SQUATTING ELEPHANT.

Mid-late Qing Dynasty, China. Jadeite(?): Greenish yellow-green with brown markings and added color in incisions. Elephants, considered one of the Seven Treasures of Buddhism, appear frequently in Chinese Buddhist art, and four-tusked versions are the vehicle of the popular Samantabhadra, one of the favorite disciples of Buddha (SNY 6/3/92, #227, an uncommon single-tusked blanc-de-chine version). The beasts are also considered “the symbol of strength, sagacity and power” (D’Argence, p. 100, pl. XLIII), and are associated with the virtues of longevity and prudence. Through a homonymic connection, Tai Ping Youxiang, an elephant bearing a vase is thought to be “… symbolic of universal peace” (Thorp, p. 94). Another homophone, Ji Xiang Ruyi, links an elephant and ruyi fungus with the concept of “safety, wealth and satisfaction” (CTAP p. 129). Examples dated to the late Tang, Song, and Yuan periods are known in the literature (ACGB, p. 72, #205; Green, p. 34; Gure, pl. 23, #3: CNY 5/30/90, #165; Watt 2, p. 75, #56) and Paludan writes that “The Song were probably the first dynasty to see elephants regularly on their spirit roads” At the Gengzian tombs of the Northern Sung, the elephants were attended by Indians (Paludan, p. 380). During the Ming and Qing, elephants were among the most frequently depicted creatures in the decorative arts, including cloisonne (Thorp, #31-2), metal (Sparks 2, p. 137: J.M.M., p. 332, pl. 6; Scrutator, p. 231 and ceramic, notably the famed Buddhist glazed tiles from Bao’en Temple in Nanjing (Thorp, #51) and export ware famille rose and blanc-de-chine models (OFA, p. 4; SNY 6/3/92, #227 and also #96, a Ming marble blanketed pair). Within the repertoire of animal shapes of Ming and Qing jade workshops, elephants are prominent motifs. Often they are depicted as elaborately caparisoned, with a detailed blanket, tassels and jewels, and perhaps a rider seated on its back in an elegant throne-like chair or a flower-bearing vase carried on its back (Paludan, p. 377; Keverne, title page; Watt Seattle, p. 101, #82; Watt 2, p. 75, #57). Children in groups of two, three or more may swarm around the friendly beast, and if there is a child carrying a vase, a rebus translated as “Peace in the land” (Tai Ping Jingzen) is inherent in the complex form (Ip, p. 182, #166). There may be lotus leafs and flowers, or ruyi vegetative scrolls held in the mouth and trunk of the elephant; indeed, as in this sculpture, elephant ears often appear loti-form. One of the major problems faced by jade workshops over the centuries has been how to free the legs, trunk, and tusks from the body, allowing the legs to function as supports for the heavy body as they do in real life. The overall form of the elephant is given by the standard boulder or pebble shape of the raw material, and early examples respect, and cling to, the contours of that material. The creature is posed in recumbent position, legs and trunk tucked in and under the body and tusks contained within the general frame. If the animal must appear to stand, the artists simply indicated the presence of legs through incisions or slight modelling, without releasing them from the material (CSHK, #881; Spink 81, #82; Ip, p. 166, #153; Schedel, pp. 56-7 #13; Watt 2, p. 75, #56; Hai, p. 118. #118). A common Ming solution was to provide a cloud-form support upon which the short stubby legs could stand, furnishing a base for the sculpture: Morgan suggests that perhaps as jade supplies dwindled in the Ming. “… the idea of giving strength to a standing animal by some simple base in the form of a landscape or waves was developed” (BSL, p. 30; and also see Ip, p. 164, #151; Watt Seattle, p. 89, #54). If the legs were independently indicated, there might be but a small pierced space between body and legs or the legs might be very short and stubby, barely emerging from the bulk of the material (D’Argence, p. 100, pl. XLIII; BSL, #75). Releasing the legs to function by themselves as believable supports for the weighty body, and allowing the tusks and trunk to emerge from the body, are workshop techniques associated with later periods. All three of the jade elephant sculptures in the Yangtze River Collection are upright, standing on four legs which are freed from the bulk of the material. The first of these examples depicts a rather charming if misshapen animal, short trunk upraised, lotus-shape ear carved in relief, eye area simplistically incised in a “sunrise” form, skin flaps more deeply incised, front legs gently bent, and back legs tucked under the hindquarters. A small curved tall briefly emerges from the hind end, and the back curves sharply away and down from the raised head. The entire configuration undoubtedly reflects the pebble or boulder form from which it was shaped. The shape and finish are relatively crude for the Qing and the ungainly body suggests an earlier date, but certain features such as the toe nail and eye delineations appear to be identical technically with the features of the following elephant, which is certainly not earlier than the mid-18th-19th century. The use of jadeite to fashion both elephants also indicates that these carvings are of a later date than would seem to be indicated by their style. Reference: The Yangtze River Collection, Later Chinese Jades published by Helga Wall-Apelt, 1993. SIZE: 5″ x 7.38″ x 2.5″. (12.7 x 18.7 x 6.4 cm.) CONDITION: Very good with variegated color, fissures and inclusions. 9-94917 (1,000-1,500) – Lot 53

Auction: FAAA - Wall-Apelt Collection - March 2015

Please Note: All prices include the hammer price plus the buyer’s premium, which is paid by the buyer as part of the purchase price. The prices noted here after the auction are considered unofficial and do not become official until after the 46th day.

Image	Lot	Price	Description
	53	$1,111.50	SQUATTING ELEPHANT. Mid-late Qing Dynasty, China. Jadeite(?): Greenish yellow-green with brown markings and added color in incisions. Elephants, considered one of the Seven Treasures of Buddhism, appear frequently in Chinese Buddhist art, and four-tusked versions are the vehicle of the popular Samantabhadra, one of the favorite disciples of Buddha (SNY 6/3/92, #227, an uncommon single-tusked blanc-de-chine version). The beasts are also considered “the symbol of strength, sagacity and power” (D’Argence, p. 100, pl. XLIII), and are associated with the virtues of longevity and prudence. Through a homonymic connection, Tai Ping Youxiang, an elephant bearing a vase is thought to be “… symbolic of universal peace” (Thorp, p. 94). Another homophone, Ji Xiang Ruyi, links an elephant and ruyi fungus with the concept of “safety, wealth and satisfaction” (CTAP p. 129). Examples dated to the late Tang, Song, and Yuan periods are known in the literature (ACGB, p. 72, #205; Green, p. 34; Gure, pl. 23, #3: CNY 5/30/90, #165; Watt 2, p. 75, #56) and Paludan writes that “The Song were probably the first dynasty to see elephants regularly on their spirit roads” At the Gengzian tombs of the Northern Sung, the elephants were attended by Indians (Paludan, p. 380). During the Ming and Qing, elephants were among the most frequently depicted creatures in the decorative arts, including cloisonne (Thorp, #31-2), metal (Sparks 2, p. 137: J.M.M., p. 332, pl. 6; Scrutator, p. 231 and ceramic, notably the famed Buddhist glazed tiles from Bao’en Temple in Nanjing (Thorp, #51) and export ware famille rose and blanc-de-chine models (OFA, p. 4; SNY 6/3/92, #227 and also #96, a Ming marble blanketed pair). Within the repertoire of animal shapes of Ming and Qing jade workshops, elephants are prominent motifs. Often they are depicted as elaborately caparisoned, with a detailed blanket, tassels and jewels, and perhaps a rider seated on its back in an elegant throne-like chair or a flower-bearing vase carried on its back (Paludan, p. 377; Keverne, title page; Watt Seattle, p. 101, #82; Watt 2, p. 75, #57). Children in groups of two, three or more may swarm around the friendly beast, and if there is a child carrying a vase, a rebus translated as “Peace in the land” (Tai Ping Jingzen) is inherent in the complex form (Ip, p. 182, #166). There may be lotus leafs and flowers, or ruyi vegetative scrolls held in the mouth and trunk of the elephant; indeed, as in this sculpture, elephant ears often appear loti-form. One of the major problems faced by jade workshops over the centuries has been how to free the legs, trunk, and tusks from the body, allowing the legs to function as supports for the heavy body as they do in real life. The overall form of the elephant is given by the standard boulder or pebble shape of the raw material, and early examples respect, and cling to, the contours of that material. The creature is posed in recumbent position, legs and trunk tucked in and under the body and tusks contained within the general frame. If the animal must appear to stand, the artists simply indicated the presence of legs through incisions or slight modelling, without releasing them from the material (CSHK, #881; Spink 81, #82; Ip, p. 166, #153; Schedel, pp. 56-7 #13; Watt 2, p. 75, #56; Hai, p. 118. #118). A common Ming solution was to provide a cloud-form support upon which the short stubby legs could stand, furnishing a base for the sculpture: Morgan suggests that perhaps as jade supplies dwindled in the Ming. “… the idea of giving strength to a standing animal by some simple base in the form of a landscape or waves was developed” (BSL, p. 30; and also see Ip, p. 164, #151; Watt Seattle, p. 89, #54). If the legs were independently indicated, there might be but a small pierced space between body and legs or the legs might be very short and stubby, barely emerging from the bulk of the material (D’Argence, p. 100, pl. XLIII; BSL, #75). Releasing the legs to function by themselves as believable supports for the weighty body, and allowing the tusks and trunk to emerge from the body, are workshop techniques associated with later periods. All three of the jade elephant sculptures in the Yangtze River Collection are upright, standing on four legs which are freed from the bulk of the material. The first of these examples depicts a rather charming if misshapen animal, short trunk upraised, lotus-shape ear carved in relief, eye area simplistically incised in a “sunrise” form, skin flaps more deeply incised, front legs gently bent, and back legs tucked under the hindquarters. A small curved tall briefly emerges from the hind end, and the back curves sharply away and down from the raised head. The entire configuration undoubtedly reflects the pebble or boulder form from which it was shaped. The shape and finish are relatively crude for the Qing and the ungainly body suggests an earlier date, but certain features such as the toe nail and eye delineations appear to be identical technically with the features of the following elephant, which is certainly not earlier than the mid-18th-19th century. The use of jadeite to fashion both elephants also indicates that these carvings are of a later date than would seem to be indicated by their style. Reference: The Yangtze River Collection, Later Chinese Jades published by Helga Wall-Apelt, 1993. SIZE: 5″ x 7.38″ x 2.5″. (12.7 x 18.7 x 6.4 cm.) CONDITION: Very good with variegated color, fissures and inclusions. 9-94917 (1,000-1,500) – Lot 53 Auction: FAAA - Wall-Apelt Collection - March 2015 Please Note: All prices include the hammer price plus the buyer’s premium, which is paid by the buyer as part of the purchase price. The prices noted here after the auction are considered unofficial and do not become official until after the 46th day.

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SQUATTING ELEPHANT.