HomeBuddhist StatueVajrapaniChandamaharoshana Statue, Sold

Chandamaharoshana Statue, Sold

US$120

Code

HCS2978

Weight

1.5 Kg / 3.31 lbs

Size

20x14x10 Cm / 7.87 Inches

Material

Copper

Availability

Sold

Date Added

2009-04-04 10:09:54

Note : We used to sell this product 15 years ago so it may no longer be in our stock.
It is possible that we still have it with our suppliers but the price could be different from before.
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About sold
this item is sold

About Chocolate Oxidized
This Chandamaharoshana Statue, [sold] has been meticulously treated with a chocolate color antique patina. The intention behind this patina is to replicate the appearance of a copper statue that has gracefully aged over a century. Unlike a simple coat of paint, this patina is not applied superficially and is designed to endure. It undergoes an artificial oxidation process that adds depth and character, while also serving as a protective layer against natural oxidation.
By imitating the natural aging process, the chocolate color antique patina lends an air of authenticity and vintage charm to the Chandamaharoshana Statue, [sold]. This carefully crafted finish ensures that the patina remains intact for an extended period, offering longevity and resistance to wear. The result is a unique piece that captures the essence of a time-worn copper statue, evoking a sense of history and artistic heritage.

Lost-Wax System
This Vajrapani of Chandamaharoshana Statue, [sold] 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 (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 :

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.

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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