Rare Find : what is a Rare find?
This Buddhist Handmade Statue Of Chandamaharoshana [rare], [antique Finishing], [gold Plated], [rare Find] 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, Buddhist Handmade Statue Of Chandamaharoshana [rare], [antique Finishing], [gold Plated], [rare Find] 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.
Full Gold Gilded with Antique Patina.
The Buddhist Handmade Statue Of Chandamaharoshana [rare], [antique Finishing], [gold Plated], [rare Find] has full gold plated antique finishing. This finishing is a combination of fire mercury gold plating and antique finishing. This traditional technique involves the application of a genuine layer of gold onto the Buddhist Handmade Statue Of Chandamaharoshana [rare], [antique Finishing], [gold Plated], [rare Find] using the time-honored process of mercury gold plating. Skilled artisans meticulously handle the amalgamation of gold with mercury, ensuring precise application and a truly authentic result. To enhance its charm further, the Buddhist Handmade Statue Of Chandamaharoshana [rare], [antique Finishing], [gold Plated], [rare Find] undergoes an antique finishing process. This meticulous treatment adds a touch of age and character to the gold plating, creating a sense of antiquity. Through careful craftsmanship and the application of specialized techniques, the Buddhist Handmade Statue Of Chandamaharoshana [rare], [antique Finishing], [gold Plated], [rare Find] acquires a beautifully aged appearance that adds depth and uniqueness to its overall aesthetic.
The fire mercury gold plating with antique finishing showcases the artisan's dedication to preserving traditional techniques and capturing the essence of timeless elegance. The combination of gold plating and antique finishing lends the Buddhist Handmade Statue Of Chandamaharoshana [rare], [antique Finishing], [gold Plated], [rare Find] an exquisite and enchanting allure, making it a cherished piece that stands out with its enduring beauty.
Detailed Description of Mercury Gilding - 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 by means of 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 being equally spread over the prepared surface of the metal, the mercury is then sublimed by a 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 Vajrapani of Buddhist Handmade Statue Of Chandamaharoshana [rare], [antique Finishing], [gold Plated], [rare Find] 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 Vajrapani.
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 :
Chandamaharoshana, meaning the "Extremely Violent and Wrathful One," is a fierce aspect of the blue Akshobhya Buddha, also known as Achala. The Chandamaharoshana Tantra belongs to the Anuttarayoga or 'Supreme Yoga' Tantra of the 'father-tantra' class, emphasizing skillful means. With origins in early India, this Tantra employs highly esoteric sexual symbolism expressed in the 'twilight language. Its practice remains popular in the Newar Buddhist tradition, while Achala is recognized as one of the Ten Wrathful Ones in Vajrayana Buddhism. In Japan's Shingon Tradition, he is revered as Fudo Myo-o, one of the 'thirteen deities.' This visionary Newar paubha painting, created by Raj Prakash Tuladhar, depicts the powerful form of Chandamaharoshana and his consort, Mamaki, set within a symbolic landscape.
Iconography
Chandamaharoshana manifests as a blue-black deity with a fierce face, three eyes, and two arms. He is depicted in the kneeling achalasana posture, pressing his left knee and foot upon the forms of the Vedic gods Maheshvara, Vishnu, and Indra. Brahma is crushed under his right foot. These deities symbolize the four maras or 'obstructive demons.' Chandamaharoshana's body is adorned with golden bracelets and filigree bone ornaments. He wears a billowing green silk scarf, a loosened tiger-skin loincloth for sexual intercourse, and a garland of severed heads. His golden crown features five dry white skulls, five radiant jewels, and five silver kikinpa crowned with ornate parasols. A crescent moon and a serpent adorn his tawny upward-streaming hair, while golden victory flags appear above his ears. His red eyebrows and facial hair blaze upward, and his three bloodshot eyes gaze down at his consort.
History
Chandamaharoshana finds its roots in the ancient traditions of Vajrayana Buddhism. The deity holds significant importance in both Tibetan and Newar Buddhist practices. The Chandamaharoshana Tantra, originating from early India, has preserved its esoteric symbolism and continues to be revered in the Newar Buddhist tradition. Throughout history, the worship of Chandamaharoshana has spread to various regions, including Japan, where he is known as Fudo Myo-o in the Shingon Tradition.
Temples and Monasteries
Unfortunately, specific information regarding temples and monasteries dedicated to Chandamaharoshana, particularly in Nepal, is not available within my knowledge base. However, it is likely that dedicated spaces for worship exist, especially in areas influenced by Vajrayana Buddhism. Further research or local sources can provide more accurate and up-to-date information on the locations of temples or monasteries associated with Chandamaharoshana.
Benefits of Practicing Chandamaharoshana
The practice of Chandamaharoshana is believed to offer numerous benefits to its practitioners. These benefits may include spiritual empowerment, protection from obstacles, the cultivation of skillful means, and transforming negative emotions into wisdom. By engaging with the symbolism and teachings associated with Chandamaharoshana, practitioners aim to harness his fierce energy to overcome inner and outer hindrances, ultimately progressing on the path to enlightenment.
How to Practice
The practice of Chandamaharoshana involves engaging with the deity through meditation, visualization, recitation of mantras, and ritual offerings. Practitioners may receive specific instructions and empowerment from qualified teachers within the Vajrayana Buddhist tradition. The detailed methods and practices may vary depending on the lineage or tradition. It is recommended to seek guidance from experienced practitioners or spiritual teachers to ensure a proper understanding and implementation of the practices associated with Chandamaharoshana.
Mantras of Chandamaharoshana
The mantras associated with Chandamaharoshana are considered potent and effective in invoking the deity's presence and blessings. While I don't have access to specific mantras associated with Chandamaharoshana, these mantras typically contain sacred syllables and sounds believed to represent the enlightened qualities and essence of the deity. Chanting or reciting these mantras with devotion and understanding is believed to establish a deep connection with Chandamaharoshana and facilitate spiritual growth and transformation. Seek guidance from qualified teachers or practitioners to receive authentic mantras and instructions pertaining to Chandamaharoshana's practice.
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