In Buddhist tradition the Buddhas of three times is often mentioned. the Pali Buddhavamsa counts the Past Buddhas, including Dipamkara as the first. While in Mahayana Buddhist tradition the number of Buddhas increases much more. the Sarvastivada tradition counts 76,00 Buddhas commencing with Shakyamuni and ends before Buddha Ratnasikhin during the First Asamkheya Kalpa. During the second Asamkheya Kalpa, 76,000 Buddhas from Buddha Ratnasikhin to Dipamkara and during the third Asamkheya 77,00 Buddhas from Dipamkara to Vipasyin Buddha are counted. Buddha Dipamkara is represented widely in Kathmandu valley. Especially in the month of the Gunla Festival many large sized images in bronze and copper are displayed in Nepal-ese Buddhist monasteries. In the Samyak festival Buddha Dipamkara is the chief deity to be displayed and worshipped. the Buddha Dipamkara is usually yellow in colour and exhibits abhayamudra and varada mudra with his two hands. It is believed that Shakyamuni Buddha started his bodhisattva career after meeting with Buddha Dipamkara. When Buddha Dipamkara was visiting the city of Dipavati, a young brahman versed in vedic lore happened to pass by the city of Dipavati fully decorated with hanners and in festive mood to honor Buddha Dipamkara. He also happened to meet a young brahman girl with seven lotus flowers, going to honor Lord Dipamkara. he learned Brahman Megha asked the lady to give him seven lotus flowers for 500 gold coins. But she refused and agreed to give him five flowers under the condition that she can become his wife until he attained enlightenment. After that Megha Brahman saw Buddha Dipamkara from a distance. Identifying himself with Buddha Dipamkara these seven lotus flowers formed a garland and floated in the air around the Buddha's head in a miraculous way. Later on Buddha Dipamkara too, prophesied that he would be a Buddha Shakyamuni in future
Old Post : OLD POST
Please note that this Dipankara Buddha Statue, [bronze Finishing], [old Post], [remakable] is an old post. We typically do not remove our posts from the website for various reasons, such as nostalgia and maintaining page ratings. These posts are not intended for direct sales, but occasionally, we can remake the items.
Remakable : Remakable
Please note that the Dipankara Buddha Statue, [bronze Finishing], [old Post], [remakable] we posted some time ago is not currently available in our store. However, due to the possibility of a remake, it is still on sale. The remake will not be an exact replica of the original statue shown in the picture and will require additional time to be ready for dispatch. If you are willing to wait for this custom remake, you may proceed with your order. Thank you for your understanding and patience.
Bronze Finishing
This Dipankara Buddha Statue, [bronze Finishing], [old Post], [remakable] product features a stunning Bronze patina finish. Our store takes pride in offering this exclusive patina, which involves a meticulous process utilizing organic materials such as butter and vegetable color. The aim is to recreate the appearance of an aged bronze statue, evoking a sense of timeless elegance.
The art of giving the bronze color to red copper is truly exceptional and is practiced by skilled craftsmen. With each piece, you not only acquire a beautifully finished Dipankara Buddha Statue, [bronze Finishing], [old Post], [remakable] product but also pay homage to the artisans who are dedicated to preserving this rare and fading art form. The result is a unique and captivating aesthetic that adds a touch of sophistication and nostalgia to any setting.
Why use bronze Color?Bronze color refers to the distinctive hue that is characteristic of bronze metal. It is a rich, warm tone that falls somewhere between brown and copper. Bronze has been used for centuries in the creation of statues, sculptures, and various decorative items due to its unique aesthetic appeal.
While the production of bronze statues can be complex and challenging, particularly in the Nepali statue-making industry, the bronze color can still be achieved through alternative methods such as the Bronze finishing process. In Nepal, sand casting is commonly used for creating bronze statues, but the resulting quality may not always meet desired standards. The Lost Wax system, on the other hand, yields better quality but can be prone to damage during the intricate carving process, leading to a decline in its practice.
Despite the challenges faced in creating bronze statues, the Bronze finishing process offers a way for individuals who appreciate the appearance of bronze to still experience its allure. By applying this finishing technique to other materials, such as Dipankara Buddha Statue, [bronze Finishing], [old Post], [remakable], individuals can enjoy the look and feel of a bronze statue while preserving the essence of this revered art form.
Example of Bronze finishing
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Lost-Wax System
This Buddha of Dipankara Buddha Statue, [bronze Finishing], [old Post], [remakable] 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.
Brief Introduction :Dīpankara is one of the Buddhas of the past, said to have lived on Earth one hundred thousand years.
Theoretically, the number of Buddhas having existed is enormous and they are often collectively known under the name of "Thousand Buddhas". Each was responsible for a life cycle. According to some Buddhist traditions, Dīpankara (also Dīpamkara) was a Buddha who reached enlightenment eons prior to Gautama,
Generally, Buddhists believe that there has been a succession of many Buddhas in the distant past and that many more will appear in the future; Dīpankara, then, would be one of numerous previous Buddhas, while Gautama was the most recent, and Maitreya will be the next Buddha in the future.
Iconography :Dīpankara is generally represented as a sitting Buddha, but his depictions as a standing Buddha are common in China, Thailand, and Nepal; with the right hand he generally forms a protection mudra (abhaya mudra), and often he forms it with both hands.
Dīpankara is rarely depicted alone; one of the Buddhas of Bamyan, destroyed by the Taliban government in Afghanistan in 2001, was said to portray Dīpankara. Statues of Dīpankara can also be found in the Longmen and Yungang Grottoes in China.
He is generally depicted with two Bodhisattvas, Manjushri and Vajrapani (common in Java) or Avalokiteshvara and Vajrapani (common in Sri Lanka); or with the Buddhas who come after him, Gautama and Maitreya.
Prediction :One story shown in Buddhist art stupas has Gautama Buddha in a former incarnation known as Sumedha, a rich Brahmin turned hermit kneeling and laying his long black hair on the ground, in an act of piety that the Dīpankara Buddha could cross a puddle of mud without soiling his feet. This story between Dīpankara Buddha and Shakyamuni, occurred many lifetimes before Shakyamuni's eventual enlightenment. From this act, Dīpankara told Sumedha "In the ages of the future you will come to be a Buddha called 'Shakyamuni'", to which Sumedha replied, "I am to become a Buddha, awakened to enlightenment; may you tread with your feet on my hair - on my birth, old age, and death." Dīpankara Buddha then said, "Freed from human existence, you will become an effective teacher, for the sake of the world. Born among the Shakyas, as the epitome of the Triple World, the Lamp of all Beings, you will be known as Gautama. You will be the son of King Suddhodana and Queen Maya. Shariputta and Moggallana will be your chief disciples. Your caretaker will name as Ananda."
In the 40-plus years of his life after enlightenment, the Buddha Shakayamuni is said to have recounted almost 554 past life stories, (called Jataka tales) of his prior existences. Gautama Bodhisattva is quoted as saying a person starts the journey to become a Buddha filling 10 Paramita or "perfections". Some sources and scriptures recount that Shakayamuni Buddha was born in the time of Dīpankara Buddha, and was rich and gave away all his wealth to become a Monk. It is said that Gautama Bodhisattva received his first Niyatha Vivarana, (or definite foresighting by a Buddha) from Dīpankara Buddha. This encounter, among many other predictions of Shakyamuni Buddha's future enlightenment, can be found in a Mahayana text named the Sangatha Sutra
Mantra for Dipankara
Om Pra Mani Dani Svaha
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