Three Kayug Masters, Marpa Lotsawa, Gampopa and Milarepa Set, Buddhist Statue, Full Gold Plated, Face Painted

Naropa searched for Tilopa exerting much effort. His arduous search and devotion to Tilopa has become a legend in itself. Naropa found Tilopa by the bank of a river. He was dressed like a mad man and was eating fish which was unusual for a holy man. Naropa underwent training under him for about twelve years and received the inner transmission of Mahamudra practice. Guru Naropa profound Mahamudra teachings was received by Tilopa directly from Buddha Vajradhara. Naropa is generally dressed in the white lower garments of a yogi. Naropa body is of an ash colour like that of a wandering mendicant. Naropa left hand holds a skull cup filled with nectar and his right hand shows varada mudra. Naropa sits in Lalitasana posture under an antilope mat. Naropa wears a meditation band on his waist.

life Story
Born as Marpa Chokyi Lodro, in Lhodrak Chukhyer in the southern part of Tibet, to an affluent family, he began studying at a young age but was wild and untamed compared to other children. Marpa first received instruction for three years at Mangkhar with Drokmi Shakya Yeshe and mastered Sanskrit. He decided to travel to India to study with renowned Indian Buddhist masters. His first trip to Nepal and India was in the company of Nyo Lōtsawa, whom he attended as a servant. Marpa returned home to Lhodrak and converted his entire inheritance into gold to fund his travel expenses and to make offerings to teachers.

Marpa journeyed first to Nepal where he studied with Paindapa and Chitherpa, two famous students of Naropa. Paindapa later accompanied Marpa to Pullahari, near Nalanda University, where Naropa taught. Marpa spent twelve years studying with Naropa and other great Indian gurus, most prominently Maitripada. After twelve years he set forth on his journey back to Tibet to teach and continue his dharma activities.

Marpa was to travel to India twice more and Nepal three more times and studied with Naropa and other great teachers including Maitripa. He is said to have stayed in the cave at Phugtal Monastery. On his third visit to India, Naropa, who was engaged in tantric practices, proved difficult to find. However eventually Marpa found him and received the final teachings and instructions from Naropa. It was then that Naropa prophesied that a family lineage would not continue for Marpa, but that his lineage would be carried on by his disciples. Marpa now had received the full transmission, so Naropa formally declared Marpa to be his successor although he had other major disciples including Paindapa, Chitherpa, Shri Shantibhadra or Kukuripa, and Maitripa.

Upon his return to Tibet, Marpa spent many years translating Buddhist scriptures and made a major contribution to the transmission of the complete buddhadharma to Tibet. Marpa continued to practice and give teachings and transmissions to many students in Tibet. After his second visit to India Milarepa became his disciple. After the death of Marpa's son, Darma Dode, Milarepa inherited his lineage in full. Marpa lived with his wife Dakmema and their sons in Lhodrak in the southern part of Tibet. Marpa is said to have founded Stongdey Monastery in Zanskar in 1052 CE.

A traditional depiction of Marpa painted on a rock on Holy Isle, Firth of Clyde	Lotsawa Marpa Chokyi Lodro, (1012-1097)

Protecting the Face
In the process of painting the face, a special variation of gold is utilized. This variation is transformed into a powder form that can be applied as paint. The gold used is believed to be 100% pure, enhancing the reverence and spiritual significance associated with this practice.


As the face is painted it is highly recommended that the face of the statue is to be greatly taken care of as it requires a very professional and skilled face artist to repair the face of dirt and damages. Commonly to protect it from damage, the statue with painted face is placed under a glass box and it is always covered with a cotton face mask if it has to be moved



Video of Face Painting

Mercury gold plating is a time-honored process where a real layer of gold is carefully applied to the Three Kayug Masters. Skilled artisans expertly handle the amalgamation of gold with mercury, ensuring precise application and stunning results. This method not only imparts a rich and lustrous appearance to the Three Kayug Masters but also enhances its durability, allowing the gold plating to last for an extended period.

Detailed Description of Mercury Gilding
The process of Fire Gold plating is both time-consuming and intricate, requiring skilled artisans to carefully apply the gold layer using specialized tools and techniques. Despite the labor-intensive nature of the process, the end result is a stunning work of art that is sure to impress anyone who sees it.


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 using 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 is equally spread over the prepared surface of the metal, the mercury is then sublimed by 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.