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Monastery Quality Statue Of Vajrapani,chak na dorje Fire Gold Plated , with Painted Face

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Seller From : Nepal

Monastery Quality Statue Of Vajrapani,chak na dorje Fire Gold Plated , with Painted Face

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HS-HME22157

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NPR 175,997.39

Monastery Quality Statue Of Vajrapani,chak na dorje Fire Gold Plated , with Painted Face code: HME22157 Weight : 5.21 Kg(s) size :32x23x11 Cm

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Seller	Handmade Handicraft [10982]
Product Tags	Handmade, Handicraft, Craft, Statue, Idol, Sculpture, Vajrapani, Chak na Dorje, Statue Of Vajrapani
Seller Continent	Asia
Seller State	Bagmati Province
UK Size	4
Seller	Admin
Seller District	Kathmandu

Handmade Handicraft

Seller Countries: Nepal

Monastery Quality Statue Of Vajrapani chak na dorje Fire Gold Plated with Painted Face

Weight: 5.21 kg
Size: 32x23x11 cm
Material: 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

Vajrapani: 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.IconographyVajrapani 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 heÂ’s completely free from hatred.

VajrapaniÂ’s 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.MantraThe Mantra oṃ vajrapāṇi hūṃ phaṭ is associated with Vajrapani. His Seed Syllable is hūṃ.

Matra of Vajrapani

oṃ va jra pā ṇi hūṃ
oṃ vajrapāṇi hūṃ

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Monastery Quality Statue Of Vajrapani,chak na dorje Fire Gold Plated , with Painted Face

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Monastery Quality Statue Of Vajrapani,chak na dorje Fire Gold Plated , with Painted Face

Customer Support (Nepal)

Customer Support (Global)

Marketing

About

Customer Service

Payment & Shipping

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