HomePhurba And KartiakaRitual Dagger - PhurbaBuddhist Handmade Statue of Phurba, Sand Casting, Vajrakilaya - Dorje Phurba with Consort Shakti, Yab-yum

Buddhist Handmade Statue of Phurba, Sand Casting, Vajrakilaya - Dorje Phurba with Consort Shakti, Yab-yum

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HCS27906

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3.456 Kg / 7.62 lbs

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30cm (12")

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26cm (10")

Depth

12cm (5")

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Brass

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Shakti : Introduction
Shakti Yab-yum is a common symbol in Nepalese and Tibetan art. It represents the primordial union of wisdom and compassion, depicted as a male deity in union with his female consort via the similar concept of interpenetration or "coalescence," as illustrated by the concept of Indra's net. The male figure represents compassion and dexterity, while the female figure represents insight. The female is seated on the male's lap in yab-yum. A rare rendition of a similar figure, but reversed, with the male sitting on the female's lap, is known as yum-yab. Read More . . .

Vajrakilaya : Brief Introduction
Vajrakila is a powerful personification of the diamond-tipped peg [Skt. Kila] symbolizing the power of 'one-pointed concentration [Skt. Ekagrapha] which transfixes negative energies that obscure spiritual truth & awakening. Concerted mindfulness on the interdependence & ultimate unity of all principles [Skt. Dharmas], which govern the inner & outer worlds. By subduing delusions & negativities that arise as obstacles during spiritual awakening [dharma practice] he purifies spiritual journeys which lead to enlightenment. Read More . . .

Process: Sand Casting
This Buddhist Handmade Statue Of Phurba, [sand Casting], Vajrakilaya - Dorje Phurba With Consort [shakti], Yab-yum has been created using the sand casting system, also known as sand molding casting. This widely employed manufacturing process utilizes a sand mold to produce metal products and components in various sizes and shapes. Sand casting holds significant popularity in the industry, accounting for approximately 60% of all metal castings. The sand casting process involves six primary steps. First, a pattern or replica of the desired sculpture, in this case, Buddhist Handmade Statue Of Phurba, [sand Casting], Vajrakilaya - Dorje Phurba With Consort [shakti], Yab-yum, is created using a material like wood or metal. The pattern is then placed in a flask, which is a box-like structure divided into two halves. The next step involves packing the flask tightly with specially formulated molding sand, creating a mold cavity that matches the shape of the pattern. The pattern is subsequently removed, leaving behind a negative impression of the sculpture within the sand mold.

The third step is known as gating and risering, where additional channels and reservoirs are added to the mold to facilitate the flow of molten metal and compensate for any shrinkage during solidification. Once the gating system is prepared, the mold is carefully closed and secured. The fourth step involves pouring the molten metal, such as bronze or iron, into the mold through the gating system. After the metal has cooled and solidified, the mold is broken open, revealing the solid metal sculpture. The final steps involve removing any excess material, surface finishing, and polishing to achieve the desired appearance.

Sand casting offers several advantages, including its versatility in producing complex shapes, cost-effectiveness for both small and large-scale productions, and the ability to use a wide range of metals. However, it does require skilled craftsmanship and careful attention to ensure the quality and accuracy of the final sculpture. By utilizing the sand casting system, the Buddhist Handmade Statue Of Phurba, [sand Casting], Vajrakilaya - Dorje Phurba With Consort [shakti], Yab-yum embodies the craftsmanship and artistry of the process, resulting in a captivating and unique metal artwork.

The process cycle for sand casting consists of six main stages, which are explained below
Mold-making -The first step in the sand casting process is to create the mold for the casting. In an expendable mold process, this step must be performed for each casting. A sand mold is formed by packing sand into each half of the mold. The sand is packed around the pattern, which is a replica of the external shape of the casting. When the pattern is removed, the cavity that will form the casting remains. Any internal features of the casting that cannot be formed by the pattern are formed by separate cores which are made of sand prior to the formation of the mold. Further details on mold-making will be described in the next section. The mold-making time includes positioning the pattern, packing the sand, and removing the pattern. The mold-making time is affected by the size of the part, the number of cores, and the type of sand mold. If the mold type requires heating or baking time, the mold-making time is substantially increased. Also, lubrication is often applied to the surfaces of the mold cavity in order to facilitate removal of the casting. The use of a lubricant also improves the flow the metal and can improve the surface finish of the casting. The lubricant that is used is chosen based upon the sand and molten metal temperature.

Clamping - Once the mold has been made, it must be prepared for the molten metal to be poured. The surface of the mold cavity is first lubricated to facilitate the removal of the casting. Then, the cores are positioned and the mold halves are closed and securely clamped together. It is essential that the mold halves remain securely closed to prevent the loss of any material.
Pouring - The molten metal is maintained at a set temperature in a furnace. After the mold has been clamped, the molten metal can be ladled from its holding container in the furnace and poured into the mold. The pouring can be performed manually or by an automated machine. Enough molten metal must be poured to fill the entire cavity and all channels in the mold. The filling time is very short in order to prevent early solidification of any one part of the metal.

Cooling - The molten metal that is poured into the mold will begin to cool and solidify once it enters the cavity. When the entire cavity is filled and the molten metal solidifies, the final shape of the casting is formed. The mold can not be opened until the cooling time has elapsed. The desired cooling time can be estimated based upon the wall thickness of the casting and the temperature of the metal. Most of the possible defects that can occur are a result of the solidification process. If some of the molten metal cools too quickly, the part may exhibit shrinkage, cracks, or incomplete sections. Preventative measures can be taken in designing both the part and the mold and will be explored in later sections.

Removal - After the predetermined solidification time has passed, the sand mold can simply be broken, and the casting removed. This step, sometimes called shakeout, is typically performed by a vibrating machine that shakes the sand and casting out of the flask. Once removed, the casting will likely have some sand and oxide layers adhered to the surface. Shot blasting is sometimes used to remove any remaining sand, especially from internal surfaces, and reduce the surface roughness.

Trimming - During cooling, the material from the channels in the mold solidifies attached to the part. This excess material must be trimmed from the casting either manually via cutting or sawing, or using a trimming press. The time required to trim the excess material can be estimated from the size of the casting's envelope. A larger casting will require a longer trimming time. The scrap material that results from this trimming is either discarded or reused in the sand casting process. However, the scrap material may need to be reconditioned to the proper chemical composition before it can be combined with non-recycled metal and reused.

Read More . . .

Iconographic :

The kīla(nail) or phurba is a three-sided peg, stake, knife, or nail like ritual implement traditionally associated with Indo-Tibetan Buddhism, The kīla is associated with the meditational deity Vajrakīla or Vajrakīlaya

Long description :

Most of what is known of the Indian kīla lore has come by way of Tibetan culture. Scholars such as F. A. Bischoff, Charles Hartman and Martin Boord have shown that the Tibetan literature widely asserts that the Sanskrit for their term phurba is kīlaya (with or without the long i). However, as Boord describes it, "all dictionaries and Sanskrit works agree the word to be kīla (or kīlaka). I suppose this [discrepancy] to result from an indiscriminate use by Tibetans of the dative singular kīlaya. This form would have been familiar to them in the simple salutation namo vajrakīlaya (homage to Vajrakīla) from which it could easily be assumed by those unfamiliar with the technicalities of Sanskrit that the name of the deity is Vajrakīlaya instead of Vajrakīla. It should also be noted that the term (vajra)kīlaya is frequently found in Sanskrit texts (as well as in virtually every kīlamantra) legitimately used as the denominative verb 'to spike,' 'transfix,' 'nail down,' etc.
Mayer (1996) contests Boord's assertion, pointing out that eminent Sanskritists such as Sakya Pandita employed Vajrakīlaya Further, he argues:
it is possible, on the other hand, that the name Vajrakīlaya as favoured by the Tibetans could in fact have been the form that was actually used in the original Indic sources, and that there is no need to hypothesize a correct form Vajrakīla". "Vajrakīlaya" could have come from the second person singular active, causative imperative, of the verb Kīl. Indigenous grammar (Pāṇini Dhātupāṭha I.557) gives to Kīl the meaning of bandha, i.e. "to bind", while Monier-Williams (285) gives the meanings "to bind, fasten, stake, pin". Hence the form kīlaya could mean "you cause to bind/transfix!", or "bind/transfix!". This, taken from mantras urging "bind/transfix", or "may you cause to bind/transfix", might have come to be treated as a noun; and the noun might then have become deified; hence Kīlaya might have started out as a deified imperative, in some ways comparable to the famous example of the deified vocative in the name Hevajra, and a not unheard of phenomenon in Sanskrit tantric literature. This suggestion is supported by Alexis Sanderson, a specialist in Sanskrit tantric manuscripts whom I consulted on this problem.[3]

Fabrication and components :

The fabrication of kīla is quite diverse. Having pommel, handle, and blade, kīla are often segmented into suites of triunes[4] on both the horizontal and vertical axes, though there are notable exceptions. This compositional arrangement highlights the numerological importance and spiritual energy of the integers three (3) and nine (9). Kīla may be constituted and constructed of different materials and material components, such as wood, metal, clay, bone, gems, horn or crystal. Wooden kīla are favored by shamans for healing and energetic work.[citation needed]
Like the majority of traditional Tibetan metal instruments, the kīla is often made from brass and iron (terrestrial and/or meteoric iron. 'Thokcha' (Tibetan: ཐོག་ལྕགས, Wylie: thog lcags) means "sky-iron" in Tibetan and denote tektites and meteorites which are often high in iron content. Meteoric iron was highly prized throughout the Himalaya where it was included in sophisticated polymetallic alloys such as Panchaloha for ritual implements. The pommel of the kīla often bears three faces of Vajrakīla, one joyful, one peaceful, one wrathful, but may bear the umbrella of the ashtamangala or mushroom cap, ishtadevata (like Hayagriva), snow lion, or stupa, among other possibilities. The handle is often of a vajra, weaving or knotwork design. The handle generally has a triune form as is common to the pommel and blade. The blade is usually composed of three triangular facets or faces, meeting at the tip. These represent, respectively, the blade's power to transform the negative energies known as the "three poisons" or "root poisons" (Sanskrit: mula klesha) of attachment/craving/desire, delusion/ignorance/misconception, and aversion/fear/hate.

Ritual Uses :

Cantwell and Mayer (2008) have studied a number of texts recovered from the cache of the Dunhuang manuscripts that discuss the phurba and its ritual usage.
The kīla is one of many iconographic representations of divine "symbolic attributes" (Tibetan: phyag mtshan)of Vajrayana and Hindu deities. When consecrated and bound for usage,[8] the kīla are a nirmanakaya manifestation of Vajrakīlaya.
Chandra, et al. (1902: p. 37) in their Dictionary entry 'korkor' (Tibetan: ཀོར་ཀོར, Wylie: kor kor) "coiled" (English) relates that the text titled the 'Vaidūry Ngonpo' (Tibetan: བཻ་དཱུརྱ་སྔོན་པོ, Wylie: bai dUry sngon po) has the passage: ཐག་བ་ཕུར་བ་ལ་ཀོར་ཀོར་བྱམ "a string was wound round the (exorcist's) dagger [phurba]."
One of the principal methods of working with the kīla and to actualize its essence-quality is to pierce the earth with it; sheath it; or as is common with Himalayan shamanic traditions, to penetrate it vertically, point down into a basket, bowl or cache of rice (or other soft grain if the kīla is wooden).] The terms employed for the deity and the tool are interchangeable in Western scholarship. In the Himalayan shamanic tradition the kīla may be considered as axis mundi that for the majority of Nepalese shaman, the kīla is cognate with the world tree, either in their visualizations or in initiatory rites or other rituals.
The kīla is used as a ritual implement to signify stability on a prayer ground during ceremonies, and only those initiated in its use, or otherwise empowered, may wield it. The energy of the kīla is fierce, wrathful, piercing, affixing, transfixing. The kīla affixes the elemental process of 'Space' (Sanskrit: Ākāśa) to the Earth, thereby establishing an energetic continuum. The kīla, particularly those that are wooden are for shamanic healing, harmonizing and energy work and often have two nāgas(Sanskrit for snake, serpent and/or dragon, also refers to a class of supernatural entities or deities) entwined on the blade, reminiscent of the Staff of Asclepius and the Caduceus of Hermes. Kīla often also bear the ashtamangala, swastika, sauwastika and/or other Himalayan, Tantric or Hindu iconography or motifs.
As a tool of exorcism, the kīla may be employed to hold demons or thoughtforms in place (once they have been expelled from their human hosts, for example) in order that their mindstream may be re-directed and their inherent obscurations transmuted. More esoterically, the kīla may serve to bind and pin down negative energies or obscurations from the mindstream of an entity, person or thoughtform, including the thoughtform generated by a group, project and so on, to administer purification.
The kīla as an iconographical implement is also directly related to Vajrakilaya, a wrathful deity of Tibetan Buddhism who is often seen with his consort Diptacakra (Tib. 'khor lo rgyas 'debs ma). He is embodied in the kīla as a means of destroying (in the sense of finalising and then freeing) violence, hatred, and aggression by tying them to the blade of the kīla and then transmuting them with its tip.[citation needed] The pommel may be employed in blessings. It is therefore that the kīla is not a physical weapon, but a spiritual implement, and should be regarded as such. The kīla often bears the epithet Diamantine Dagger of Emptiness.
The magic of the Magical Dagger comes from the effect that the material object has on the realm of the spirit. The art of tantric magicians or lamas lies in their visionary ability to comprehend the spiritual energy of the material object and to willfully focus it in a determined direction . The tantric use of the phurba encompasses the curing of disease, exorcism, killing demons, meditation, consecrations (puja), and weather-making. The blade of the phurba is used for the destruction of demonic powers. The top end of the phurba is used by the tantrikas for blessings.
Transfixing kīla , charnel ground, scorpion and Padmasambhava:
The sting of the scorpion's whip-like tail transfixes and poisons its prey, and in this respect it is identified with the wrathful activity of the ritual dagger or kīla. Padmasambhava's biography relates how he received the siddhi of the kīla transmission at the great charnel ground of Rajgriha from a gigantic scorpion with nine heads, eighteen pincers and twenty-seven eyes. This scorpion reveals the kīla texts from a triangular stone box hidden beneath a rock in the cemetery. As Padmasambhava reads this terma text spontaneous understanding arises, and the heads, pincers, and eyes of the scorpion are 'revealed' as different vehicles or yanas of spiritual attainment. Here, at Rajgriha, Padmasambhava is given the title of 'the scorpion guru', and in one of his eight forms as Guru Dragpo or Pema Drago ('wrathful lotus'), he is depicted with a scorpion in his left hand. As an emblem of the wrathful kīla transmission the image of the scorpion took on a strong symbolic meaning in the early development of the Nyingma or 'ancient school' of Tibetan Buddhism...".

Cultural context :

To work with the spirits and deities of the earth, land and place, indigenous people of India, the Himalayas and the Mongolian Steppe pegged, nailed and/or pinned down the land. The nailing of the kīla is comparable to the idea of breaking the earth (turning the sod) in other traditions and the rite of laying the foundation stone. It is an ancient shamanic idea that has common currency throughout the region; it is prevalent in the Bon tradition and is also evident in the Vajrayana tradition. According to shamanic folklore current throughout the region, "...the mountains were giant pegs that kept the Earth in place and prevented it from moving." Mountains such as Amnye Machen, according to folklore were held to have been brought from other lands just for this purpose. Stupa (compare cairn) are a development of this tradition and akin to kīla.
"Prayer flags and stone pillars throughout the country also pierce the land. Even the pegs of the nomad's yak wool tents are thought of as sanctifying the ground that lies beneath...".
Traditions such as that of the kīla may be considered a human cultural universal in light of foundation stone rites and other comparable rites documented in the disciplines of anthropology and ethnography; e.g., turning of the soil as a placation and votive offering to spirits of place and to preparation of the land as a rite to ensure fertility and bountiful yield.
Traditional lineage usage: anthology of case studies
In the Kathmandu Valley, the kīla is still in usage by shamans, magicians, tantrikas and lamas of different ethnic backgrounds. The kīla is used particularly intensively by the Tamang, Gurung and Newari Tibeto-Burmese tribes. The kīla is also employed by the Tibetans native to Nepal (the Bhotyas), the Sherpas, and the Tibetans living in Dharamasala chart the difference of the kīla traditions between the jhankris and the gubajus:
The phurbas of the gubajus are different from those of the jhankris. As a rule, they have only one head on which there is a double vajra as shown here. Gubajus focus on the head as a mirror image of themselves in order to meditatively connect with the power of the phurba. The three or more heads of the upper area of the phurba indicate the collection of energies that the jhankris use.
A "Bhairab kīla" is an important healing tool of the tantric Newari gubajus.
Tantric priests (guruju) use Bhairab phurbas for the curing of disease and especially for curing children's diseases. For these cases the point of the phurba blade is dipped into a glass or a bowl of water, turned and stirred. The sick child is then given the magically charged water as medicine to drink.(Mohan Rai is a shaman from the border area of Nepal and Bhutan and belongs to the Mongolian people of the Rai and/or Kirati. Mohan Rai is the founder of the Shamanistic Studies and Research Centre, Baniya Goun, Naikap, Kathmandu, Nepal) who in an interview is directly quoted as saying:
'Without the phurba inside himself [sic], the shaman has no consciousness'...'The shaman himself [sic] is the phurba; he [sic] assumes its form in order to fly into other worlds and realities.'
Therefore to extrapolate, the kīla is identified with consciousness and the root of sentience, the buddha-nature.
affirm that some Kukri may be considered kīla, as ultimately, everything that approximates a vertical form. The kīla then is a phallic polysemy and cognate with lingam ~ the generative instrument of Shiva that is metonymic of the primordial energy of the Universe. The kīla as lingam, actualizes the yoni essence-quality of whatever it penetrates.
The wrathful heruka Vajrakilaya is a meditation deity who embodies the energetic 'activity' of all the buddhas, manifesting in a powerful and wrathful yet compassionate form in order to subjugate the delusion and negativity that can arise as obstacles to the practice of Dharma.

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