Very rare antique Statue of Yamantaka - Megasambara without Consort, Full Fire Gold Plate , Natural Antique

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$590.00
Very rare antique Statue of Yamantaka - Megasambara without Consort, Full Fire Gold Plate , Natural Antique code: HME22086 Weight : 1.66 Kg(s) size :19x14x8 Cm
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FOB
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Pcs
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1.66 kgs
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1
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1
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Product TagsHandmade, Handicraft, Craft, Statue, Gold Plated, Idol, Sculpture, Yamantaka, Yamantaka Statue, Statue of Yamantaka, Natural Antique
Seller Countries: Nepal

Very rare antique Statue of Yamantaka - Megasambara without Consort Full Fire Gold Plate Natural Antique


Weight: 1.66 kg
Size: 19x14x8 cm
Material: Copper and Gold


About the Product

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



Yamantaka: Brief Introduction

Yama represents the end of one cycle & beginning of another. The deity Yama is wrathful to try to encourage you not to return to a previous cycle or habit. He is there to help you break the cyclical nature of existence [Skt. Samsara so that you can access the higher realm of human consciousness. He is fed up with the attachment of mankind to the Five negative afflictions [Skt. Kleashas] if pushed he has the authority to send you at your physical death to a place of ice & fire.IconographyThe five skulls on Yama's diadem represent the Five Negative Affliction Or poisonous Buddhsit_Art_Yamaobstacles [Skt. Kleshas] to spiritual development which are greed hatred delusion jealousy & pride & the transmutation of the five afflictions into the five wisdoms. His special power to change the five troubles is indicated by the tongues of crimson flame that arise from the cranium of each skull. He is painted with a bull's head and he straddles a blue boar which crushes a human form. In his left hand in the threatening hand position [Skt. Tarjani Mudra] Yama brandishes a skull club [Skt. Kapala Danda] also carried by Kali [Shiva] & Bhairav that symbolises "smashing the veil of ignorance" and the ultimate emptiness of all phenomena which we need to realise the highest Buddhist ideal of Great Bliss [Skt. Mahasukha] pure consciousness and love. The energy is so powerful that it is sealed with a half vajra at the top. The white silk ribbons represents his ability adapt his energy to destroy ignorance in all its forms. In his right hand he holds a rope noose [Skt. Pasha] . One end has a hook and the other a ring which representing the catching & binding of the ego the possibility of strangulation.


His sister Yami holds a skullcap [Skt. Kapala] held at his heart in his right hand hold red rejuvenating blood of Great Bliss called Raktavarna[skt.] representing 'wisdom'. The white breast ornament represents the wheel of life [Skt. Jivan Chakra] Jivan is a Sanskrit word meaning soul. Chakra means wheel. The wheel of Life is often called the Bhavacakra. Bhava means container or receptacle in the sense of body or form. The degree of wrath & and tantric power a deity has is often measured by the quantity of flame in the aureole of flame surrounding body. Yama is surrounded by a Fire Wheel [Tib. Me-Khor] which represents his ability to annihilate anything or anyone that crosses his path but especially the obscuration to pure conscious enlightenment of which ignorance is considered the chief poison. The fire wheel radiate as pure psychic energy whose potency is alluded to in Yama's erect penis. Nothing can withstand Yama's fire wheel. In the foreground there are the Three Skull Offerings which represent the items necessary for rebirth. The left & right skulls are traditionally mounted on three smaller skulls. The left blue blood represents semen & the right red blood fertile uterine blood with the central skull contains the offering of the five senses representing the consciousness. The five senses are 1. the heart representing touch 2. the eyes - sight 3. tongue - taste 4. nose - smell & 5. ears - sound. The attached hair indicates its freshness. The offering of the five senses is key to Yama's purpose; the offering is about rebirth the beginning of something new life.

CommentaryYama is an ancient Vedic deity. His name comes from the root Ya meaning 'twin' in the sense of to restrain or bound. In Tibet Yama is usually Dam Can Chos rGyal 'The Pledge Bound Dharma-King'. The later alludes to his conversion to Buddhism by Manjusri the Bodhisattva of Wisdom in his wrathful manifestation as Yamantaka 'the Destroyer of Yama". There are three common forms of Yama that occur in Tibetan Buddhism which are called respectively the External Internal and Secrete Yama. This painting depicts the External or Outer form of Yama who is a Dharma protector invoked to protect devotees from mundane difficulties such as physical illness and hunger. He is the colour blue and is shown in the characteristic fierce standing pose of a protective deity with a pot belly and erect penis. He has the head of a fierce bull with sharply pointed horns and protruding blood shot eyeballs. The bull is an ancient symbol in Indic religions that is associated with Yama and death but also can symbolize procreation. This ambivalent symbolism is understood in the Buddhist context as the overcoming of death to create eternal life. Yama is personified as a bull as a metaphor of the uncontrolled mind that one must learn to control to overcome death. In his role as lord of hell Yama should not be confused with Western religious notions of the Devil as the embodiment of evil but as a deity given a task within the greater Buddhist cause of the salvation of all living beings. In Buddhist symbolic terms the overcoming of death by terminating the cycle of rebirth is the ultimate goal and it is Yama who serves as a transformer in that process by embodying impermanence.

 

Mantra of Yamantaka

OM AH RA PA TSA NA DHIH

 

 

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