Code
HCS33353
Weight
3.59 Kg / 7.91 lbs
Size
Height
34cm (13") Width
28cm (11") Depth
17cm (7") Material
Copper
Availability
Available

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Talk to help line for your question on 9841267335Gold Painted Face
The face of [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] 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 [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing]. Read More . . .
The face of [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] 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 [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing]. Read More . . .
Partly Gold plating.
This [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] has a Partly gold-plated finish. Partly fire gold gilding, a common practice in Nepali handicrafts. This technique is skillfully employed by artisans to create intricate designs on various metal objects, including statues, jewelry, and decorative items. Through a process, a mask or resist is applied to safeguard specific areas from the gold plating. The object is then subjected to high temperatures, allowing the gold to beautifully adhere to exposed surfaces using a combination of heat and pressure.
In the realm of Buddhist statues, this technique holds additional significance as it distinguishes the golden-plated body from the oxidized or maroon-painted clothing. This visual separation conveys the contrast between the divine purity of the body and the modest attire symbolizing the humble lifestyle of Buddhist monks. The partly fire gold gilding not only adds exquisite detail and elegance but also embodies the deep cultural and spiritual meaning associated with these treasured artifacts. Read More . . .
This [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] has a Partly gold-plated finish. Partly fire gold gilding, a common practice in Nepali handicrafts. This technique is skillfully employed by artisans to create intricate designs on various metal objects, including statues, jewelry, and decorative items. Through a process, a mask or resist is applied to safeguard specific areas from the gold plating. The object is then subjected to high temperatures, allowing the gold to beautifully adhere to exposed surfaces using a combination of heat and pressure.
In the realm of Buddhist statues, this technique holds additional significance as it distinguishes the golden-plated body from the oxidized or maroon-painted clothing. This visual separation conveys the contrast between the divine purity of the body and the modest attire symbolizing the humble lifestyle of Buddhist monks. The partly fire gold gilding not only adds exquisite detail and elegance but also embodies the deep cultural and spiritual meaning associated with these treasured artifacts. Read More . . .
About Color Finishing
The [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] 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 [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] 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 . . .
The [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] 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 [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] 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 . . .
Lost-Wax System
This Sitatapatra of [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] 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 Sitatapatra.
Below we have tried to illustrate the process of making a loss wax system statue: Read More . . .
This Sitatapatra of [sitatapatra], Buddhist Handmade Statue, [partly Gold Plated], [stone Setting, Face Painted] And [traditional Color Finishing] 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 Sitatapatra.
Below we have tried to illustrate the process of making a loss wax system statue: Read More . . .
Brief Introduction :
Sitātapatrā (Sanskrit: "White Parasol",) is a protector against supernatural danger. She is venerated in both the Mahayana and Vajrayana traditions. She is also known as Uṣṇīṣa Sitātapatrā. It is believed that Sitātapatrā is a powerful independent deity emanated by Gautama Buddha from his uṣṇīṣa. Whoever practices her mantra will be reborn in Amitābha's pure land of Sukhāvatī as well as gaining protection against supernatural danger and witchcraft
Forms :There are several different forms of Sitatapatra including: with one face and two arms; with three faces and six arms; with three faces and eight arms; with three faces and ten arms; with five faces and ten arms; and, with 1000 faces, 1000 arms and 1000 legs
Symbolism :Sitātapatrā is one of the most complex Vajrayana goddesses. According to Miranda Shaw in the Buddhist Goddesses of India, Sitātapatrā emerged from Buddha's uṣṇīṣa when he was in the Trāyastriṃśa heaven.[citation needed] The Buddha announced her role to "cut asunder completely all malignant demons, to cut asunder all the spells of others...to turn aside all enemies and dangers and hatred." Sitātapatrā's benign and beautiful form belies her ferocity as she is a "fierce, terrifying goddess, garlanded by flames, a pulverizer of enemies and demons."
In the Mahayana Sitatapatra Sutra, she is called Aparājita "Undefeatable, Unconquerable" and is also identified as a form of goddess Tārā.
In other sutras, she is regarded as a female counterpart to Avalokiteśvara, the bodhisattva of compassion. Like him, Sitātapatrā manifests in many elaborate forms: having a thousand faces, arms and legs, or simply as a feminine deity of great beauty. Known foremost for her "white parasol" she is most frequently attributed with the "golden wheel". The auspiciousness of the turning of the dharma wheel is symbolic of Buddhism, both in its teachings and realizations.
In the Mahayana Sitatapatra Sutra, she is called Aparājita "Undefeatable, Unconquerable" and is also identified as a form of goddess Tārā.
In other sutras, she is regarded as a female counterpart to Avalokiteśvara, the bodhisattva of compassion. Like him, Sitātapatrā manifests in many elaborate forms: having a thousand faces, arms and legs, or simply as a feminine deity of great beauty. Known foremost for her "white parasol" she is most frequently attributed with the "golden wheel". The auspiciousness of the turning of the dharma wheel is symbolic of Buddhism, both in its teachings and realizations.