HomeBuddhist StatueManjushriBuddhist Statue of Manjushri, Traditional Color, Face Painted, Stone Setting

Buddhist Statue of Manjushri, Traditional Color, Face Painted, Stone Setting

US$1100

Code

HCS24353

Weight

4.467 Kg / 9.85 lbs

Size

35x28x15 Cm / 13.78 Inches

Material

Copper

Availability

Available

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Finishing: Stone Setting
The Buddhist Statue Of Manjushri, [traditional Color, Face Painted, Stone Setting] is adorned with an exquisite array of semi-precious stones, including turquoise, coral, and lapis lazuli. These stones are carefully selected and meticulously placed on the Buddhist Statue Of Manjushri, [traditional Color, Face Painted, Stone Setting]'s surface, adding a touch of opulence and enhancing its overall beauty. Each stone is thoughtfully positioned using a high-quality adhesive, ensuring secure and long-lasting attachment. The vibrant colors and unique patterns of the stones create a captivating contrast against the backdrop of the Buddhist Statue Of Manjushri, [traditional Color, Face Painted, Stone Setting], elevating its visual appeal and making it truly eye-catching. Read More . . .

About Color Finishing
The Buddhist Statue Of Manjushri, [traditional Color, Face Painted, Stone Setting] is adorned with traditional colors, creating a captivating aesthetic through a combination of gold and various hues. This painting technique follows a time-honored process that aims to faithfully represent the Buddhist Statue Of Manjushri, [traditional Color, Face Painted, Stone Setting] in accordance with traditional color descriptions. In the context of Buddhist statues, this approach holds great significance. Each statue has its own primary color, and it is crucial to depict the statue in its authentic shade. Read More . . .

Gold Painted Face
The face of Buddhist Statue Of Manjushri, [traditional Color, Face Painted, Stone Setting] 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 Statue Of Manjushri, [traditional Color, Face Painted, Stone Setting]. Read More . . .

Lost-Wax System
This Manjushri of Buddhist Statue Of Manjushri, [traditional Color, Face Painted, Stone Setting] 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 Manjushri.
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 . . .

Brief Introduction :

Manjushree is a Sanskrit word meaning 'gentle glory'. In Sanskrit, "shree" means 'glorious' or 'honorable'. His name signifies one who embodies enlightened wisdom. He confers mastery of the Dharma, wisdom, and eloquence and teaches the path of a bodhisattva in the Mahayana tradition.

Commentary :

Manjushree is the Bodhisattva who holds the flaming sword [Skt. Khadga] of enlightenment, by his left hand in a warning( Tarjani) hand gesture ( Mudra) in his left hand representing his realization of wisdom to cut through ignorance & wrong view. His right hand depicted in teaching (Jnana Mudra) holds the stem of a Blue Lotus (Utpala) flower upon which rests the Book (Pustaka) of Perfection of Transcendental Wisdom. The blue lotus is a symbol of the victory of the spirit over the senses and signifies the wisdom of knowledge. This represents the lotus that he obtained from the middle of the lake in the Kathmandu Valley out of which grew a lotus bearing a Blue Flame which represents wisdom. Manjushree sits upon a moon disc upon a lotus with an elongated stem arising from a lake. He wears a gold diadem fitted with precious jewels. He wears a silk scarf fastened at the waist and over this, a softly glowing green scarf decorated with golden motifs. His head is silhouetted against a nimbus. The lotus he is sitting on has an elongated stem and arises from a lake representing his recovery of the blue flame of transcendent wisdom and the teaching he originated. The white sash is the attire of the Vajrayana school of Buddhism.

According to legend, Manjushree founded the Nepalese civilization. In ancient times, way before Buddha Shakyamuni the Kathmandu Valley was a vast lake. The Buddha Vipashyin came to Nepal to meditate on the hill above the lake. Wishing to give the rough mountain people an object of worship, Vipashyin threw a lotus seed into the lake. When this lotus bloomed, a blue flame of wisdom light shone from the center of its thousand petals. This light was called the Swayambhunath Dharmadhatu, the Self-Sprung Infinite Field of Light, and the flame of the enlightened mind of the primal Buddha, Vajradhara burned at its center. The light of Vajradhara also emanated in the colors of the rainbow and in each of the five colors appeared one of the Five Buddhas - Vairochana, Akshobhya, Ratnasambhava, Amitabha, and Amoghasiddhi. Then Manjushri went to Nagarkot Peak on the edge of the lake, and after having pondered in Samadhi how best the lake may be drained, with his keen-edged sword of wisdom he cut three Gorges. After the lake had been drained and the Valley bottom made suitable for cultivation Manjushree founded the city of Patan which was originally called Manjupattan. He taught the people many things. Manjushree manifests himself in the form of Yamantaka, known also as Vajrabhairava in order to overcome the lord of Death, Yama.
The Book (Pustaka) represents Transcendent Wisdom which came to be embodied by the Dyani {Pancha} Buddha Families. The book symbolically contains Buddhist teaching that had been lost to mankind & which was revealed to Manjushree. The book is commonly mistaken for the Prajna Paramita which was written by many hands between 100 & 200 CE realizing the Boddhisattva Principle. The book of Manjushree alludes to Wisdom and the emanation of the Five Transcendent Buddha Families. These are Vairochana, Akshobhya, Ratnasambhava, Amitabha & Amoghasiddhi. Wisdom Energy is a power that can extinguish the Five Negative afflictions. Each family heads wisdom and energy to overcome these Five hindrances to enlightenment which are greed, hatred, delusion, jealousy & pride.

Mantra of Manjushree

Om A Ra Pa Ca Na Dhih

You may also want to read the related articles :

Service of Filling and blessing in Statue | Videos of statue Making Process | Making Process Of Metal Statues | Gold Plating in Statues | Altering Finishing in Statue

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