About Chocolate Oxidized
This [medicine Buddha], [buddhist Handmade Statue, [chocolate Oxidized], High Quality 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 [medicine Buddha], [buddhist Handmade Statue, [chocolate Oxidized], High Quality. 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 Buddha of [medicine Buddha], [buddhist Handmade Statue, [chocolate Oxidized], High Quality 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.
Read More . . .
Brief Introduction :
Bhaisajyaguru is known as the Medicine Buddha. He is also called the Healing Buddha. It is said that he dispenses spiritual medicine when properly worshipped. There is even a belief that an efficacious cure may be accomplished by merely touching his image. In Tibet, he may be represented either as a Buddha or as a Bodhisattva. As a Buddha, he exhibits the urn (a small round bulge or protuberance above the bridge of the nose), which is the fourth superior mark of a Buddha, and the Ushnisha (a bulge or protuberance on the top of the Buddha's skull), which is the first superior mark of a Buddha. He has short and curly hair, wears a monastic robe, and is seated with his legs crossed. His left hand, lying in his lap in a meditation mudra, usually holds the medicine bowl, while his right hand, in a charity mudra, holds either a branch with fruit or the fruit alone of the myrobalan, a medicinal plant found in India and other tropical countries.
Iconography :
Medicine Buddha is the popular term for Bhaisajyaguru and refers to healing blue light transmitted by his representation and conception. Bhaisajyaguru means "Master of Blue Light". His healing energy is transmitted through blue light wave length called Vaydurya light. Medicine Buddha radiates this healing energy. Think of the light as internal chakra energy. The colour blue has been known for its purifying properties since ancient times and the deep blue colour of the Medicine Buddha is directly associated with this blue Vaydurya light energy. The energy source originates in the transparent beryl crystal bowl the Medicine Buddha supports and manifests itself in the deep blue of Lapis Lazuli [Lapis] of his corporeal body. The goldenergy lines [Skt. Chritrini] of his psychic body link all the yogic "vital airs" or energy winds [Skt. Vayus] and form the Beryl healing light energy beryl blue band of the inner aureole representing all the vital airs [Skt. Vyana] of the subtle body [Skt. Pranamayakosha]. As we journey through life we can find ourselves suffering through illness or through the illness of someone else. During illness previous priorities seem almost irrelevant as we seek to restore our balance or to find a new balance in our lives. Suddenly the medicine Buddha who is often overlooked becomes the most important of all while we realise our oversight. The image of the medicine Buddha can be used as a meditation deity [Skt. Ishta-devata] texts often call a meditation deity a Tutelary Deity or a Yidam Deity. A Yidam is the Tibetan word for an Ishtar-devata, a fully enlightened being who is the focus of personal meditation, during a retreat or for life. Deity Yoga practices can be undertaken. In essence, the mindstream of the guru and the yidam are indivisible. The yidam is considered to be the root of success in the practice. Visualise his serenity & healing light.
His extended left hand with an open front palm is shown in gift bestowing [Skt. Varada] hand gesture [Skt. Mudra] and holds the stem of a triple fruited myrobalan plant between his thumb & forefinger. In Tibetan medicine the myrobalan plant is known as the 'King of Medicines' on account of its medicinal properties. The gift bestowing hand gesture represents his dispensing of healing and holds a myrobalan plant bearing three myrobalan fruits. The number three refers to Principle of Three Gunas, which are Energy [Skt. Rajas] Inertia/Movement [Skt. Tamas] & wholeness or bodily order [Skt. Sattwa] When balanced we enjoy good health, when unbalanced illness can arise. Our bodies have a remarkable ability to rebalance if we allow them in a process known as homeostasis, directly linked to the principle of the Gunas. Unbalancing can occur when the moon residing at the naval root absorbs too much form the sun at the palette root which relates to too much sensual indulgence with the and the nectar of the moon is.
The right hand of Medicine Buddhas rests upon his lap in the position associated with an advanced connection with the inner self arrived at through meditation, commonly called the meditative state. The same hand supports a blue beryl crystal alms bowl containing medicinal nectar and a myrobalan fruit. He is portrayed wearing maroon monastic robes painted seated on a white moon disc in a lotus body position [Skt. Padmasana] and upon an actual lotus flower. Magical Buddhism [Tantric Buddhism] is very connected with Although more commonly linked to Vedic Yoga.
Commentary :
This is why the ideas in Patanjali's Yoga Sutra are so closely connected with the Buddhist Principle of The Four Noble Truths and on gaining the liberated path. There are many other connections with Yoga such as the tantric gold energy lines [Skt. Chitrini] the lotus and chakras and in the choice of colours of aureoles. Perhaps most obvious is the classic yoga lotus asana with one leg crossed over the other that the Medicine Buddha is sitting in. The wisdom of Devata Yoga will help.
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