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Nepali Handmade Statue Of Sitatapatra, Full Fire Gold Plated

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Seller From : Nepal

Nepali Handmade Statue Of Sitatapatra, Full Fire Gold Plated

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HME22423

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$400.00

Nepali Handmade Statue Of Sitatapatra, Full Fire Gold Plated code: HME22423 Weight : 1.35 Kg(s) size :16x13.5x10.5 Cm

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Seller	Handmade Handicraft
Product Tags	Statue, Handmade, handicraft, Crafts, Religious, Gold Plated Statue, Sitatapatra
UK Size	4
Seller	Admin

Handmade Handicraft

Seller Countries: Nepal

Nepali Handmade Statue Of Sitatapatra Full Fire Gold Plated

Weight: 1.35 kg
Size: 16x13.5x10.5 cm
Material: Copper Gold Plated

About the Product

Making Process: Lost-Wax System

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

Sitatapatra: Brief Introduction

Sitātapatrā (Sanskrit: "White Parasol" ) is a protector against supernatural danger. She is venerated in both the Mahayana and Vajrayana traditions. She is also known as Uṣṇīṣa Sitātapatrā. It is believed that Sitātapatrā is a powerful independent deity emanated by Gautama Buddha from his uṣṇīṣa. Whoever practices her mantra will be reborn in Amitābha's pure land of Sukhāvatī as well as gaining protection against supernatural danger and witchcraftFormsThere are several different forms of Sitatapatra including: with one face and two arms; with three faces and six arms; with three faces and eight arms; with three faces and ten arms; with five faces and ten arms; and with 1000 faces 1000 arms and 1000 legsSymbolismSitātapatrā is one of the most complex Vajrayana goddesses. According to Miranda Shaw in the Buddhist Goddesses of India Sitātapatrā emerged from Buddha's uṣṇīṣa when he was in the Trāyastriṃśa heaven.[citation needed] The Buddha announced her role to "cut asunder completely all malignant demons to cut asunder all the spells of others...to turn aside all enemies and dangers and hatred." Sitātapatrā's benign and beautiful form belies her ferocity as she is a "fierce terrifying goddess garlanded by flames a pulverizer of enemies and demons."

In the Mahayana Sitatapatra Sutra she is called Aparājita "Undefeatable Unconquerable" and is also identified as a form of goddess Tārā.

In other sutras she is regarded as a female counterpart to Avalokiteśvara the bodhisattva of compassion. Like him Sitātapatrā manifests in many elaborate forms: having a thousand faces arms and legs or simply as a feminine deity of great beauty. Known foremost for her "white parasol" she is most frequently attributed with the "golden wheel". The auspiciousness of the turning of the dharma wheel is symbolic of Buddhism both in its teachings and realizations."

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