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Lost-Wax System
This Jambhala of Namtose Vaisravana Jambhala Statue, [full Gold Plated], [antique Finishing], [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 Jambhala.
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 Description :Vaiśravaṇa (Sanskrit) or Vessavaṇa (Pali; Tibetan: རྣམ་ཐོས་སྲས་, Lhasa dialect: [Namtösé], simplified Chinese: 多闻天王; traditional Chinese: 多聞天王; pinyin: Duōwén Tiānwáng, Japanese: 毘沙門天, romanized: Bishamonten Korean: 비사문천, romanized: Bisamuncheon), is one of the Four Heavenly Kings and is considered an important figure in Buddhism.
Characteristics : The character of Vaiśravaṇa is founded upon the Hindu deity Kubera, but although the Buddhist and Hindu deities share some characteristics and epithets, each of them has different functions and associated myths. Although brought into East Asia as a Buddhist deity, Vaiśravaṇa has become a character in folk religion and has acquired an identity that is partially independent of the Buddhist tradition (cf. the similar treatment of Guanyin and Yama).
Statue of Vaiśravaṇa as the guardian at the royal crematorium of King Bhumibol Adulyadej of Thailand, 2017.
Vaiśravaṇa as the Seal of Udon Thani Province, Thailand
Tamonten statue at Tōdai-ji, Nara
Partly gilded Tibetan bronze statue of Vaisravana (Jambhala) sitting on a snow lion and holding a mongoose in his left hand. 18th century
Vaiśravaṇa is the guardian of the northern direction, and his home is in the northern quadrant of the topmost tier of the lower half of Sumeru. He is the leader of all the yakṣas who dwell on the Sumeru's slopes.
He is often portrayed with a yellow face. He carries an umbrella or parasol (chakra) as a symbol of his sovereignty. He is also sometimes displayed with a mongoose, often shown ejecting jewels from its mouth. The mongoose is the enemy of the snake, a symbol of greed or hatred; the ejection of jewels represents generosity.
In the Pāli Canon of Theravāda Buddhism, Vaiśravaṇa is called Vessavaṇa. Vessavaṇa is one of the Cāturmahārājika deva or "Four Great Heavenly Kings", each of whom rules over a specific direction. Vessavaṇa's realm is the northern quadrant of the world, including the land of Uttarakuru. According to some suttas, he takes his name from a region there called Visāṇa; he also has a city there called Ālakamandā which is a byword for wealth. Vessavaṇa governs the yakshas â beings with nature between 'fairy' and 'ogre'.
Vessavaṇa's wife is named Bhuñjatī, and he has five daughters, Latā, Sajjā, Pavarā, Acchimatī, and Sutā. He has a nephew called Puṇṇaka, a yakkha, husband of the nāga woman Irandatī. He has a chariot called Nārīvāhana. He is called gadāvudha (Sanskrit: gadāyudha) "armed with a club", but he only used it before he became a follower of the Buddha.
Vessavaṇa has the name "Kuvera" from a name he had from a past life as a rich Brahmin mill-owner from Sri Lanka, who gave all the produce of one of his seven mills to charity and provided alms to the needy for 20,000 years. He was reborn in the Cātummahārājikā heaven as a result of this good karma.
As with all the Buddhist deities, Vessavaṇa is properly the name of an office (filled for life) rather than a permanent individual. Each Vessavaṇa is mortal, and when he dies, he will be replaced by a new Vessavaṇa. Like other beings of the Cātummahārājika world, his lifespan is 90,000 years (other sources say nine million years). Vessavaṇa has the authority to grant the yakshas particular areas (e.g., a lake) to protect, and these are usually assigned at the beginning of a Vessavaṇa's reign.
When Gautama Buddha was born, Vessavaṇa became his follower, and eventually attained the stage of sotāpanna, one who has only seven more lives before enlightenment. He often brought the Buddha and his follower's messages from the gods and other humans and protected them. He presented to the Buddha the Āṭānāṭā verses, which Buddhists meditating in the forest could use to ward off the attacks of wild yak has or other supernatural beings who do not have faith in the Buddha. These verses are an early form of partita chanting.
Bimbisāra, King of Magadha, after his death was reborn as a yakkha called Janavasabha in the retinue of Vessavaṇa.
In the early years of Buddhism, Vessavaṇa was worshipped at trees dedicated to him as shrines. Some people appealed to him to grant them, children.
You may also want to read the related articles :
Service of Filling and blessing in Statue
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Videos of statue Making Process
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Making Process Of Metal Statues
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Gold Plating in Statues
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Altering Finishing in Statue
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