A rare bronze figure of Samantabhadra on an Elephant China, Yuan / Ming dynasty

the deity seated upon a large lotus base rising from the saddle of a striding elephant with triple-tusks, the beast richly caparisoned with bells, jewels, draped cloths and lotus flowers and leaves, one rising to support the pendant leg of the deity whose hands rest either in the lap or supporting up a diamond-vajra, the slender-waisted torso left bare and adorned with jeweled necklaces, and the serene face framed by a high tiara set with central stupa, heavy traces of lacquer overall slightly obscuring the fine incised and punched detailing

The figure is in good condition with a break to the scarf wrapped around the proper left elbow. There is a small casting fault at the elephant's front right ankle. Some expected wear to the lacquer.
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.

Samantabhadra is identified by its characteristic vahana or vehicle, the white elephant, and is more typically associated with its counterpart bodhisattva, Manjusri, riding a blue lion, either as a pair of bodhisattvas or within a triad group flanking the historical Buddha Sakyamuni. Occasionally, votive images of one or the other bodhisattva were worshipped alone, set upon tiered pedestal bases, which the present image would also most likely have possessed. Although the present figure, with its attenuated body proportions and tapering chubby face, is more typical of the Yuan style, compare a related version from the Liao / Northern Song period, in Saburo Matsubara, Chinese Buddhist Sculpture, Tokyo, 1966, pl.301(b). The triple tusks of the elephant is a noteworthy early feature, which appears on cave frescoes and silk paintings from the late Six Dynasties period onwards but seems to have become obsolete by the end of the Yuan period.