Manjushri

$187.50
$250
(25% off)
Item Code: ZN42
Specifications:
Copper Sculpture gilded with 24 Karat Gold
Height: 8.2 inch
Width: 6 inch
Depth: 3.3 inch
Weight: 1.50 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
Some thoughts on Manjushri:

Once at a meeting of numerous bodhisattvas at the house of Vimalakirti, the lay disciple of Buddha, a debate developed on the meaning of nonduality, an essential precept of Buddhist thought. After many bodhisattvas had finely expressed their opinions on the subject and their success at understanding its essence, it came to Manjushri's turn. He got up and announced that all the previous speeches were themselves conditioned by linguistic limitations and were subtly dualistic. When Manjushri turned to Vimalakirti and asked for his views, Vimalakirti just maintained silence, thus demonstrating the truth of Manjushri's statement.

This story is a beautiful reflection on the irony of scholarship attempting to express itself through a medium (speech/language), which contains within itself a contradiction of the very fundamental ideals which it proposes to expound. In this particular case Manjushri identifies this sublime and intrinsic inconsistency. An exalted individual may wax eloquent upon the virtues of non-duality and his grasp of this abstract concept, but the very language used to expresses these views is inherently dual as it is composed of word and it's meaning, two exclusive entities. This subtle, nonetheless significant gradation brings home a profound truth taking the wind out of any sense of achievement derived out of purported scholarship. Verily thus Manjushri carries in his two hands a book and a sword.

This sword is there to cut of fetters born not out of ignorance but those which arise through knowledge, signified by the book. This is not a negation of bookish knowledge, but only an assertion of the realization that unless we gain it we cannot know the futility of it in the quest towards ultimate spiritual truths. Manjushri appropriately suggests not the path of renunciation but that of righteous karma. A Zen story illuminates this aspect:

Once the chief cook of a temple on Mount Wutai (the favorite mountain of Manjushri), was busy making lunch. Manjushri repeatedly appeared sitting above the rice pot. This chief cook, who later became a noted Zen master, finally hit Manjushri with his stirring spoon and drove him away, saying, "Even if old man Shakyamuni came, I would also hit him" In Zen temples the position of chief cook is highly esteemed. This story denotes the priority of taking care of everyday life, beyond attention to high-flowing rhetoric. Caring for the details of daily life is sometimes seen as more important than spending time in studying sutras or in concentration in the meditation halls, and indeed many monks perhaps including this chief cook, have been encouraged to abandon any preference for meditation over ordinary work.

Reconciling Manjushri's actions with his status as a bodhisattva we realize that here we see a rare but distinctly significant affirmation in Buddhist thought of an existence composed of normal and 'ordinary' family life rather than that of denial. The carrying out of one's duties is as spiritually fulfilling an activity as any other 'bodhisattvic' deed. Consider for example the activity of cooking. The Bhagvad Gita says that one who cooks for others acquires the highest merit, while that who selfishly cooks food only for his own consumption commits a sin. Likewise the temple cook was engaged in an effort of the highest merit. Indeed for contemporary times this is an ultimate tribute to those women of the house who diligently provide us with sustenance which fulfills not only our physical needs, but also nourishes us spiritually.


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Of Related Interest:

Five forms of Manjushri (Tibetan Thangka Painting)

Japanese Manjushri (Copper Sculpture)

Manjushri (Sterling Silver Pendant)

Manjushri (Sterling Silver Ring)

The Bodhisattva Doctrine in Buddhist Sanskrit Literature (Book)

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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