A SET OF EIGHT SILK EMBROIDERED FIGURAL PANELS Korea, 19th...
A SET OF EIGHT SILK EMBROIDERED FIGURAL PANELS
Korea, 19th century
All finely embroidered in multi-coloured silk threads with scenes of Court ladies, dignitaries, boys and attendants engaging in leisurely pursuits in a garden setting dotted with elegant pavilions, floral shrubs, trees and ornamental rockwork, all on cream silk grounds, framed and glazed. The largest frame 163cm (64in) high x 136cm (53 1/2in) wide. (8).
朝鮮 十九世紀 刺繡庭院人物圖掛屏 一組八件
Provenance: a British private collection
來源： 英國私人收藏
The tradition of embroidery boasts a storied legacy on the Korean Peninsula, predating the Joseon era. Historical records like the 'History of the Three Kingdoms' (삼국사기) illustrate how embroidery symbolised wealth, refined taste and social stature among royalty. By the 9th century, even commoners took delight in adorning themselves with embroidered silk robes. Regrettably, many of these early embroidered examples were lost during foreign invasions of Korea and the Korean War (1950–1953). Among the surviving textiles, a significant silk embroidery in the Leeum, Samsung Museum of Art in Seoul, depicting Amitabha Buddha and dating back to the 14th century, represents one of the earliest surviving Korean embroideries.
The majority of extant Korean embroideries originate from the late Joseon dynasty (1392−1910). It was primarily made by amateur and professional female artists who were often restricted to the innermost area of the household, known as the gyubang (규방) or inner quarters. Paradoxically, the confinement of women and their limited public engagement fostered a tight-knit community, spurred creativity, and ultimately cultivated their unique artistic and cultural identities.
The present set of panels would have likely been deemed to decorate a folding screen. The decorative subjects, probably based on Chinese prototypes, are replete with auspicious symbolism conveying wishes for longevity, which would have made the screen a desirable gift for a birthday commemoration. Here, a large group of figures are gathered to celebrate an elderly man, who appears standing amongst the attendants. The deer, a faithful companion of Shoulao, the god of longevity, was reputed to live long and be the only creature able to find the fungus of immortality.
Stylistically, the Chinese embroideries made by the Gu family between the 17th and 19th century, often depicting courtiers in landscape scenes, may have served as base of inspiration for the current panels. A Gu Family's embroidered silk panel, 17th-18th century, was sold at Christie's New York, 17-18 March 2016, lot 1386.
Compare with a related Korean embroidered screen, 19th century, depicting deer and cranes in a landscape scene, in the Detroit Institute of Arts, Detroit, acc.no.1985.14.
Bid on this lot
A SET OF EIGHT SILK EMBROIDERED FIGURAL PANELS
Korea, 19th century
All finely embroidered in multi-coloured silk threads with scenes of Court ladies, dignitaries, boys and attendants engaging in leisurely pursuits in a garden setting dotted with elegant pavilions, floral shrubs, trees and ornamental rockwork, all on cream silk grounds, framed and glazed. The largest frame 163cm (64in) high x 136cm (53 1/2in) wide. (8).
朝鮮 十九世紀 刺繡庭院人物圖掛屏 一組八件
Provenance: a British private collection
來源： 英國私人收藏
The tradition of embroidery boasts a storied legacy on the Korean Peninsula, predating the Joseon era. Historical records like the 'History of the Three Kingdoms' (삼국사기) illustrate how embroidery symbolised wealth, refined taste and social stature among royalty. By the 9th century, even commoners took delight in adorning themselves with embroidered silk robes. Regrettably, many of these early embroidered examples were lost during foreign invasions of Korea and the Korean War (1950–1953). Among the surviving textiles, a significant silk embroidery in the Leeum, Samsung Museum of Art in Seoul, depicting Amitabha Buddha and dating back to the 14th century, represents one of the earliest surviving Korean embroideries.
The majority of extant Korean embroideries originate from the late Joseon dynasty (1392−1910). It was primarily made by amateur and professional female artists who were often restricted to the innermost area of the household, known as the gyubang (규방) or inner quarters. Paradoxically, the confinement of women and their limited public engagement fostered a tight-knit community, spurred creativity, and ultimately cultivated their unique artistic and cultural identities.
The present set of panels would have likely been deemed to decorate a folding screen. The decorative subjects, probably based on Chinese prototypes, are replete with auspicious symbolism conveying wishes for longevity, which would have made the screen a desirable gift for a birthday commemoration. Here, a large group of figures are gathered to celebrate an elderly man, who appears standing amongst the attendants. The deer, a faithful companion of Shoulao, the god of longevity, was reputed to live long and be the only creature able to find the fungus of immortality.
Stylistically, the Chinese embroideries made by the Gu family between the 17th and 19th century, often depicting courtiers in landscape scenes, may have served as base of inspiration for the current panels. A Gu Family's embroidered silk panel, 17th-18th century, was sold at Christie's New York, 17-18 March 2016, lot 1386.
Compare with a related Korean embroidered screen, 19th century, depicting deer and cranes in a landscape scene, in the Detroit Institute of Arts, Detroit, acc.no.1985.14.
