HomeStatue - LargeTara Green Tara Buddhist Handmade Large Statue - Featuring Natural Patina

Green Tara Buddhist Handmade Large Statue - Featuring Natural Patina

US$4500

Code

HCS30483

Weight

50 Kg / 110.23 lbs

Size

100x80x50 Cm / 39.37 Inches

Material

Copper

Availability

Available

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Shipping cost US$25.2 for upto 0.5 kgs

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Natural Finish
The [green Tara] Buddhist Handmade Large Statue - Featuring Natural Patina has no patina finishing over it. presenting a unique opportunity for personalization. As it is, the statue can be displayed in its raw form, showcasing its inherent beauty and craftsmanship. Alternatively, you have the option to further enhance the statue's appearance by applying various finishes such as gold plating, oxidation, or silver plating. Over time, if left untreated, the statue will naturally develop a patina. This is a gradual process where the surface undergoes subtle changes, resulting in a charming and distinct aged appearance. The patina adds character and depth to the statue, telling a story of its journey and the passage of time. Read More . . .

Lost-Wax System
This Tara of [green Tara] Buddhist Handmade Large Statue - Featuring Natural Patina 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 Tara.
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 :

Samaya Tara, popularly known as Green Tara. She is represented in a royal ease posture with her left leg bent her left leg overstepping the main lotus and resting on a blue lotus ready to get up and offer assistance to those in need. She is portrayed with maroon Buddhist robes and jewelry. The earrings represent patience, understanding, and renunciation. The diadem with five jewels represents the transmutation of the five delusions into the Five Buddha Wisdoms. She is shown with a benevolent countenance seated upon a white moon disk which is associated with special restorative nectar associated with the naval chakra center. In Buddhists, the moon symbolizes the wisdom aspect which when coupled with compassion leads to Sakyamuni Buddha's enlightenment. Her right hand is gracefully lowered in Varada mudra, the boon-granting gesture.

Iconography :

Green Tara's special lotus is the blue lotus or 'night lotus' which she bears in both hands. The word utpala means to 'burst open'. Her left-hand holds a stem with an open blooming flower and an unopened bud. The bent lower part of the stem represents the root. The open blossom represents the present and also the present Buddha; the bud represents the future and also Buddhas yet to be born. The future here also refers to a safe journey's end and future well-being. Her right-hand wisdom hand is in the gesture of giving refuge. The third finger touches the thumb to create a circle representing the union of wisdom and compassion, and the three extended fingers symbolize the Three Jewels of Buddhism a. The Buddha State b. The Body of Teachings. The Principles of the Universe The same hand holds the stem of a blue lotus representing her willingness to assist. The closed blossom in her right hand represents the past and also the Buddhas of the past. Green Tara is shown in a place of paradise called Khadiravani where she Tara dwells. Khadiravani is described as a great mountain kingdom with many trees, flowers, and animals (not shown). 3 rainbow tails emanate from her outer aureole. The crescent moon and sun symbolize the union of male and female ubiquitous in Tantric art.
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The seventy-two golden lines represent psychic energy channels emanating from her body and her central psychic channel running up her spinal column. Each one signifies a thousand as there are traditionally seventy-two thousand channels. The gold lines alternate between wiggly and straight to represent the two main psychic channels running up the central channel that entwine to create the interlocking 'snaking' caduceus to which the energy channels are connected. The trees in the foreground are the Ashoka Tree. The word Ashoka means 'without sorrow' and is the tree linked to the Vedic God of love and sexual union Kamadeva. Apparently, the tree blossoms when a virtuous lady touches it.

Commentary :

The word Tara means the one who saves. The word Tara is derived from the root tri meaning to cross and in context is taken to mean the one who helps people to cross the Ocean of Existence and Suffering. Green Tara is also called 'dark' Tara or more directly Shyama Tara. Green Tara is associated with the Amoghasiddhi who is also green and the north-facing Meditation who is head of the action family. Her willingness to help others is shown by her body posture with one foot ready so that she can rise to offer assistance. Like WhiteTara, she was born of the tears of compassion of the Bodhisattva Avalokiteshvara, resulting from the extreme state of sadness he experienced when observing the continuing ceaseless suffering which he sought to end.

Mantra for Green Tara

Om Tare Tuttare Ture Soha

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