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Handmade Nepali Statue Of Akash Yogini, Full Gold Plated

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Seller From : Nepal

Handmade Nepali Statue Of Akash Yogini, Full Gold Plated

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HS-HME22346

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NPR 46,932.64

Handmade Nepali Statue Of Akash Yogini, Full Gold Plated code: HME22346 Weight : 1.23 Kg(s) size :20x10x4.5 Cm

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Seller	Handmade Handicraft [10982]
Product Tags	Handmade, Handicraft, Craft, Statue, Gold Plated, Akash Yogini Statue, Akash yogini
Seller Continent	Asia
Seller State	Bagmati Province
UK Size	4
Seller	Admin
Seller District	Kathmandu

Handmade Handicraft

Seller Countries: Nepal

Handmade Nepali Statue Of Akash Yogini Full Gold Plated

Weight: 1.23 kg
Size: 20x10x4.5 cm
Material: Copper Gold Plated

About the Product

Face: Gold Painted

Protecting the Face
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

Finishing: Full Fire Gold Gilded

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 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

Making Process: Lost-Wax System

Vidyadhari : Brief Introduction

Vidyadhari the 'Knowledge Holder' manifests as one of the four principal aspects of Vajrayogini in the Newar Buddhist tradition where she is commonly known as Bijeshwori Devi or Akash-yogini the Sky (Skt. akasha) or Space-going aspect of the goddess Vajrayogini. The Bijeshwori temple in Kathmandu is situated above the western bank of the Bishnumati River on the road to Swayambhu and its Newar name is derived from Vidhyeshvari meaning the Â‘Wisdom Goddess'. The presiding goddess of this temple is specifically associated with the Indian Mahasiddha Maitripa who practiced and attained the realization of this flying aspect of Vajrayogini at this site so she is also known as Maitri-dakini or Maitri-khechari.Full Description

The temple of Bahal Bidjeshwori was once at the centre of a great cremation ground that was sacred to Vajravarahi and its main image was Bhagavani Devi Vidyadhari Viramante the Â‘Divine Pleasure-giving Knowledge Holder GoddessÂ’. She is the heart-dakini of Maitripa who brought this symbol of his realization from India. On the right side of the goddess is Urdhvapada Varahi with her left leg extended high in the sky to Brahmaloka and her other foot pressing down upon a golden Maheshvara. On her left side is Vajravarahi (Tib. Dorje Palmo) and then the twelve-year-old virgin form of Vajrayogini as NaropaÂ’s Dakini (Skt. Naro Khechari) or Chakreshvari the consort of Chakrasamvara.

In the Newar Buddhist tradition the four aspects of Vajrayogini appear as the four Â‘Heart YoginisÂ’ that form the inner circle of Great Bliss of the Chakrasamvara and Vajravarahi mandalas. These are: (1) Vajrayogini as NaropaÂ’s Dakini or Naro Khandroma whose temple is located at Shanku. (2) Vajravarahi as IndrabhutiÂ’s Dakini or Indra Yogini whose temple is located at Guhyeshvari. (3) The Â‘Raised FootÂ’ form of Vajrayogini whose temple is located at Pharphing. (4) Vajrayogini as Akash Yogini or Vidyadhari whose temple is located at Bijeshwori.

Vidyadhari Vajrayogini is beautiful playful and lusty and youthful like a sixteen-year-old. She is the colour of a red hibiscus flower with three lotus-like eyes and an expression that combines the sentiments of passion and slight wrath. She is shown leaping into space in the flying posture of a sky-going dakini with her right leg bent back at the knee and her right leg extended in Â‘raised footÂ’ (Skt. urdhvapada) posture and held in the crook of her left arm such that her thighs are fully splayed. Her nubile body is perfect in proportion with a narrow waist and firm round breast with aroused nipples.

Her long tresses of black hair flow freely behind her back and her head is adorned with a golden crown of five jewel-topped and carved white skulls with loops of bone beads hanging beneath below each little skull. She wears the golden ornaments of jeweled earrings a heavy neck choker decorated with the serpent-devouring head of a garuda wide Newar bracelets armlets anklets and finger rings. A golden breast ornament loops around her chest with small coins hanging from its upper thread little round bells from its lower thread with a small endless knot and reliquary box (Tib. gau) joining the threads together between her breasts. From her golden belt hang the sixty-four filigree beaded strands of her bone apron the joined loops of which are embellished with pendant-emblems of auspicious symbols and swans with the large pendant near her right knee displaying a small carved image of the goddess Vidyadhari herself. An embellished Newar medallion on a long silver chain swings out behind her neck and around her shoulders she wears a long garland of dry white skulls that are described as being fifty in number.

Vidyadhari's face is inclined upward to her left as she drinks a stream of fresh blood from the tilted skull-cup she holds in her left hand. Her drinking of blood symbolizes that she is consumed with great bliss and her inclined posture of flying towards the left represents the importance placed upon 'left-hand rituals' within the yogini or mother-tantra traditions. With her lowered right hand she circles a vajra-handled curved knife towards the ten directions with her index finger raised in the threatening tarjani gesture symbolizing that she terrorizes all obstructive demons. Across her left shoulder she carries the golden staff of her tantric-staff or khatvanga which is equal in height to her own body and represents her male consort Chakrasamvara. The top of her khatvanga is sealed with a golden crossed-vajra and a nectar vase the impaled blue head of Bhairava a freshly severed head a dry white skull and a crowning half-vajra. A billowing silk ribbon and a damaru and bell hang from a chain near the top of the khatvanga's shaft.

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Handmade Nepali Statue Of Akash Yogini, Full Gold Plated

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Handmade Nepali Statue Of Akash Yogini, Full Gold Plated

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Customer Service

Payment & Shipping

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