Lot 976. A magnificent imperial yellow kesi twelve-symbol dragon robe made for the Emperor, longpao, Jiaqing period (1796-1820); 59 ¼ x 75 ¾ in. (150.4 x 192.4 cm.). Estimate USD 80,000 - USD 120,000. Price realised USD 756,500. © Christie's Images Ltd 2018

The kesi ground is woven in shades of blue, violet, red, pink and gold threads with nine five-clawed dragons clutching or confronting flaming pearls on a densely patterned ground of stylized wan emblems and florets in quatrefoil borders amidst clusters of ruyi-shaped clouds interspersed with bats, shou characters, and auspicious emblems. The Twelve Symbols of Imperial Authority are arranged in three groups of four: the sun, the moon, constellation and mountain around the neck; the fu symbol, axe, paired dragons, and golden pheasant around the body; and the pair of libation cups, aquatic grass, grains of millet and flames, all reserved on a bright yellow ground above the Eight Buddhist Emblems rising from the terrestrial diagram and lishui stripe at the hen; with midnight-blue cuffs and collar decorated with further dragons and clouds.

Provenance: The Collection of General Joseph W. Stilwell (1883-1946), acquired in the early twentieth century, and thence by descent within the family.

Note: The Twelve Ancient Symbols of Imperial Authority first appeared on the Manchu emperor's clothing after 1759. The Huangchao liqi tushi(Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court), which was enforced in 1766, restricted the use of the Twelve Symbols to the Emperor. The symbols imply the notion of Imperial authority, signifying that the Emperor is the Ruler of the Universe. In the Qing dynasty, the first four symbols- sun, moon, stars, and mountain-were placed at the shoulders, chest and mid-back; the symbol of distinction (fu), hatchet, paired dragons, and the golden pheasant appeared at waist level; and temple-cups, aquatic grass, grains of millet, and flames were placed at knee level on the skirts of the coat. 

Sun 日
The sun is represented by the symbol of a threelegged cockerel, as the cockerel is symbolic of the dawn.

Moon 月
The moon is represented by the hare pounding the elixir of life, which is derived from a Chinese legend of a hare that inhabited the moon.

Stars 星辰
The stars are represented by the constellation, which is thought to represent Ursa Major. In ancient times, the position of Ursa Major was interpreted as a clock, which was used to dictate the timing for rituals.

Mountain 山
This, along with the four symbols on the lower portion of the robe, likely represent the wu xing (five elements). This symbol is thought to represent the rock, which symbolizes the wearer (the Emperor) being at the center of gravity.

Dragons 龍
The paired dragons, which are shown both ascending and descending, represent the sun and are thought to represent the summer solstice.

Golden Pheasant 華蟲
The golden pheasant is thought to be representative of the Vermilion Bird (Red Phoenix) constellation, and thus may represent the Spring equinox.

The Sacrifcial Vessels 宗彞
These vessels, which contain tiger-like creatures, represent bravery and flial piety. They are also thought to represent metal, which is one of the wu xing (five elements). This interpretation is further supported by its alignment on the robe with the axehead, which also would have been made of metal.

Aquatic Grass 藻
The grass would represent the element of water.

Grains of Millet 粉米
The grain is also representative of the wuxing, and is also thought to represent the Spring equinox, as it was the first crop.

Flames 火
Another component of the wuxing, the fame represents the fire element.

The Axe-Head 黼
The axe-head is symbolic of the Emperor’s power over life.

The Symbol of Distinction (fu) 黻
The fu symbol is thought to be a homonym for the word which means `to return’, and is also thought to be related to the Winter solstice.

The current kesi robe is a spectacular example of a late 18th-early 19th century Emperor's longpao. The dragons are worked in metallic gold threads with clouds woven almost exclusively in shades of blue against a yellow ground. The “five colors" of the clouds have been rendered as small color accents throughout. The reasons for this variation were not recorded and most likely reflected fashionable tastes, rather than ritual requirements. Among the earliest examples of the predominant blue and yellow schema for an emperor's twelve-symbol dragon robe is an embroidered satin robe in a private London collection that dates to the late eighteenth century. See Dickinson and Wrigglesworth, p. 33. However, most surviving pieces date from the nineteenth century. See J. E. Vollmer, Decoding Dragons: Status Garments in Ch'ing dynasty China, Eugene, Oregon, Museum of Art, 1983. pp. 143 and 209.