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來源 Benjamin Benedict Green-Field (1897-1988) 收藏，芝加哥， 1920年代得於巴黎PROPERTY OF A CHICAGO PRIVATE COLLECTOR A PAIR OF PORTRAITS OF A NOBLEMAN AND HIS WIFE QING DYNASTY, 18TH / EARLY 19TH CENTURY ink and color on silk, each depicted seated frontally on an elaborately carved black and gilt lacquer horseshoe-back armchair covered with tiger skin, the faces of the young couple finely painted bearing benign expressions, both richly attired in semi-formal court dress, the man with a yellow-ground four-clawed dragon, fur-lined surcoat and fur-trimmed silk cape over a blue-ground dragon robe, and on his head a chao guan of a first-rank official; the noblewoman wears a similar headress, cape and outer robe, fur-lined, with bold writhing four-clawed dragons on a blue ground, the red-knotted buttons and a gold collar or torque indicating the rank of imperial princess, mounted on silk, gilt wood frame (2) Height of painting 68 in., 172.7 cm; Width 39. in., 100.3 cm PROVENANCE Collection of Benjamin Benedict Green-Field (1897-1988), Chicago, acquired in Paris in the 1920s. Each of the portraits bears several attributes identifying the couple as members of the Qing imperial family. Ceremonial attire was highly regulated during the Qing dynasty with colors, decorative motifs and accessories indicating rank and status. The tiger skins draped over the chairs of both the man, and more unusually, the woman references a connection to the Aisen Gioro clan. The yellow ground of his surcoat and the blue ground of hers were colors available only to imperial princes and the wives and daughters of princes, respectively. The fur-lined cuffs, four-clawed dragons, and the hat surmounted by a white pearl and red ruby were restricted to members of the first rank of the imperial court. Here they relate the husband’s rank and, by association, that of his wife. For a similar example of the hat see Gary Dickinson and Linda Wrigglesworth, Imperial Wardrobe, Berkeley California 2000, pl. 87. For a closely related portrait see the ‘Portrait of Linrongbao’s Wife’ in the Free Sackler Museum, Washington D.C. illustrated in Jan Stuart and Evelyn Rawski, Worshipping the Ancestors: Chinese Commemorative Portraits, Freer Sackler Museum, Washington D.C., 2001, pl. 6.7.
