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Monastery Quality Statue of Chenrezig Shakti , Full Gold Plated , Painted Face

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Seller From : Nepal

Monastery Quality Statue of Chenrezig Shakti , Full Gold Plated , Painted Face

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Monastery Quality Statue of Chenrezig Shakti , Full Gold Plated , Painted Face code: HME21852 Weight : 1.71 Kg(s) size :17x11x8 Cm

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Seller	Handmade Handicraft
Product Tags	Monastery Quality Statue, Chenrezig Shakti Statue, Gold Plated Statue, Painted Face Statue, Metal Craft, Idol, Sculpture, Statue
Seller Continent	Asia
Seller State	Bagmati Province
Seller District	Kathmandu

Handmade Handicraft

Seller Countries: Nepal

Monastery Quality Statue of Chenrezig Shakti Full Gold Plated Painted Face

Weight: 1.71 kg
Size: 17x11x8 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

Avalokiteshvara | Chenrezig: Brief Introduction

Of all the deities in Mahayana Buddhism the bodhisattva Avalokiteshvara Chenrezig is one of the most celebrated. He is the lord gifted with complete enlightenment who refrains from entering the blissful state of nirvana to remain here below and save the living being of the earth. This devotion to the salvation of others emphasizes the profound compassion.

Compassion for others had always been regarded as a virtue in early Buddhism but it had a somewhat subordinate place to wisdom. In Mahayana Buddhism compassion received an equal emphasis with wisdom perhaps because the Mahayana was more consciously universal and covered a wider sector of society. In this view of the world all men and women not just those leading a monastic life could achieve nirvana.
IconographyAvalokiteshvara Chenrezig is visualized in many forms with various numbers of faces and arms and various colors and ornaments. He sits on a lotus and the flat disc of the moon with another moon disk behind him reflecting his total purity. Two of his four arms are joined in the prayer position holding the wish fulfilling gem. In his other left hand he holds a lotus flower and in his other right hand a crystal mala (rosary) which he is using to count the repetitions of his mantra "Om Mani Padme Hum" Hail to the Jewel in the Lotus which liberates all beings from suffering. He wears the silks and ornaments of a Bodhisattva representing all his special qualities and the soft skin of an antelope over his shoulder symbolizing his complete freedom from violence. He smiles with deep understanding love and compassion as his eyes look upon all beings.

The four arms and hands signify the four immeasurable:
Immeasurable loving kindness
Immeasurable compassion
Immeasurable joy
Immeasurable equanimity.

Chenrezig the Bodhisattva of Boundless Compassion is the very embodiment and realization of the four immeasurable. The four immeasurable are the vehicles through which Chenrezig benefits beings.
The first two the inner arms have palms joined at the heart holding a sky-blue and wish fulfilling jewel. This symbolizes that in whatever way Chenrezig manifests to benefit beings the quality of Chenrezig's mind is never separate from the all-pervasive primal wisdom.

In the outer right hand Chenrezig is holding crystal beads and moving them the way we use a mala to count mantras. This symbolizes that there is not one moment when Chenrezig does not benefit beings. Like the steady movement of counting the beads Chenrezig is continuously benefiting sentient beings and turning the wheel of enlightened activity.

In the outer left hand Chenrezig holds a lotus flower. This symbolizes that in benefiting sentient beings Chenrezig manifests in whatever forms are necessary in accordance with the mental capacities circumstances and aptitudes of sentient beings. Chenrezig may appear in any of the different realms such as the hell realm or the hungry ghost realm. However Chenrezig may appear he remains free from any of the worldly stains of the various realms of life the way a lotus flower growing in a swamp appears free of the stain of the mud. The left hand of Chenrezig holding the flower symbolizes that stainlessness.

All the various features of this image have meaningful connections to the wonderful qualities of Chenrezig and by focusing on these details as we visualize the image in the meditation we can gradually awaken our own awareness of those same qualities in ourselves. Practicing of AvalokiteshavaraThe image of Chenrezig that is visualized in the meditation practice is not a real person who happens to be perfect in every imaginable way. It is an image an imaginary form with wonderful qualities. Chenrezig glows in the dark Chenrezig even glows in the daylight.
Kalu Rinpoche said "One does not think of the deity's body as solid or material made of flesh and blood like one's ordinary body or made of metal or stone like an idol. One thinks of it as appearance that is inseparable from emptiness like a rainbow or like a reflection in a mirror."

The particular wonderful qualities that Chenrezig manifests for us are just the ones we need to get more in touch with as aspects of our own nature if we want to become an enlightened Buddha or even if we just want to become a truly compassionate person. We and the image of Chenrezig are two extremes we have flesh and blood bodies but not as much compassion as we would like to have and Chenrezig has a body made of rainbows and boundless impartial compassion. When we put those two extremes together in the Chenrezig meditation we move in the direction of manifesting as a being with a physical body a body of rainbow light and unlimited compassion.

Various aspects of the form we visualize remind us of the most important qualities of this particular manifestation of awakened mind the qualities we are trying to connect to.
In visualization practice we imagine ourselves to be a Buddha in this case the Buddha of Compassion Avalokiteshvara. By replacing the thought of yourself as you with the thought of yourself as Avalokiteshvara you gradually reduce and eventually remove the fixation on your personal self which expands your loving kindness and compassion toward yourself and toward others and your intelligence and wisdom becomes enhanced allowing you to see clearly what someone really needs and to communicate with them clearly and accurately.

Avalokiteshvara Chenrezig is the embodiment of that unselfish urge to look upon each other as loving equals. If you are in need of guidance in healing unity unselfishness or the mastering of fears you may meditate on the qualities of Avalokiteshvara Chenrezig {as above} say the mantra" Om Mani Padme Hum".
In most religious traditions one prays to the deities of the tradition in the hopes of receiving their blessing which will benefit one in some way. In the Vajrayana Buddhist tradition the blessing and the power and the superlative qualities of the enlightened beings are not considered as coming from an outside source but are believed to be inborn to be aspects of our own true nature. Avalokiteshvara Chenrezig and his love and compassion are within us.

His Holiness The Dalai Lama said "Thus the six syllables "Om Mani Padme Hum" mean that in dependence on the practice which is in indivisible union of method and wisdom you can transform your impure body speech and mind into the pure body speech and mind of a Buddha."
Origin of Avalokiteshvara : Mahāyāna accountAccording to Mahāyāna doctrine Avalokiteśvara is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own Buddhahood until he has assisted every being on Earth in achieving Nirvāṇa. Mahāyāna sūtras associated with Avalokiteśvara include the following:

Saddharma Puṇḍarīka Sūtra (Lotus Sūtra)
Kāraṇḍavyūha Sūtra
Prajanaparmita Hṛdaya Sūtra (Heart Sūtra)
Mahākaruṇā Dhāranī Sūtra (Nīlakaṇṭha Dhāraṇī)
Avalokitesvara Ekādaśamukha Dhāraṇī Sūtra
Cundī Dhāraṇī Sūtra

The Lotus Sūtra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. The Universal Gateway of Avalokitasvara Bodhisattva This chapter is devoted to Avalokitasvara describing him as a compassionate bodhisattva who hears the cries of sentient beings and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokitasvara are described including female manifestations all to suit the minds of various beings. The chapter consists of both a prose and a verse section. This earliest source often circulates separately as its own sūtra called the Avalokitasvara Sūtra and is commonly recited or chanted at Buddhist temples in East Asia.
Origin of Avalokiteshvara : Tibetan accountIn the Tibetan tradition Avalokiteśvara is seen as arising from two sources. One is the relative source where in a previous eon (kalpa) a devoted compassionate Buddhist monk became a bodhisattva transformed in the present kalpa into Avalokiteśvara. That is not in conflict however with the ultimate source which is Avalokiteśvara as the universal manifestation of compassion. The bodhisattva is viewed as the anthropomorphised vehicle for the actual deity serving to bring about a better understanding of Avalokiteśvara to humankind.
Seven forms of Avalokiteśvara in Tibetan Buddhism:

Amoghapāśa: not empty (or unerring) net or lasso.
Vara-sahasrabhuja-locana / Sahasrabhujasahasranetra: 1000-hand and 1000-eye
Hayagriva: with the head of a horse
Ekadasamukha: with 11 faces
Cund
Cintamani-cakra: wheel of sovereign power
Arya Lokiteśvara: the Holy sovereign beholder of the world (loka) a translation of īśvara means "ruler" or "sovereign" holy one.

Modern scholarship
Western scholars have not reached a consensus on the origin of the reverence for Avalokiteśvara. Some have suggested that Avalokiteśvara along with many other supernatural beings in Buddhism was a borrowing or absorption by Mahayana Buddhism of one or more Hindu deities in particular Shiva or Vishnu (though the reason for this suggestion is because the current name of the bodhisattva not the original one.)

The Japanese scholar Shu Hikosaka on the basis of his study of Buddhist scriptures ancient Tamil literary sources as well as field survey proposes the hypothesis that the ancient mount Potalaka the residence of Avalokiteśvara described in the Gandavyuha Sutra and Xuanzang's Records is the real mountain Potikai or Potiyil situated at Ambasamudram in Tirunelveli district Tamil Nadu. Shu also says that mount Potiyil/Potalaka has been a sacred place for the people of South India from time immemorial. With the spread of Buddhism in the region beginning at the time of the great king Aśoka in the third century B.C.E. it became a holy place also for Buddhists who gradually became dominant as a number of their hermits settled there. The local people though mainly remained followers of the Hindu religion. The mixed Hindu-Buddhist cult culminated in the formation of the figure of Avalokiteśvara

In Theravada Lokeśvara "the lord ruler or sovereign beholder of the world" name of a Buddha; probably a development of the idea of Brahmā Vishnu or Śiva as lokanātha "lord of worlds". In Indo-China especially it refers to Avalokiteśvara whose image or face in masculine form is frequently seen e.g. at Angkor. The name Lokeśvara should not be confused with that of Lokesvararaja the Buddha under whom Dharmakara became a monk and made forty-eight vows before becoming Amitabha Buddha.