the rectangular panel of uncut yardage, finely brocaded in blue, green, red and gilt-wrapped threads with a pair of four-clawed mang dragons, each in bold pursuit of a 'flaming pearl' above rolling and cresting waves centered by towering peaks and amid stylized flame wisps and clouds, within a characteristic quatrefoil, flanked by embroidered polychrome clouds  and above a narrow band of four striding dragons, all against a dark red silk damask ground of scrolling clouds, bordered on three sides with narrow panels of 18th century blue-ground brocade with gilt dragons, mounted and framed

Acquired in New York, 1982.

The yardage is in good overall condition. There is appropriate wear overall and there are a few areas with some minor staining and a very small tear visible at the bottom right quadrant of the red brocade.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Beginning in the Yuan dynasty and continuing throughout the Ming dynasty, the emperors awarded special presentation mang robes to select courtiers because of their particularly high rank, or as rewards for exceptional services rendered to the emperor, or as gifts to foreign dignitaries. Such robes were visible emblems of imperial favor; they were highly coveted. For the Yuan prototypes see Zhao Fang, Treasures in Silk, Hong Kong, 1999, pl. 09.02.; for a Ming dynasty example, see a portrait of an official Wang Ao (1451- 1524), ibid, pl. 09.05. During the reign of the Yongle emperor (1403-1425) eunuchs who served as the emperor’s principal attendants were required to wear mang robes. In the mid-15th century it was customary for the chief eunuch to wear a tso-mang or frontal dragon in contrast to the more typical dragons in profile. A particularly coveted type of mang design included the standard dragon yoke collar, but also a narrow band across the knee area with four smaller dragons. In the 16th century officials began placing private orders for mang robes without being formally awarded them by the emperor in direct contravention of a 1459 law; finally, the Jiajing emperor issued an edict in 1537 prescribing harsh penalties for those violating that law. For further discussion of the history and use of mang robes see Schuyler Cammann, China's Dragon Robes, 1952, Chicago, pp. 10-19.

While a considerable number of imperial five-clawed Ming dragon robes and yardage for such robes survives, there are very few examples of surviving Ming dynasty mang presentation robes or yardage. Moreover, the few surviving examples of robes or yardage in Chinese museums that are archeologically excavated pieces tend to be strongly faded and heavily damaged — unlike the present yardage with its vibrant red color and outstanding condition. Because mang robes carried such great prestige, it is likely that most were buried with their owners and have not survived. For an archaeological example from the Zhengde period see Textiles and Embroidery: Series of Gems of Beijing Cultural Relics, Beijing, 1999, pls 35 and 36. A Wanli attribution for the present yardage is supported by comparison with the extensive corpus of robes and yardage found in the Dingling Mausoleum from the tomb of the Wanli emperor, see Catalogue of Relics from the Dingling Mausoleum, vols 1 and 2, Beijing, 2006.

The general format of the mang yardage and robes, with a large quatrefoil collar area comprising two large dragons and a narrow band of dragons near the hem, was retained in the early Qing dynasty for the formal robe of state (chaofu), but the tradition of imperial mang presentation robes had come to an end. For examples of early Qing dynasty mang yardage for a chaofu see one in the Philadelphia Art Museum  illustrated by Schulyer Cammann (op. cit. pl. 4) and yardage including the band in the Musée Guimet, Paris illustrated in Silk for Thrones and Altars, Paris, 2003. fig. 8.  A close stylistic comparison between  late Ming and early Qing dynasty mang panels is instructive and illuminates the compositional clarity and robust design elements that epitomize the compelling aesthetic of the late Ming dynasty.