HomeStatue - Old StockCollection Old Buddhist Handmade Statue of Prajnaparamita, Antique Finishing, Old Stock, Rare Find, Pragya Parmita

Old Buddhist Handmade Statue of Prajnaparamita, Antique Finishing, Old Stock, Rare Find, Pragya Parmita

US$1700

Code

HCS27225

Weight

5.4 Kg / 11.9 lbs

Size

44x29x24 Cm / 17.32 Inches

Material

Copper

Availability

Available

Filling and Blessing (Optional)

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Rare Find : what is a Rare find?
This [old] Buddhist Handmade Statue Of Prajnaparamita, [antique Finishing], Old Stock, [rare Find], Pragya Parmita is a rare find product, The Rare Find product is an uncommon and elusive product that is difficult to find and likely the only one available for sale. Once sold, [old] Buddhist Handmade Statue Of Prajnaparamita, [antique Finishing], Old Stock, [rare Find], Pragya Parmita will be removed from the listings or marked as sold. This rarity and exclusivity make it highly sought-after by collectors and enthusiasts, offering a unique and irreplaceable addition to any collection.

About Sacred Serenity Collection
This is a beautiful old Buddhist statue that carries a deep sense of spirituality and craftsmanship. These statues were made around 15 to 20 years ago and are crafted from pure copper. If the statue has gold, it has a thick layer of gold plating, unlike modern statues where using a lot of gold is expensive.
Skilled artisans, who were well-versed in religious teachings, made these statues. They followed traditional guidelines and sacred texts to create each statue with precise expressions and postures. The artisans believed they were creating representations of gods rather than just ordinary figures. This unique perspective is reflected in the statues themselves. Read More . . .

Antique Finishing
This is an antique patina-finished [old] Buddhist Handmade Statue Of Prajnaparamita, [antique Finishing], Old Stock, [rare Find], Pragya Parmita. This is not an antique statue. It is just an antique patina finish. This [old] Buddhist Handmade Statue Of Prajnaparamita, [antique Finishing], Old Stock, [rare Find], Pragya Parmita is a testament to the artisan's mastery of the art of aging. Its antique patina has been meticulously crafted to give the appearance of an aged statue, showcasing the artist's unique techniques and skills. Through undisclosed processes and careful aging treatments, the [old] Buddhist Handmade Statue Of Prajnaparamita, [antique Finishing], Old Stock, [rare Find], Pragya Parmita undergoes a transformation that captures the essence of time and history. Read More . . .

Lost-Wax System
This Collection of [old] Buddhist Handmade Statue Of Prajnaparamita, [antique Finishing], Old Stock, [rare Find], Pragya Parmita is made by the process of the Lost Wax system. This is a very complicated, time consuming and historic process of making metal sculptures.Which is why it is sometimes called Precision Casting as well. Hence the sculptures made by this process are comparatively expensive. There are many new, advanced and less time consuming methods of casting metal sculptures available as well. But due to the benefits provided by the traditional lost wax system in quality control and customization, we prefer the Loss wax system over Ceramic molding, or sand casting to make our Collection.
Below we have tried to illustrate the process of making a loss wax system statue:

The method of metal casting in which a molten metal is poured into a mold that has been created by means of a wax model. Once the mold is made, the wax model is melted and drained away. Bronze statues come to life differently than marble statues. Instead of carving a block or marble, the bronze artist uses the lost-wax technique to make a series of molds, and then pours melted bronze into the final mold to create the sculpture. This method has been around since 4500 BCE.

There are few important steps in lost wax casting process :
Step 1: Sculpting ( It all starts in the studio with an idea, Then figuring out how to realize the vision in clay.)
Step 2: Mold Making.
Step 3: Wax Pouring.
Step 5: Wax Spruing.
Step 6: Shell Dipping.
Step 7: Bronze Pouring.

Interestingly enough Loss wax process is also called Investment casting because after layers have been formed and dried, the wax is melted out of the ceramic tree by using steam (120Â°C) in an autoclave. This is why it is called "lost wax casting". The majority of the molten wax which can then be regenerated and is reusable.

Before Making statue :At work room making the wax models.

Softening a piece of wax over a brazier.

Relaxing after softening the wax The working environment with works in progress.

Working the face of an Ekajata wax model.

Working the face of wax model.Using a modeling tool to form the face of Ekajata.

Deatail of wax model

The design for Ekajata compared to the Tibetan book on which it was based.Statues Maker Are master in buddhism .

Detail of A partially finished Candamaharoshana (Acala) wax figure made in the Tibetan style.

A finished wax image of Mahakala.

Anthor Finished Wax Model of Shakyamuni Buddha

One of the modelers working in the room shows the Pehar image on which he is working.

The artist showed how the goat , which had been completed earlier, fits under the image. ,

Tej Jyoti Shakya and his wife, Nani Maya Shakya Covering the wax model in a mixture of clay and dung

Pressing the mixture of clay and dung around the wax image.

The board with the clay and dung mixture ready for use.

Model Pieces drying after the initial (dipped) thin layer of fine clay.

Clay-covered model pieces drying in the sun.

Molds waiting to be put into the burnout furnace

The same molds, seen in the previous image, in the burnout furnace

The double row of refractory bricks used to support the heated molds during casting.

The melting furnace and a pile of coke used for melting the metals. Laying the bed of coke in the melting furnace.

The first ignition of the coke.

Checking the coke bed.

The electric blower used to force air into the melting furnace

Beginning to fill the crucibles with scrap copper.

Preparing the bed of burning coke to receive the crucibles

Sorting various metals used in the alloys.

Weighing precious metals that are used in the alloys

Weighing copper from Singapore to achieve a correct alloy.

Different sizes of crucibles and various types of metals to be cast in this melt.

Placing the crucibles in the bed of coke filled with metal are in place.

After the crucibles are in place, more coke is piled around them.

The crucibles are covered with scrap metal to hold in the heat.

The electric fan is then connected.Soon a very hot flame is produced.

The entire furnace temperature goes up to about 1800 -1900 degrees.

Setting up molds in between the refractory bricks to receive the molten metal. Handling the molds with asbestos gloves and bracing them with fragments of bricks.

Pouring the molten metal into the base of a mold

Another view of the artists pouring the molten metal.Detailed view showing the molten metal being poured into the sprues.

Preparing to lift and pour molten metal from one of the larger crucibles.

Cooling a mold containing the recently poured metal.

Beginning to break away the clay mold from the metal casting. The mold breaks away revealing the metal image inside

The first metal image from the day's work.

Examining the image for flaws

Two auras (prabhamandalas), one that cast perfectly and one (in front) that only partially filled.

Opening more molds

Researchers mark specific metal images for future identification.

Cleaning the details of the image with a metal tool.

Sawing off the sprues from Aura image. The sprue metal will be reused in future castings.

Two auras that worked perfectly. The one on the right has been cut off of the sprues, while the one on the left still has the sprues attached.

The finishing specialist begins the finishing process with a set of tools, including a small hammer. to give more detail

The entire surface of the image will be gently hammered to a final, almost polished finish.

The finisher's tools and the work in progress

Finishing work on an image of the Buddha.

Hammering the chest of an image that is being held against the work block

A Buddha image hammered and chased to the final, detailed finish.

Cleaning in a very mild acid bath. The image and prabhamandala are placed in a final acidic bath to make sure the surface is absolutely clean.

Drying the image with a blow torch.

Read More . . .

About Prajnaparamita :

Prajnaparamita means "the Perfection of Transcendent Wisdom" in Mahayana Buddhism. Prajnaparamita refers to this perfected way of seeing the nature of reality, as well as to a particular body of sutras and the embodiment of the concept in the Bodhisattva known as the "Great Mother" (Tibetan: Yum Chenmo). The word Prajnaparamita combines the Sanskrit words prajna "wisdom" with paramita "perfection". Prajnaparamita is a central concept in Mahayana Buddhism and is generally associated with the doctrine of emptiness (Shunyata) or 'lack of Svabhava' (essence). Its practice and understanding are taken to be an essential part of the path of the Bodhisattva.

History :

Astasahasrika Pajanaparmita
Earliest Prajnaparamita Sutra is Astasahasrika Pajanaparmita Sutra, which was probably put in writing in the 1st century BCE. The first translation of the Astasahasrika Prajnaparamita also has a corresponding version in poetry format called the Ratnagu?asamcaya Gatha, which some believe to be slightly older because it is not written in Sanskrit. However, these findings rely on late-dating Indian texts, in which poetry and mantras are often kept in archive forms.

Mahayana Prajnaparamita teachings were first developed by the Caitika subsect of the Mahasamghikas. Astasahasrika Prajnaparamita Sutra originated amongst Mahasamghika schools and they had two copy of the Astasahasrika Prajnaparamita Sutra in Prakrit Script.

In 2012, A partially damaged, Kharosthi manuscript of the Astasahasrika Prajnaparamita was radiocarbon dated to 75 CE , making it one of the oldest Buddhist texts in existence.

Overview of the prajnaparamita Sutra :

The teaching of Prajnaparamita is classified as inferior to superior, Based on the grade of the disciple.
For example,

The inferior was taught to the merchants, Trapusa and Bahalika because they were ordinary men,
The middle was taught to the group of people who were at the stage of becoming saints or are already saints;
The Superior [the eightfold Prajnaparamitas] were taught to bodhisattvas.

The eightfold Prajnaparamitas are the teachings of the Prajnaparamita which can be categorized as:

Trisatika Prajnaparamita Sutra :300 lines, alternatively known as the Vajracchedika Prajnaparamita Sutra (Diamond Sutra)
Pancasatika Prajnaparamita Sutra: 500 lines
Saptasatika Prajnaparamita Sutra :700 lines, the bodhisattva Manjusri's exposition of Prajnaparamita
Sardhadvisahasrika Prajnaparamita Sutra : 2500 lines, from the questions of Suvikrantavikramin Bodhisattva
Astasahasrika Prajnaparamita Sutra :8000 lines
Astadasasahasrika Prajnaparamita Sutra :18,000 lines
Pancavimsatisahasrika Prajnaparamita Sutra : 25,000 lines, alternatively known as the MahaPrajnaparamita Sutra
satasahasrika Prajnaparamita Sutra :100,000 lines, alternatively known as the MahaPrajnaparamita Sutra
Pancavimsatisahasrika Prajnaparamita Sutra :(25,000 lines)
satasahasrika Prajnaparamita Sutra : (100,000 lines) have a connection with the Dharmaguptaka sect, while the Astasahasrika Prajnaparamita Sutra (8000 lines) does not.

The titles of these eight Prajnaparamita texts are given according to their length. The texts may have other Sanskrit titles as well, or different variations which may be more descriptive.

There are also other Prajnaparamita sutras the Heart Sutra (Prajnaparamita H?daya), and Diamond Sutra which exists in a shorter and longer version. these two sutras are in a class by themselves and deservedly renowned throughout the world of Northern Buddhism.

You may also want to read the related articles :

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