Cheppu : About Chephu
Cheppu is one among the three siblings Garuda, Cheppu, and Hiti Manga. It is informed that once the mother of these siblings, mentioned her better half to conceive an offspring of such a child who might be the boldest, generally honest, and entitled with every single unrivaled imprint. Her better half advised her to hang tight for a specific period. She being impotency to hang tight for an extensive stretch, looked the home if he was conceived. She discovered Cheppu in a pre-mastered condition just with the arrangement of the head.
Cheppu is portrayed in his fierce appearance eating up showing just 50% of Cheppu's body and eating up Naga(snake).
It is additionally informed that Cheppu vanished from the world as he would not like to see the kaliyuga, the incredible yuga, when the evil would totally victorious over the great and the world would be obliterated by Vishnu in his manifestation as kalki, the destroyer. Knowing his fortitude, honesty and entitled with every one of the better stamps Manjushree needed than see him and mentioned him to show his full structure. He showed up gradually in the midst of the cloud. Manjushree, as a veteran craftsman, quickly drew his structure by his foot subtly without the information on Cheppu. At the point when Manjushree could complete to draw his head just he came to know Manjushree's misdirection and promptly vanished. Because of his valiance, honesty and every unrivaled imprint, he was given the spot at the highest point of the fundamental passage of the sanctums for the assurance from every one of the risks. Nagas(serpents) are the food of Cheppu.
Along the narratives of Manjushree, comes an intriguing and interesting story joined to Cheppu â The Mythical Creature:
Quite a while past, the Kathmandu Valley was just an enormous lake occupied by the endless number of sea-going creatures. Most of them were the Nagas (snakes). Along these lines, this valley was otherwise called Naga Daha, which means the "Home of the Serpents'.
One day Manjushree Bodhisattva (a Buddhist god from China) stayed with this valley. He loved the valley. He loved the valley such a lot of that he needed to make a delightful town out of it . With this aim he promptly slice through the southern slope of the valley with one stroke of this his incredible sword (Chandrahara) and depleted off the water. This constrained every one of the occupants of the lake to leave, as they couldn't do anything against the omnipotent Manjushree. Be that as it may, an animal called Cheppu waited. When by his yogic force Manjushree detected that there was somebody actually covered up some place under the remainder of the lake, he instructed the last to leave the water in a flash. He was frightened when he saw that he was unable to conflict with the force of Manjushree. In this way, he said he would leave the lake if Manjushree would vow not to take a gander at his shocking element when he moved out of the lake. As indicated by the guarantee, Manjushree shut his eyes and Cheppu arranged to emerge from the water. As the dread stricken animal pushed half of his terrible body over the surface, Manjushree couldn't resist the opportunity to open eyes covertly, wondering for no specific reason. At the point when Cheppu saw Manjushree open his eyes, he got so vexed that he immediately plunged back profound under the water to conceal himself once more. Manjushree, embarrassed about breaking his guarantee, before long haggled with Cheppu guaranteeing him that he could never trouble again to seen by anybody). He additionally guaranteed that he would permit him to involve an exceptionally critical spot in the blessed sanctuaries of Nepal (he planned to develop soon in the valley) and stay there half-covered up for eternity.
This story appears to clarify a ton about our engineering custom of showing just 50% of Cheppu's body over the tympanums of the sanctuary entryways. Regardless of whether this legendary story contains any trace of legitimacy or not issue the least. What includes in the social worth it reflects and the creative interest it leaves for the whole gang to comprehend and appreciate.
Cheppu - The Mythical Creature
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Gold Painted Face
The face of Buddhist Handmade Statue Of Maitreya Buddha On Throne, With Cheppu [face Painted], [gold Plated] is painted with gold to enhance its significant features, particularly the eyes, and lips. This detailed painting is essential as it brings forth the crucial attributes of the expression of eyes and lips that metal carving alone cannot capture.
Moreover, the painted face serves as a symbolic and sacred ritual in Buddhism, preparing the statue for consecration and practice. The act of painting the face with gold in Buddhism holds deep meaning. It represents the intention to bring life and expression to the statue, imbuing it with a sense of vitality and presence. The application of gold on the face showcases the devotion and craftsmanship of the artisans, ensuring that every detail is carefully attended to honor the sacred essence of the Buddhist Handmade Statue Of Maitreya Buddha On Throne, With Cheppu [face Painted], [gold Plated].
Protecting the Face In the process of painting the face, a special variation of gold is utilized. This variation is transformed into a powder form that can be applied as paint. The gold used is believed to be 100% pure, enhancing the reverence and spiritual significance associated with this practice.
As the face is painted it is highly recommended that the face of the statue is to be greatly taken care of as it requires a very professional and skilled face artist to repair the face of dirt and damages. Commonly to protect it from damage, the statue with painted face is placed under a glass box and it is always covered with a cotton face mask if it has to be moved
Video of Face Painting
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Full Fire Gold Plating
This Buddhist Handmade Statue Of Maitreya Buddha On Throne, With Cheppu [face Painted], [gold Plated] is finished with full gold plating. also known as mercury gold plating or fire gold plating. This traditional technique involves the application of a genuine layer of gold onto the Buddhist Handmade Statue Of Maitreya Buddha On Throne, With Cheppu [face Painted], [gold Plated]. Referred to as mercury gold plating, it is considered the correct and authentic form of gold plating in Nepal. Despite being more expensive than electroplating, this traditional mercury gold plating is gaining popularity again in Nepal. People are drawn to its authenticity, longevity, and the unmatched beauty it brings to the Buddhist Handmade Statue Of Maitreya Buddha On Throne, With Cheppu [face Painted], [gold Plated]. The resurgence of interest in this traditional form of gold plating reflects a growing appreciation for the craftsmanship and cultural heritage of Nepal
Mercury gold plating is a time-honored process where a real layer of gold is carefully applied to the Buddhist Handmade Statue Of Maitreya Buddha On Throne, With Cheppu [face Painted], [gold Plated]. Skilled artisans expertly handle the amalgamation of gold with mercury, ensuring precise application and stunning results. This method not only imparts a rich and lustrous appearance to the Buddhist Handmade Statue Of Maitreya Buddha On Throne, With Cheppu [face Painted], [gold Plated] but also enhances its durability, allowing the gold plating to last for an extended period.
Detailed Description of Mercury Gilding
The process of Fire Gold plating is both time-consuming and intricate, requiring skilled artisans to carefully apply the gold layer using specialized tools and techniques. Despite the labor-intensive nature of the process, the end result is a stunning work of art that is sure to impress anyone who sees it.
Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.
When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface using quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.
The amalgam is equally spread over the prepared surface of the metal, the mercury is then sublimed by heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.
It is then covered with gilding wax and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation, the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum, or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.
By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.
This method of gilding metallic objects was formerly widespread but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous
Fire Gold Plating In Nepal
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Lost-Wax System
This Buddha of Buddhist Handmade Statue Of Maitreya Buddha On Throne, With Cheppu [face Painted], [gold Plated] 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 Buddha.
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 (120°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.
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Brief Introduction :
Benefit Maitreya represents the future state of love emanating from great universal bliss. This is embodied by the Adi Buddha Samantabhadra & gained by using the tools of Vajrayana 'magical' Buddhism & can be realised from the adamantine truth of emptiness embodied by Adi Buddha Vajradhara. The name Maitreya is derived from the Sanskrit word maitri stemming from the old Pali word metta meaning 'loving-kindness' related to Pali word mitta meaning 'friend'. When Maitreya becomes fully realised, he will preside over the Ketumati Pure Land, an earthly paradise. Maitreya is the embodiment of a future state of loving kindness, sympathetic joy, equanimity & compassion which create great bliss & conscious love.
Iconography :
Maitreya resides in Tushita heaven accessible through mediation & sits on a throne seat with two snow lions [Skt. Singhasana] in the frieze. Snow lions are the national symbol of Tibet. Tushita is alluded to by the mountainous landscapes swirling cumulous cloudbanks. His wears a green upper garment of Indian royalty from his shoulders, maroon Buddhist trousers with silk brocade, a blue Mantrayana apron and a sash representing the Himalayan Rainbow [Five Pure Lights of the Mahabhuta]. The small stupa shape in his headdress represents the stupa of the Buddha Sakyamuni's relics to help him identify it when his turn comes to lay claim to his succession. The light green khata loose around his waist is a traditional ceremonial scarf symbolizing purity.
He holds both hands in front of his heart in a hand position signifying the turning the wheel of Buddhist teachings [Skt. dharmachakra mudra]. The left hand holds the stem of a blue lotus or 'night lotus'[Skt. Utpala]. The word utpala means to 'burst open'. This supports an auspicious golden wheel [Skt. Chakra] which represents change, universal cycles of existence such as the changing of the hands of a watch, the seasons of the year, the earth & moon revolving around the sun and these three in turn revolving with other planets. All is in flux, forever changing. Each forward Turning of the wheel represents a movement of Buddhist teaching. This is usually called the turning of the Wheel of Dharma. The eight spokes symbolising the noble Eightfold Path of right Thought [mirror], right Insight or View [mustard seed], right Thought, right Action [bilva fruit], right Effort [durva grass], right Livelihood [curds] and right Contemplation [vermilion powder].
The right hand holds another lotus stem supporting a water pot [Skt. Kalasa] which traditionally contains the primeval water carried by the creator Brahma. This water of creation or water of life [don't confuse with the blue nectar of immortality]represents the pure conscious mind and its ability to regenerate and purify the conscious mind. The water pot is one of the eight auspicious symbols [Skt. Astamangalas] where the word asta means eight. The green nimbus around his head represents his cosmic nature. He is surrounded by a blooming 'pink lotus' [Skt. Kamala] and an unopened bud on her left hand. The Pink lotus blossoms represents the present love and the red unopened bud future love & yet to be born Buddhas. The future here also refers to beneficial changes circumstances that will help bring about. Maitreya's elongated earlobes represent patience; his topknot [Skt. Ushnisa] his abandonment of worldly possessions, the dot [Skt.urna] on his brow on the command chakra [Skt.ajna] represents his transcendent wisdom. The thin blue aureole around his body signifies the highest level of understanding.
Commentary :
It is up to all sentient beings to turn the wheel Maitreya is a future Buddha, an enlightened person who will appear on Earth, achieve complete enlightenment, and teach the pure dharma which are the principles of Buddhism.
Mantra Maitreya Buddha
NAMO RATNA TRAYAYA / NAMO BHAGAVATE
SHAKYAMUNIYE / TATHAGATAYA / ARHATE SAMYAKSAM
BUDDHAYA / TADYATHA / OM AJITE AJITE APARAJITE /
AJITAÃCHAYA HA RA HA RA MAITRI AVALOKITE KARA KARA
MAHA SAMAYA SIDDHI BHARA BHARA MAHA BODHI MANDA
BIJA SMARA SMARA AHSMA KAM SAMAYA BODHI BODHI
MAHA BODHI SVAHA
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