Vajrapani with Consort, Shakti, Yab-yum Partly Gold Plated, Sold
US$400
Code
HCS11319
Weight
4 Kg / 8.82 lbs
Size
30x21x15 Cm / 11.81 Inches
Material
Copper Partly Gold Plated
Availability
Sold
Date Added
2015-05-27 14:53:02
Note : We used to sell this product 9 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. Feel free to order. We will verify availability and inform you promptly.
Shakti : Introduction
Shakti Yab-yum is a common symbol in Nepalese and Tibetan art. It represents the primordial union of wisdom and compassion, depicted as a male deity in union with his female consort via the similar concept of interpenetration or "coalescence," as illustrated by the concept of Indra's net. The male figure represents compassion and dexterity, while the female figure represents insight. The female is seated on the male's lap in yab-yum. A rare rendition of a similar figure, but reversed, with the male sitting on the female's lap, is known as yum-yab.
Yab-yum is widely regarded as representing the primordial union of wisdom and compassion. The masculine form is active in Buddhism, representing the compassion and skillful means that must be developed in order to achieve enlightenment. The feminine form is passive and represents wisdom, both of which are required for enlightenment. The figures, when joined, represent the union required to remove the veils of Maya, the false duality of object and subject.
These figures are frequently worked into statues or reliefs, or they are painted on thangkas. Yab-yum can also be represented by the aniconic symbols yantra and mandala.
In Tibetan Buddhism In Tibetan Buddhism, the same ideas are to be found concerning the bell and the dorje, which, like the yab-yum, symbolize the dualism that must be transcended. The sacred Tantric practice leads to rapid development of mind by using the experience of bliss, non-duality, and ecstasy while in communion with one's consort, either visualized, or in the case of advanced practitioners, in some cases physical. In one important Anuttarayoga text, where Tilopa expounds the meaning to Naropa, it is said:
When you rely on a consort, the wisdom of empty bliss will arise, so enter into unionâthe blessing of method and wisdom. Bring it down slowly, retain it, reverse it, and draw it back up. Bring it to the places in the body and let it spread throughout. When you remain free of desire, the wisdom of empty bliss will appear.
Indicating the advanced nature of the actual practice with consort, the verses are the last in what is already widely considered as a text for the most advanced practitioners, a fact clearly evident in the story about Naropa's receiving the teaching.
Read More . . .
Lost-Wax System
This Vajrapani of Vajrapani With Consort, [shakti], Yab-yum [partly Gold Plated], [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 Vajrapani.
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.
Read More . . .
Brief Introduction :
Vajrapaṇi is one of the earliest bodhisattvas of Mahayana Buddhism. He is the protector and guide of the Buddha, and rose to symbolize the Buddha's power. Vajrapani was used extensively in Buddhist iconography as one of the three protective deities surrounding the Buddha. Each of them symbolizes one of the Buddha's virtues: Manjusri (the manifestation of all the Buddhas' wisdom), Avalokitesvara (the manifestation of all the Buddhas' compassion) and Vajrapani (the manifestation of all the Buddhas' power). Furthermore, Vajrapani is one of the earliest Dharmapalas and one of the rare Buddhist deities to be worshiped in the original Zen Buddhism of the Shaolin Temple, Tibetan Buddhism, and even Pure Land Buddhism (where he is known as Mahasthamaprapta). Manifestations of Vajrapani can also be found in many Buddhist temples in Japan as Dharma protectors called Nio.
Iconography :
Vajrapani is pictured dancing wildly within a halo of flames, which represent transformation.
He holds a vajra (thunderbolt) in his right hand, which emphasizes the power to cut through the darkness of delusion. Vajrapani looks wrathful, but as a representation of the enlightened mind, heâs completely free from hatred.
Vajrapaniâs mantra is simply his name, which means "wielder of the thunderbolt", framed between the mystical syllables Om and Hūm. This mantra helps us to gain access to the irrepressible energy that Vajrapani symbolizes. A familiarity with Vajrapani does, of course, help here, although the sound of the mantra is itself rather energetic.
Mantra :
The Mantra oṃ vajrapāṇi hūṃ phaṭ is associated with Vajrapani. His Seed Syllable is hūṃ.
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![Vajrapani With Consort, [shakti], Yab-yum [partly Gold Plated], [sold]](https://handmadeexpo.com/pics/product/thumb/11319.jpg)
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