Simhanada Lokeshvara, Buddhist Handmade Statue, Bronze Finishing, Gold Plating, Antique

Why use bronze Color?
Bronze color refers to the distinctive hue that is characteristic of bronze metal. It is a rich, warm tone that falls somewhere between brown and copper. Bronze has been used for centuries in the creation of statues, sculptures, and various decorative items due to its unique aesthetic appeal.

While the production of bronze statues can be complex and challenging, particularly in the Nepali statue-making industry, the bronze color can still be achieved through alternative methods such as the Bronze finishing process. In Nepal, sand casting is commonly used for creating bronze statues, but the resulting quality may not always meet desired standards. The Lost Wax system, on the other hand, yields better quality but can be prone to damage during the intricate carving process, leading to a decline in its practice.

Despite the challenges faced in creating bronze statues, the Bronze finishing process offers a way for individuals who appreciate the appearance of bronze to still experience its allure. By applying this finishing technique to other materials, such as Simhanada Lokeshvara, individuals can enjoy the look and feel of a bronze statue while preserving the essence of this revered art form.

Example of Bronze finishing

This art form is shrouded in secrecy, as each artisan holds their own closely guarded formulas and methods. With deep knowledge of materials and an artistic sensibility, they skillfully replicate the natural aging process, infusing the Simhanada Lokeshvara with a sense of authenticity and character. The result is a captivating piece that tells a visual story, evoking a bygone era and adding a touch of allure to any space.

The artist's dedication to creating an aged aesthetic goes beyond mere appearance. It is a deliberate and intentional effort to give the Simhanada Lokeshvara a unique identity, imbued with the charm and beauty of time. With every carefully applied treatment and artistic touch, the Simhanada Lokeshvara becomes a work of art that not only stands as a testament to the artisan's skill but also carries a sense of history and narrative, making it truly exceptional.

The fire mercury gold plating with antique finishing showcases the artisan's dedication to preserving traditional techniques and capturing the essence of timeless elegance. The combination of gold plating and antique finishing lends the Simhanada Lokeshvara an exquisite and enchanting allure, making it a cherished piece that stands out with its enduring beauty.


Detailed Description of Mercury Gilding - Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.

When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface by means of quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.

The amalgam being equally spread over the prepared surface of the metal, the mercury is then sublimed by a heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.

It is then covered with gilding wax, and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.

By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.

This method of gilding metallic objects was formerly widespread, but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders, since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous.

Fire Gold Plating In Nepal

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.