空气和时间。手艺人需要将蓝草叶浸泡在装满水的染缸中2-3天，并需要用木棍搅拌它们。当水的颜色呈现深绿色，就可以把杂质去除，用于蓝染的染缸就制作完成了。将刷有黄豆防染浆的生布浸入染缸里，与染液充分接触再将其悬挂起来接触空气，使染料氧化从而加深颜色。一块布需要每天重复浸泡和氧化三至四次，持续数天，直到获得深色的靛青色为止。 "青出于蓝而胜于蓝"这个古话就是由此而来。

蓝印花布起源于江南水乡，南方的土壤和湿润的气候都适合种植棉花和蓝草。在过去，家家都有织布机，户户都有染缸。家里的女主人们会用每年六月收获的棉花织布。到了年底，小孩子会在新年的第一天获得一件由父亲染布母亲缝制的新衣服。我妈妈和我说做衣服是对自己孩子最好的关心和爱的表达。

当然，手工织就的棉布是经久耐穿的，但是天然染料会随着时间的打磨渐渐褪色。因此，以一种可持续"时尚"，旧衣可以再次染色成为一件"新"衣服，或将其重新剪裁为桌布或垫子等其他用途。

蓝印花布上的图案通过镂刻的花版得到的。制作花版需要在牛皮纸上用小刀刻制，刀锋轻落，图案勾勒成型，笔触流畅，一笔一划间皆是匠心巧运。由于雕刻需要常年的实践经验和一定的艺术天份，因此在过去，出现过专门提供花版的职业- 挑花匠。他们平日里游走在街上吆喝着寻找有需要的人家，一手花版，一手防染浆，上门提供纹样。

相对于给予口头上的祝福，中国人更倾向婉转的方式表达情感。将祝福印刻在物品上，用一些纹样传递美好祝愿。在重要的节日或家庭活动中，家人们会挑选意义深远的图案。印有五毒图案的襁褓布送给满月的孩童，祝愿小孩远离病痛，健康成长。婚嫁之际宾客会准备麒麟送子纹样的礼物预祝新人早生贵子。福寿双全的图案则更适合家中长辈，包含着福寿绵长的寓意。

如果扎染是颜色的随机组合，那么蓝印花布承载着手艺人对生活的雕刻。

"每块蓝印花布都印有纹样，每个纹样都有意义，"吴元新先生说。他在博物馆中展示着他从乡镇收集来的四万余件蓝印花布，研究并改良旧纹样。

"我是从父母的织布机声中长大的。我奶奶纺纱，母亲织布，父亲染色。"在70年代，很多家庭都靠着织布赚钱。

从事蓝印花布的收集、整理、研究和设计工作四十余年，吴先生认为他有责任将祖辈传下来的技艺传承下去。"一开始，我因为纺织厂的订单需要设计更多的纹样，我去到乡镇里收集和学习。我没想到我会扑在这上面这么多年，成为我一生的职业。"他走访过很多村子，当向村民询问旧式样时，发现许多旧的印花布都被烧掉了。有这样一个传统，当长辈去世时，他的子女通常会把逝者使用过的重要物品作为纪念烧祭。吴先生认为这是一个很大的遗憾，一块纹样的失去意味着一段文化记忆的流逝。

"我是不舍得扔掉的，"我妈妈说。她会用一块旧蓝印花布制作成不同的杯垫，不起眼，却处处能用到。她的朋友来找她喝茶的时候会看到这些小杯垫，惊喜又惊讶的问起是从何处购买。我妈妈会给他们展示，"这就是我们从小知道的蓝印花布，现在不常有了。"一块块小杯垫放在家里就像是时空的呼应，让妈妈偶尔沉浸在过去的时光。

"我上小学的时候，每天要走20分钟的路去学校，"黄先生说，他是一位在画廊工作室的画师。"我记得我母亲总是围着一条蓝围裙，应该是蓝印花布的，每天早上给我做好早饭，站在门口看着我去上学。我总走到路口回头招招手让她进屋，其实看不清人，但我能看见蓝色的身影。"我问起他为何会保留一件旧物，黄先生跟我说了他的故事，"这蓝布，我能看见我母亲的担心，她是想让我早早独当一面。"

和许多传统工艺的命运一样，这种耗时且需要手艺的技术正在被这个快节奏的世界淘汰。曾今盛行的技艺如今却将消失得无声无息，许多人不愿意继续从事这门手艺。

自给自足的生活方式已经不复存在。我们享受着从货架上买衣服的便利。曾经作为日常用品的东西，如今演变成了一种艺术，被恰如其分地贴上了文化遗产的标签。

"这不能怪传统手艺人，因为对他们来说，这是他们日常生活的一部分，是基本收入来源，"乔治梅森大学民俗学的张教授说。她接着说，传统的缺失在于欣赏者的减少，而不是手艺人的缺失。

在纽约拥有自己的女装品牌的时装设计师张安骅(Angel Chang)说:"没有人会去做，除非你向他们展示这可以完成。"她将时尚与传统结合，将设计融入到天然蓝染织品中。她曾在贵州山区与当地的村民了解手工纺织和蓝染的制作工艺。值得一提的是尽管中国现代化水平已经相对较高，但是那里仍然保持了手工制作服装的传统。

"我向村里的奶奶们学习如何制作布料，一些十几岁的小姑娘看着我制作。他们从来没有想过使用他们奶奶的布料做时尚的衣服。这改变了他们的看法。她表示，重塑传统"品牌"可以让更多的人接受和欣赏它们，这是保持蓝染传统的一种方式。关注环境问题也是如此。

"遵循传统的高质量工艺意味着使用有机的、纯天然的原材料。加工排放出来的废水是无害无污染的，"这是张安骅的品牌理念。

"手工艺最好的存续方式是被需要，"张教授说。"传统一直在改变。"这些变化包括手工艺人们代代相传中的精进和个人审美的添加。手工艺也可能改变形式。我看到我妈妈把衣服继续裁剪，这是一种很实用的方式改变了传统织物的使用方式。它们也会成为展览品，记录着一个地区的一段文化和记忆。

蓝印花布是一种从大自然中收获的艺术形式，通过人们的手艺赋予其意义。上面刻画的纹样展示了对他人的美好祝福和对幸福生活的憧憬。我希望这种技艺不会消逝。

蓝印花布对我而言是一针一线缝制着家人的爱与期待。我会好好保管这份情感，承载了儿时的回忆：

一年盛夏，正值西瓜熟透的季节。夕阳透过窗户洒进来，屋内都是金灿灿的。小马扎，针线包，她准备继续她的量身定制。我靠在垫子上，努力完成着小学计算题。我陪着她，或是她陪着我。一针一线，作业本上来回晃动着她手臂的影子。她把布放在她的腿上，裁剪袖子，小心的将图案保留完整。阵阵微风吹来藿香的清凉，手上的半瓢西瓜足以让湿热的夏天充满清甜味道。家。

马璧莹曾是史密森尼民俗与文化传统中心的实习生，现是就读于乔治梅森大学艺术管理系的国际研究生。

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一条卷尺，一块三角形的粉笔，这是记忆中我妈妈给我量尺寸做衣服时用到的工具。虽然比不上在商店买新衣服，但想到可以不用呆在家里写作业而是出门放风依旧是满心欢喜。那时候，妈妈会带着我去逛轻纺城，那是一个专门批发纺织用品的市场。每次她都会在一家店里反复挑选，然后让店里的阿姨只裁下一匹一米长的布，然后秉着一份给孩子缝制的手工匠人的骄傲，阿姨才勉强卖出。 ...

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Object Details

Designer

Natalya Yakovlevna Danko, Russian, b. Georgia, 1892-1942

Manufacturer

State Porcelain Factory, Leningrad, USSR, founded 1918

Catalogue Status

Research in Progress

Description

Woman dressed in Chinese robe, holding fan, standing on circular base with flower blossoms.

Credit Line

The Henry and Ludmilla Shapiro Collection; Partial gift and partial purchase through the Decorative Arts Association Acquisition and Smithsonian Collections Acquisition Program Funds

Accession Number

1989-41-156

Restrictions & Rights

Usage conditions apply

Medium

Gilt and enameled porcelain

Dimensions

18.2 cm (7 3/16 in.)

made in

Leningrad, Soviet Union

See more items in

Cooper Hewitt, Smithsonian Design Museum Collection

Product Design and Decorative Arts Department

Cooper Hewitt, Smithsonian Design Museum

Record ID

chndm_1989-41-156

GUID (Link to Original Record)

http://n2t.net/ark:/65665/kq42fa77a64-555c-4aba-abd2-e1104d50240b

# data[].attributes.attachment_link.description
Designer Natalya Yakovlevna Danko, Russian, b. Georgia, 1892-1942 Manufacturer State Porcelain Factory, Leningrad, USSR, founded 1918 Catalogue Status Research in Progress Description Woman dressed in Chinese robe, holding fan, standing on circular base with flower blossoms. Credit Line The Henry and Ludmilla Shapiro Collection; Partial gift and partial purchase through the Decorative Arts Association Acquisition and Smithsonian Collections Acquisition Program Funds Accession Number 1989-41-156 Restrictions & Rights Usage conditions apply Medium Gilt and enameled porcelain Dimensions 18.2 cm (7 3/16 in.)

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Sixteen paintings of emperors, empresses, princes, and princesses represent three generations of the Qing dynasty imperial family, from the early to mid-18th century. Almost evenly divided between images of men and women, the portraits-some nearly life-size-show the royal family members dressed in either the elaborate formal robes required for attendance at court or more casual attire at moments of leisure. The women are generally depicted wearing sumptuous embroidered robes and fabulous jewelry made of gold and pearls or inlaid with dazzling turquoise kingfisher feathers. The men are shown riding horses, relaxing in a garden or boat, meditating quietly with rosary beads, or seated in a formal setting among their favorite possessions.

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Family Matters: Portraits from the Qing Court | Smithsonian Institution

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Sixteen paintings of emperors, empresses, princes, and princesses represent three generations of the Qing dynasty imperial family, from the early to mid-18th century. Almost evenly divided between images of men and women, the portraits-some nearly life-size-show the royal family members dressed in either the elaborate formal robes required for attendance at court or more casual attire at moments of leisure.

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明黄色纳纱绣彩云金龙纹男单朝袍-故宫博物院数字文物库

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石青色彩云金龙纹妆花缎女夹褂-故宫博物院数字文物库

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香色缎补洒线绣四团龙纹袍料-故宫博物院数字文物库