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9841267335

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Singha Kuber, Jambhala Namtose, Partly Gold Plated, Traditional Color Finishing and Stone Setting

US$5500

Code
HCS31394
Weight
9.764 Kg / 21.53 lbs
Size
34x30x22.5 Cm / 13.39 Inches
Material
Copper
Availability
Available
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Shipping cost US$25.2 for upto 0.5 kgs
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Finishing: Stone Setting
The [singha Kuber], [jambhala Namtose], [partly Gold Plated, Traditional Color Finishing And Stone Setting] is adorned with an exquisite array of semi-precious stones, including turquoise, coral, and lapis lazuli. These stones are carefully selected and meticulously placed on the [singha Kuber], [jambhala Namtose], [partly Gold Plated, Traditional Color Finishing And Stone Setting]'s surface, adding a touch of opulence and enhancing its overall beauty. Each stone is thoughtfully positioned using a high-quality adhesive, ensuring secure and long-lasting attachment. The vibrant colors and unique patterns of the stones create a captivating contrast against the backdrop of the [singha Kuber], [jambhala Namtose], [partly Gold Plated, Traditional Color Finishing And Stone Setting], elevating its visual appeal and making it truly eye-catching. Read More . . .
About Color Finishing
The [singha Kuber], [jambhala Namtose], [partly Gold Plated, Traditional Color Finishing And Stone Setting] 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 [singha Kuber], [jambhala Namtose], [partly Gold Plated, Traditional Color Finishing And Stone Setting] 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 . . .
Partly Gold plating.
This [singha Kuber], [jambhala Namtose], [partly Gold Plated, Traditional Color Finishing And Stone Setting] 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 . . .
Lost-Wax System
This Jambhala of [singha Kuber], [jambhala Namtose], [partly Gold Plated, Traditional Color Finishing And Stone Setting] 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: Read More . . .
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 Theravāda tradition :
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 – 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 | Videos of statue Making Process | Making Process Of Metal Statues | Gold Plating in Statues | Altering Finishing in Statue

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Singha Kuber, Jambhala Namtose, Partly Gold Plated, Traditional Color Finishing and Stone Setting