Achalanatha the Immovable Buddha

$247.50
$330
(25% off)
Item Code: EO35
Specifications:
Copper Statue Gilded with 24 Karat Gold
Height: 9.3 inch
Width: 7.3 inch
Depth: 4 inch
Weight: 2 kg
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
More than 1M+ customers worldwide
More than 1M+ customers worldwide
The Vidyarajas (Japanese Myo-o) are kings of mystic or magical knowledge symbolizing the power and the victory of the five Jinas over the passions and desires. They are wrathful (krodha, Japanese funnu) emanations of the Jinas and of their servants. They possess the knowledge and force contained in mantras. According to another explanation, they are also 'irritated forms which the energy of the adept himself assumes on meeting obstacles'; these deities with an irritated expression 'demonstrate the wrath of the great compassion which brings to beings the succor of the Good Law.' In Japan they are also named the Daison Myo-o (great and venerable kings of magic knowledge). In India and in the Hindu pantheon, they are represented by the Bhairavas ( the 'terrifying') and the Krodharajas, or kings of wrath who devour flesh.

Their cult was introduced from China into Japan by the followers of the Shingon sect. Initially considered as esoteric deities, they were popularized, probably from the thirteenth century, the monks ascribing to them the power of protecting humans against the evil influences coming, according to an ancient Chinese belief, from the Kimon (in the north-east) or the 'gate of demons'.

Among these kings of magic knowledge, five great Vidyarajas are distinguished (called Godai Myo-o or Godai-son in Japan) corresponding to the five Jinas. According to the Ninno-kyo Mandara ('the mandala of the Good Kings'), the five great Vidyarajas are:

1) The center, Achalanatha, corresponding to Vairochana.
2) In the east, Trailokyavijaya, corresponding to Akshobhya.
3) In the south, Kundali, corresponding to Ratnasambhava.
4) In the west, Yamantaka, corresponding to Amitabha.
5) In the north, Vajrayaksha (Vajrapani), corresponding to Amoghasiddhi.

Achalanatha also known as Fudo-Myo-O in Japanese, and Budong Fo in Chinese, is believed to be a manifestation of the Dhyani-Buddha Vairochana for the purpose of combating evil. He is believed to be the chief of the five Vidya Rajas.

His appearance is fierce and angry, face menacing, his brows knit together, and expression one of grimace. He is described in many sutras and particularly in the Mahavairochana-sutra. His symbol, the vertically held sword aids him to combat the 'three poisons': greed, anger and ignorance. In the left hand he holds a lasso (pasha) to catch and bind the evil forces and to prevent them from doing harm. Achalanatha, having taken a vow to prolong the life of the faithful by six months and to give them an unshakable resolution to conquer the forces of evil, is sometimes invoked in this respect as the 'prolonger of life'.


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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.
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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.
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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.
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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.
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