HomeBuddhist StatueTaraStatue of White Tara Single Lotus Full Gold Plated, Antique Finishing

Statue of White Tara Single Lotus Full Gold Plated, Antique Finishing

US$600

Code

HCS15875

Weight

5.475 Kg / 12.07 lbs

Size

36x24x16 Cm / 14.17 Inches

Material

Copper

Availability

Available

Date Added

2019-04-09 06:52:18

Note : We used to sell this product 5 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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Full Gold Plated with Antique patina
This Statue Of White Tara Single Lotus [full Gold Plated], [antique Finishing] has finished in a full gold Plated antique patina. The Antique finishing imparts a sense of age and character to the Statue Of White Tara Single Lotus [full Gold Plated], [antique Finishing], enhancing its overall appeal. In the Antique finishing process, after the Gold plating is applied, a carefully applied layer of varnish is added. This varnish not only contributes to the antique look but also serves as a protective barrier, ensuring the longevity of the gold plating. It helps to safeguard the gold layer but also prevents tarnishing for an extended period. Read More . . .

Lost-Wax System
This Tara of Statue Of White Tara Single Lotus [full Gold Plated], [antique Finishing] 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 Tara.
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 :

White Tara is a revered figure in Buddhist mythology, often depicted as a compassionate and serene goddess. She embodies peace and emanates loving compassion, bringing grace and dignity to various situations. White Tara's presence encourages the emergence of goodness and positive outcomes in all circumstances. She upholds the Four Measureless States, which include Loving Kindness, Compassion, Sympathetic Joy, and Equanimity, encompassing past, present, and future circumstances. Additionally, White Tara is associated with the bestowing of longevity, symbolizing a long and healthy life. Her essence embodies the ideals of compassion and benevolence, making her a significant figure in Buddhist worship and spiritual practices.

Iconography :

Sita Tara, popularly known as White Tara. She has emanated from Avalokiteshvara & in the Nepali Transcendent Buddha tradition is the consort of Vairochana, the central Transcendent Buddha. Her inner virtue of loving compassion is magnified by the simplicity of her presentation. White Tara is an important Vajrayana Buddhist figure since she embodies the principle of loving kindness, which is the central quality in the altruistic Bodhisattva presented through Mahayana Buddhism. Her main emblem is the Pink Lotus [Skt. Kamala] representing this main quality.

Her left hand is gracefully lowered in an empty open palm boon granting gesture [Skt. Varada Mudra]. White Tara has a blooming pink lotus & an unopened bud on either side of her body. The lotus in the painting is stylised as a peony & a chrysanthemum to provide artistic contrast with her lotus throne. The open blossom represents the present and the bud represents the future situations & Buddhas yet to be born. The future also refers to beneficial changes circumstances that she will help bring about. Her right hand wisdom hand is in the gesture of giving refuge [Skt. Sharanagamana]. The word refuge refers to the teaching of compassionate understanding which she imparts. The third finger touches the thumb to create a circle representing the union of wisdom and compassion, and the three extended fingers symbolise the Three Jewels of Buddhism A. The Buddha State B. The Body of teachings [Skt. Sangha] C. The Principles of the Universal form [Skt. Dharma]. The same hand holds the stem of a blue lotus [Skt. Utpala] representing change. The lower part of the stem below the bend represents the root of the lotus in the mud. The allegory of the Lotus refers to the something that grows from the obscurity of the mud & which eventually bursts open in the light. The lotus journey is one of inner awakening & enlightenment analogous to the human spirit. Buddhism shows us how to grow towards the light with profound teachings which help us to navigate away from burdens and sufferings which we may have by being materially minded, bitter & confused.

There is a lotus on her diadem bearing the Wish Granting Gem [Skt. Chintamani] surrounded by an aureole of fire symbolising auspicious blessings. The extra eye on her forehead, on the palms of her hands & soles of her feet represent her ability to see and understand the sufferings of all beings & her omniscient compassion toward the suffering. Avalokiteshvara [Tib. Chengresi] her progenitor also has a white body & extra eyes. The eyes denote psychic & supernatural power. The rainbow coloured leggings represent a mastery of Boddhi Nature [Skt. Siddhi] & a manifestation of the Sambhogakaya. The dark blue layer of clothing signifies Mantrayana practice. She is upon a white moon disk & has an orange sun aureole to representing her emanation their melting point [Skt. Nada]. There is a branch of an Ashoka Tree in the foreground. The word Ashoka means 'without sorrow' in other words she has no regrets about her behaviour. The tree linked to the Vedic God of love & sexual union Kamadeva which blossoms when a virtuous lady touches it. The triangular diamond rock formation in the foreground represents the Source of Reality [Skt. Dharmadaya] out of which deities arise & which is generated from emptiness by the seed syllable E. In the Indian language is a Triangular shaped letter D & so expressed in the triangular rock formations.

Commentary :

Tara's are difficult to place being neither Deity nor Dakini. Tara's are commonly described as female emanations and aides of Buddhas. Deities tend to have consorts with whom they are having sexual intercourse. She has a special association with the Pink lotus which represents the arising of wisdom from the obscure depths of the mud and the flowering of the awoken wisdom. The mud symbolised the primeval state. As with the other emanations of Tara, she has come into being from the teardrop of Avalokateshwara the great Bodhisattva of compassion.

Mantra of White Tara

Om Tare Tuttare Ture Mama Ayuh Punya JÃ±ana Pustim Kuru Svaha

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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