Six Armed Mahakala

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Name: Six Armed Mahakala
Brand: Exotic India
SKU: ZO83
Price: 470.00 USD
Availability: InStock

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Item Code:	ZO83
Specifications:	Copper Sculpture gilded with 24 Karat GoldArtist Shri Madan Prajapati
Height:	11 inch
Width:	8 inch
Depth:	3.6 inch
Weight:	4 kg

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Mahakala was the personal tutelary deity for the Mongol ruler Kublai Khan. His terrifying imagery ultimately derives from the angry form of the Hindu god Shiva, known as Bhairava. In Tibetan iconography he typically has one head with three bulging eyes. His eyebrows are like small flames, and his beard is made of hook-like shapes. He can have two to six arms.

Mahakala is shown here in his six-armed form. His three eyes signify his power to comprehend the past, present, and future. His five-skulled crown is symbolic of the five poisonous delusions which plague our mortal existence. These are anger, desire, ignorance, jealousy, and pride.

His six arms hold various symbolic implements:

The first right hand holds a curved knife. In Mahakala's symbolism the curved knife cuts through the life veins of enemies such as oath-breakers and hindering spirits; and the skull cup in his primary left hand is filled with the heart-blood of these enemies. This crescent shaped chopper, corresponds in shape to the cavity of the skull cup and functions to make 'mincemeat' of the hearts, intestines, lungs, and life-veins of enemies hostile to the Dharma, which are then collected in the skull cup. A similar crescent shaped hand cleaver is used in oriental cuisine to chop meat and dice vegetables.

Just as the thunderbolt is typically paired with the bell, so do the chopper and skull cup generally accompany each other. The symbolism of the two pairs may be the same. Since the chopper is the instrument for cutting through the fog of ignorance, it represents method, the masculine principle, while the cup symbolizes wisdom, the feminine principle. In many ways, the chopper serves the same purpose as the dorje or the Phurpa and is employed in rituals of exorcism by priests and shamans.

The next right hand holds a damaru, the rattle of which signifies the primordial sound from which is said to have originated all manifested existence.

The uppermost right hand holds a rosary of skulls. The continuous counting of the rosary is a symbol of perpetual activity, which Mahakala achieves on a cosmic scale.

The two remaining left hands hold a trident and noose respectively. The noose is for lassoing those of us who have strayed from the path of the Dharma while the trident represents the Three Jewels of Buddhism, the Buddha, the Dharma, and the Sangha.

Mahakala's left leg is stretched and the right is bent, while he tramples on an elephant faced entity. The elephant here is a symbol of obstacles, and thus Mahakala tramples upon all obstructions in the way of the Dharma.

This sculpture was created in the city of Patan, near Kathmandu (Nepal).

How are Nepalese copper statues made?

Nepalese statues and sculptures are best known for their unique small religious figures and ritual paraphernalia for over two thousand years. These are mainly cast in copper alloy. Nepal draws influences from the artistic styles of Buddhism and Hinduism, and therefore the sculptors of the country specialize in making the icons of both these religions. Over the years, Nepalese sculptures evolved into their own distinctive iconography. Some characteristic features of these sculptures that differ from other pieces are exaggerated physical postures, youthful and sensual features, languid eyes, wider faces having serene expressions, and ornate flourishes. The Buddhist deity icons of Nepal have tremendous demand in countries such as China and Tibet for ritual purposes in their temples and monasteries.

Nepalese statues and sculptures have a high copper content and therefore develop a slightly reddish patina on the surface as they age. However, the most unique feature of Nepalese copper statues is their decorative detailing. The pieces are heavily gilded and sometimes inlaid with semi-precious stones. This embellishment protects them from getting tarnished. The traditional lost-wax method for casting Nepalese copper statues remains the most practiced technique in Nepal for many centuries. This process involves many steps and requires skilled artists.

The first step in lost-wax sculpting is to make a wax replica of the desired Buddhist deity to be cast in copper. This replica is created by hand and therefore needs excellent artistic skills otherwise fine features will be lacking.

Once the wax replica is made, it is then coated with a special mixture of clay with a brush. This layer of clay is hardened when left to dry. A small hole is made on the base of the wax mould so that the wax flows away when it is heated.

At this stage, a hollow mould in the shape of the deity is obtained.

This is the time to pour liquid copper into the hollow mould which is then allowed to cool and harden inside a container of cold water. When the liquid metal has hardened, the mould is removed and the statue within is revealed.

The artist works on the details of the statue using various tools. It is then polished to get a shiny and lustrous surface.

Now comes the most important part of Nepalese art which is gold gilding. This is done by the traditional fire gilding method. A mixture of mercury and 18K gold is applied on the surface of the statue and heat is applied using a flame torch. The result is that mercury evaporates along with impurities, leaving a pure 24K gold finish.

The lost-wax method of sculpting is the most preferred technique

for artists to cast a metallic statue having intricate details. Since Nepalese copper sculptures require extraneous effort for giving a majestic look by adding special embellishments, it takes several weeks to complete one masterpiece. A 24K gold gilded copper sculpture retains its brilliant luster for many years and appears as like before. Nepalese sculptures continue to remain one of the finest specimens of the art of the East that have a strong aesthetic appeal that other sculptures cannot match.