Nepali Statue Of Green Tara Full Gold Plated Painted Face
Weight: 2.31 kg Size: 22x15x12 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
Green Tara: Brief Introduction
Samaya Tara popularly known as Green Tara. She is represented in a royal ease posture with her left leg bent her left leg overstepping the main lotus and resting on a blue lotus ready to get up and offer assistance to those in need. She is portrayed with maroon Buddhist robes and jewelry. The earrings represent patience understanding and renunciation. The diadem with five jewels represents the transmutation of the five delusions into the Five Buddha Wisdoms. She is shown with a benevolent countenance seated upon a white moon disk which is associated with special restorative nectar associated with the naval chakra center. In Buddhists the moon symbolizes the wisdom aspect which when coupled with compassion leads to Sakyamuni Buddha's enlightenment. Her right hand is gracefully lowered in varada mudra the boon-granting gesture.IconographyGreen Tara's special lotus is the blue lotus or 'night lotus' which she bears in both hands. The word utpala means to 'burst open'. Her left hand holds a stem with an open blooming flower and an unopened bud. The bent lower part of the stem represents the root. The open blossom represents the present and also the present Buddha; the bud represents the future and also Buddhas yet to be born. The future here also refers to a safe journeys end and a future well being. Her right hand wisdom hand is in the gesture of giving refuge. The third finger touches the thumb to create a circle representing the union of wisdom and compassion and the three extended fingers symbolise the Three Jewels of Buddhism a. The Buddha State b. The Body of teachings c. The Principles of the Universe The same hand holds the stem of a blue lotus representing her willingness to assist. The closed blossom in her right hand represents the past and also the Buddhas of the past. Green Tara is shown in a place of paradise called Khadiravani where she Tara dwells. Khadiravani is described as a great mountain kingdom with many trees flowers and animals (not shown). 3 rainbow tails emanate from her outer aureole. The crescent moon and sun symbolise the union of male and female ubiquitous in Tantric art.
The seventy two golden lines represent psychic energy channels emanate from her body and her central psychic channel running up her spinal column. Each one signifies a thousand as there are traditionally seventy two thousand channels. The gold lines alternate between wiggly and straight to represent the two main psychic channels running up the central channel that entwine to create the interlocking 'snaking' caduceus and to which the energy channels are connected. The trees in the foreground are the Ashoka Tree. The word ashoka means 'without sorrow' and is the tree linked to the Vedic God of love and sexual union Kamadeva. Apparently the tree blossoms when a virtuous lady touches it.CommentaryThe word Tara means the one who saves. The word Tara is derived from the root trimeaning to cross and in context is taken to mean the one who helps people to cross the Ocean of Existence and Suffering. Green Tara is also called 'dark' Tara or more directly Shyama Tara. Green Tara is associated with the Amoghasiddhi who is also green and the north facing Meditation who is head of the action family. Her willingness to help others is shown by her body posture with one foot ready so that she can rise to offer assistance. Like WhiteTara she was born of the tears of compassion of the Bodhisattva Avalokiteshvara resulting from the extreme state of sadness he experienced when observing the continuing ceaseless suffering which he sought to end.