| Product Tags | Handmade, Handicraft, Craft, Statue, Gold Plated, Vajrayogini, Vajrayogini Statue |
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Handmade Nepali Statue Of Vajrayogini Full Gold Plated
Weight: 1.25 kg
Size: 17x11x45 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
Vajrayogini: Brief Introduction
Vajrayoginī (Sanskrit: Vajrayoginī; Tibetan: Dorje Naljorma ) literally 'the diamond female yogi'. She is a Highest Yoga Tantra Yidam (Skt. Iṣṭha-deva(tā)) and her practice includes methods for preventing ordinary death intermediate state (bardo) and rebirth (by transforming them into paths to enlightenment) and for transforming all mundane daily experiences into higher spiritual paths. Vajrayoginī is a generic female yidam and although she is sometimes visualized as simply Vajrayoginī in a collection of her sādhanas she is visualized in an alternate form in over two thirds of the practices. Her other forms include Vajravārāhī (Tibetan: Dorje Pakmo Wylie: rdo-rje phag-mo; English: the Vajra Sow) and Krodikali (alt. Krodhakali Kālikā Krodheśvarī Krishna Krodhini Sanskrit; Tibetan:Troma Nagmo; Wylie:khros ma nag mo; English: 'the Wrathful Lady' or 'the Fierce Black One' ). Vajrayoginī is a ḍākiṇī and a Vajrayāna Buddhist meditation deity. As such she is considered to be a female Buddha.
Vajrayoginī is often described with the epithet sarva-buddha-dakinī meaning 'the ḍākiṇī who is the Essence of all Buddhas'.Vajrayogini's sādhana or practice originated in India between the tenth and twelfth centuries. It evolved from the Chakrasaṃvara sādhana where Vajrayoginī appears as his yab-yum consort to become a stand-alone practice of anuttarayoga tantra in its own right. The practice of Vajrayoginī belongs to the Mother Tantra (Tibetan: ma-rgyud) class of anuttarayoga tantra along with other tantras such as Heruka Chakrasaṃvara and Hevajra.
According to scholar Miranda Shaw Vajrayoginī is "inarguably the supreme deity of the Tantric pantheon. No male Buddha including her divine consort Heruka Chakrasaṃvara approaches her in metaphysical or practical import."[9] A number of lamas and other contemporary scholars do in fact argue otherwise as Vajradhāra is widely considered the supreme deity of the Tantric pantheon but the importance of Vajrayoginī is agreed upon.IconographyVajrayoginī is visualized as the translucent deep red form of a 16 year old female with the third eye of wisdom set vertically on her forehead. Vajrayoginī is generally depicted with the traditional accoutrements of a ḍākiṇī including a cleaver (Tib. drigug Skt. kartṛī) marked with a vajra in her right hand and a kapala (skull cup) in her left hand which is filled with blood that she partakes of with her upturned mouth. Her consort Chakrasaṃvara is often symbolically depicted as a khaṭvāṇga on Vajrayoginī's left shoulder when she is in 'solitary hero' form. Vajrayoginī's khatvanga is marked with a vajra and from it hang a damaru drum a bell and a triple banner. Her extended right leg treads on the chest of red Kālarātri while her bent left leg treads on the forehead of black Bhairava bending his head backward and pressing it into his back at the level of his heart. Her head is adorned with a crown of five human skulls and she wears a necklace of fifty human skulls. She is depicted as standing in the center of a blazing fire of exalted wisdom.
Each aspect of Vajrayoginī's form and mandala is designed to convey a spiritual meaning. For example her brilliant red-colored body symbolizes the blazing of her inner fire (Tib. tummo). Her single face symbolizes that she has realized that all phenomena are of one nature in emptiness. Her two arms symbolize her realization of the two truths. Her three eyes symbolize her ability to see everything in the past present and future. She looks upward toward the Pure Dākiṇī Land (Skt. Kechara) demonstrating her attainment of outer and inner Pure Dākiṇī Land and indicating that she leads her followers to these attainments. The curved drigug knife in her right hand shows her power to cut the continuum of the delusions and obstacles of her followers and of all living beings. Drinking the nectar of blood from the kapala in her left hand symbolizes her experience of the clear light of bliss.
In her form as Vajravārāhī when she is known as 'the Vajra Sow' she is often pictured with a sow's head on the side of her own as an ornament and in one form has the head of a sow herself. Vajrayoginī is often associated with triumph over ignorance the pig being associated with ignorance in Buddhism. This sow head relates to the origins of Vajravārāhī from the Hindu sow-faced goddess Vārāhī.
The severed-headed form of Vajrayoginī is similar to the Indian goddess Chinnamasta who is recognized by both Hindus and Buddhists
Mantra of Vajrajogni
