元 白玉四臂觀音坐像

the even white stone finely worked, smoothed and polished in the form of four-armed Shadakshari Lokeshvara seated in vajraparyankasana with the main hands held in anjalimudra, the other two holding mala beads and a lotus stalk respectively, the figure adorned with an elaborate crown

The jade figure is in overall good condition except minute nicks to the extremities as can be expected. There are small possibly polished down nicks to one finger and the tips of the crown.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Dalai Lama, whose title was bestowed by the Mongols in the Yuan dynasty, was revered as the emanation of Shadakshari Lokeshvara, the form of the compassionate Bodhisattva. For a Yuan dynasty silvered bronze figure of Shadakshari Lokeshvara combining Chinese and Newar techniques and attributed to Anige, see the example in the Virginia Museum of Fine Arts, from the John and Berthe Ford collection, illustrated by John Huntingdon and Dina Bangdel, The Circle of Bliss. Buddhist Meditational Art, Los Angeles, 2003, p. 182, no. 45.

For another white jade figural carving of closely related craftsmanship, depicting a flying boy issuing from a lotus, dating to the Song / Yuan period, see Zhou Nanquan, Ancient Jades in Man Immortal and Buddha, Tainan, 1995, pls. 250-1. The treatment of the sensitively rendered facial features, the distinctive delineated lines on the sleeves and hems of the robe, and the dynamic contrast between the rounded curves of the body and the sharp angular corners of the robes, closely match that on the current figure.