A MAGNIFICENT GILT-BRONZE CAPARISONED ELEPHANT MARK AND PERIOD OF YONGLE

standing four-square, the young pachyderm laden with an elaborate U-shaped saddle blanket moulded with lotus and vines, supporting a beribboned vase secured on a lotus stand, containing three flaming pearls, the beast further bedecked with studded harnesses, trappings and tassels, the lively face with small beady eyes framed by triangular ears with visible veins, his trunk raised in jubilation wrapped around a large trumpet-like horn flanked by a pair of sharp tusks, all supported on a lobed waisted base with a diamond diaper ground, terminating in scrolling ruyi-shaped feet, the gilded surface well-worn in areas from rubbing, the front of the base inscribed with a six-character reign mark

The Magnificent Yongle Gilt-bronze Figure of an Elephant
Hajni Elias

Gilt-bronze sculptures of the Yongle period are amongst the most exquisite pieces made during the Ming dynasty and those inscribed with a Yongle reign mark are even more special. Although Yongle Buddhist sculptures can be found in museums and important private collections around the world, figures of animals with an imperial reign mark, such as the present piece, are extremely rare. The six-character inscription reads Da Ming Yongle nian shi and can be translated as 'Bestowed in the year of the Yongle reign of the great Ming dynasty'. No other closely related example appears to be recorded, making this elephant figure a unique piece.

This sculpture of an elephant, one of the most sacred animals in Buddhism and Chinese folk religion, is outstanding for its quality and workmanship. The technique of casting is faultless with meticulous attention paid to the minutest details such as the elaborate ornamentation of the saddlecloth and trappings, the lively facial expression of the animal and the naturalistic depiction of its head held high and its trunk clutching a horn. The richness of the gilding is especially noteworthy and the muted area of gilding, where the animal was rubbed for good luck over time, shows its considerable age. It is the product of the Ming imperial workshops where gilt-bronze sculptures were made on imperial command. The Yongle emperor had a special relationship with the Tibetan religious hierarchy and Tibetan monks were frequently invited to the capital to perform rituals and ceremonies for him and his family. These monks received special treatment and were sent back to Tibet with lavish gifts for the high lamas which included the many famous Yongle Buddhist sculptures still seen today. The present piece was possibly made as a gift bestowed by the emperor.

In Buddhism the elephant is a symbol of mental and physical strength. While at the beginning of one's practice the uncontrolled mind is represented by a grey elephant that can run wild and can be destructive, after practicing the Dharma the mind is tamed and is symbolized by a white elephant that is calm and strong. The Shakyamuni Buddha was born as an elephant in one of his previous incarnations and in Buddhist iconography, the bodhisattva Samantabhadra rides a white elephant. In traditional Chinese mythology the elephant is associated with the mythical Emperor Shun, one of the twenty-four paragons of filial piety.

This figure is abundant in Buddhist symbolism. The animal is carrying a flower vase which represents an offering to the deity being worshipped. The vase can also imply the concept of a treasure vase that is one of the Eight Auspicious Symbols of Buddhism. The treasure vase suggests spiritual abundance and represents the fulfilment of one's spiritual wishes. The elephant is depicted lifting up a trumpet-like vessel with its trunk. Trumpets in Buddhist ceremonies are used for making sounds that dispel evil. It also signifies the sound of the Buddhist Law. The ears of the elephant, with thin veins running through, resemble the leaves of the lotus flower. The lotus in Buddhism represents spiritual purity. Buddhists believe that just like the lotus that rises from the muddy ponds to blossom above the water's surface, people's hearts and minds can also transcend and reveal its essential pure nature. The lotus gives the message that potentially all beings can attain buddhahood.

In Chinese folklore, the elephant is a symbol of peace and the phrase 'taiping youxiang, yutang fugui' (may there be peace and may your noble house be blessed with wealth and honour) is one that is traditionally used during New Year celebrations.

The Chinese word for 'elephant' xiang is a homonym for the word 'sign'. The phrase 'taiping youxiang' which translates as 'when there is peace, there are signs', is represented by an elephant carrying a vase (ping) on its back as a pun for 'peace' (taiping). 

For examples of gilt-bronze figures of elephants, see a caparisoned elephant figure, cast standing with its head raised facing forward, attributed to the 15th century, sold at Christie's London, 16th April 1980, lot 59; and another elephant figure in a similar pose but standing with each foot on a shallow lotus, attributed to the 16th century was offered at Christie's London, 10th April 1984, lot 286. See also a Ming gilt-bronze figure of Samantabhadra riding on an elephant, cast with naturalistic folds in the hide and caparisoned with tasselled trappings, sold in our London rooms, 29th October 1982, lot 124.