The Way to Creative Enlightenment

$690
Item Code: EN14
Specifications:
Copper Statue Gilded with 24 Karat Gold
Height: 17 inch
Width: 12.5 inch
Depth: 6.5 inch
Weight: 7 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
Long, long ago, before the idea called history evolved, there existed a sexless entity called the Adi-Buddha or Primordial Buddha. From 'Him' emerged the duality which was to be the potential progenitor of all creation. This dual element is visualized in Buddhist aesthetics either as the deity Vajrasattva or Vajradhara . The significant characteristic common to them is the bell (female) and thunderbolt (male), which they hold in their hands. These deities are believed to be two expressions of the same principle, and the wellspring of all creation.

Seated in padmasana on a high, multi-pedestal throne, supported by two lions and numerous auspicious vases, and the Dharmachakra with its eight spokes inscribed at the center is Vajrasattva. Sattva means a 'sentient being,' and vajra of course is the quintessential symbol of Tibetan Buddhism, representing its indestructible power. His right hand holds a five-pronged vajra, which symbolizes the five Dhyani Buddhas. Here it is interesting to observe that Vajrasattva is considered by some to be the sixth Dhyani Buddha and the priest of the group. His left hand is placed on the corresponding thigh, holding a vajra-ghanta (bell). When paired with each other, these two ritual implements take on an added significance. The vajra represents the compassion of the Buddha, the masculine principle; and the bell symbolizes wisdom, the female principle. To achieve creative enlightenment, these two elements must be combined. The bell is visualized as the Buddha's body, the vajra as his mind. The sound of the bell is believed to be the Buddha's speech in teaching of the dharma.

During meditation on Vajrasattva, a vajra is placed on the chest of the practitioner, meaning that Vajrasattva is brought to the meditator, and they become one and inseparable. Ringing a bell then represents the sound of Buddha teaching the dharma and symbolizes the attainment of wisdom and the understanding of emptiness.

Vajrasattva's body is slender and lissom. There is a sacred mark between the eyebrows, representing wisdom. His neck has three folds, which are derived from the auspicious conch shell blown at Buddhist ceremonies, and which signify the sweetness of his own speech. The sensitive and thin red lips lend a pleasant character to the facial expression, while the five-pronged crown and the numerous jewels adorning his from celebrate his pre-eminent status in the Buddhist pantheon, a fact which is reaffirmed by the high throne forming his seat and the finely crafted golden, flaming aureole at the background.

This sculpture was created by Shri Madan Prajapati of Lalitpur (Patan), belonging to a traditional family of sculptors.


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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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