Palden Lahmo Statue, Partly Gold Plated, Painted Face, Sold, 58 by 41 cm, made by Copper Partly Gold Plated, Statue Large, Protectors

Date Added : 2014-02-11 09:47:53 (3553)Views

Palden Lahmo Statue, Partly Gold Plated, Painted Face, Sold
Code	HME10301
Size	Height 58cm (23") Width 41cm (16") Depth 29cm (11")
Weight	15000 15 kg - 33.07 lbs
Material	Copper Partly Gold Plated
Availability	Sold

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PCS

US$ 4,500.00

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weight of 1 Pcs of the product is 17.5 kg and will cost USD $ 221.26
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Item location: kathmandu, Nepal
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7 days money back, buyer pays return shipping

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Palden Lahmo
Palden Lhamo amo, Shri Devi (Sanskrit), is a protecting Dharmapala of the teachings of Gautama Buddha in the Gelug school of Tibetan Buddhism. She is also called Remati. She is the wrathful deity considered to be the principal Protectress of Tibet.
Palden Lhamo is the consort of Mahakala and has been described as "the tutelary deity of Tibet and its government", and as "celebrated all over Tibet and Mongolia, and the potent protector of the Dalai and Panchen Lamas and Lhasa."
she is said to reside in a lake within Tibet, called Lhamo Latso. The lake is charged with spiritual energy and is said to bestow future visions. One of the methods to search for a new incarnation of the Dalai Lama, the search party will meditate and propitiate Palden Lhamo by this lake. Read More

Iconography
She is usually depicted in nakthang [black-ground style scroll] crossing the sea of blood riding side-saddle on a white mule. There is an eye on the left rump of the mule which is the place where her irate husband's arrow found a mark. She had killed her son and used his flayed skin as a saddle blanket.

Unlike the support of the other 7 dharmapalas, she is atop, or surrounded by, the Himalayas. This not only indicates her association with that region but also her origin as Mahakali, daughter of Himalaya, the Indian deity. She also wears the garland of freshly severed heads characteristic of Kali.

The important distinction is that in this instance the sea of boiling blood, the corpses, and entrails are not associated with offerings intended to appease her. Lhamo's ultimate nature is as a support and a protector of the way of compassion. The personal protector of the Dalai and Panchen Lamas, Palden Lhamo is especially venerated by the Gelug denomination.

Her mule which she rides side-saddle is led through the flames by Makaravaktra, the makara-headed dakini, with lion-head dakini Simhavaktra following behind.

The sun shines from her navel and her hair is adorned with a crescent moon - peacock feather jewel. Sometimes she is shaded by a peacock feather fan or parasol. Her steed is bridled and trimmed with vipers (like that of Freya, the Norse deity) from which hang a bag of diseases, a ball of magical thread and her dice. One form of mo, the Tibetan system of divination by dice, is associated with her.

Palden Lhamo, Victorious Goddess-Defender of the Mahayana, was armed by the gods themselves. Hevajra is the one who gave her the dice to determine men's lives. Her peacock feather fan is the gift of Brahma. Kubera gave her a lion which protects and decorates her right ear. The naga king gave her a serpent for her left ear. Vajrapani gave her a hammer to use as a weapon. Her mule is the gift of the other gods.

Life Story
Lhamo (Skt. Kaladevi,) also called Remati, was married to Shinje, the king of the dudpos, who at the time of their marriage was the king of Lanka. She had vowed either to gentle him and make him favourable towards the religion of Buddha, or else to see to it that an end be put to that whole dynasty.

Hard as she tried over many years, she could not effect any improvement in his evil ways and so she determined to kill their son who was being raised to be the one to finally do away with Buddhism in that kingdom.

During the king's absence, Devi accomplished the dreadful dead. She killed her son and flayed him, then drank his blood using his skull for a cup and also ate his flesh. She then left the palace and using her son's skin as a saddle cloth, set off for her northern home on one of the king's finest steeds.

On his return, seeing what had happened, the king seized his bow and with a fierce and terrible curse shot off a poisoned arrow, but the arrow only pierced the animal's rump and there it stuck fast. The queen easily neutralized the king's imprecation, and removing the deadly barb she said: "May the wound of my mount become an eye large enough to watch over the twenty-four regions, and may I myself be the one to extirpate the lineage of the malignant kings of Lanka!" Then Palden Lhamo continued northwards, easily traversing India, Tíbet, Mongolia, and part of China, and finally settled, say some people, on the mountain Oikhan, in the Olgon district of Eastern Siberia. This mountain is said to be surrounded by large, uninhabited deserts, and by the ocean Muliding.

About sold
this item is sold

Sold
These items are marked as sold and are kept here purely for nostalgic value. You might have landed on this post via Google, a wrong item code search, or an incorrect URL, but please note that these items are no longer available for sale.
The prices shown are not updated and are also displayed for nostalgic reasons. We can remake these items, but it will take approximately six months to a year as we need to recreate them from wax.

Lost-Wax System
This Palden Lahmo is made by the process of the Lost-Wax system. The lost-wax process, also known as investment casting, is a time-honored technique used to create metal sculptures. It involves several steps that have been practiced for thousands of years. Skilled artisans begin by sculpting a detailed wax model, capturing every intricate detail of the desired sculpture. The wax model is then coated with a ceramic shell, formed by multiple layers of ceramic material. Once the shell has cured, the wax is melted and drained out, leaving behind a cavity. Molten metal is poured into the cavity, creating a precise replica of the original wax model. After the metal has cooled and solidified, the ceramic shell is carefully removed, revealing the final metal sculpture.

Process of loss wax system
The lost-wax process offers exceptional quality control and customization, making it a preferred choice for artists seeking intricate and personalized metal artwork. Despite the availability of newer methods, the traditional lost-wax technique continues to be valued for its historical significance and the craftsmanship it embodies.

The method of metal casting in which molten metal is poured into a mold that has been created by means of a wax model. Once the mold is made, the wax model is melted and drained away. Bronze statues come to life differently than marble statues. Instead of carving a block or marble, the bronze artist uses the lost-wax technique to make a series of molds and then pours melted bronze into the final mold to create the sculpture. This method has been around since 4500 BCE.

There are a few important steps in the lost wax casting process:
Step 1: Sculpting ( It all starts in the studio with an idea, Then figuring out how to realize the vision in clay.)
Step 2: Mold Making.
Step 3: Wax Pouring.
Step 5: Wax Spring.
Step 6: Shell Dipping.
Step 7: Bronze Pouring.

Interestingly enough Loss wax process is also called Investment casting because after layers have been formed and dried, the wax is melted out of the ceramic tree by using steam (120°C) in an autoclave. This is why it is called "lost wax casting". The majority of the molten wax can then be regenerated and reusable.

Before Making statue :At work room making the wax models.	Softening a piece of wax over a brazier.	Relaxing after softening the wax The working environment with works in progress.
Working the face of an Ekajata wax model.	Working the face of wax model.Using a modeling tool to form the face of Ekajata.	Deatail of wax model
The design for Ekajata compared to the Tibetan book on which it was based.Statues Maker Are master in buddhism .	Detail of A partially finished Candamaharoshana (Acala) wax figure made in the Tibetan style.	A finished wax image of Mahakala.
Anthor Finished Wax Model of Shakyamuni Buddha	One of the modelers working in the room shows the Pehar image on which he is working.	The artist showed how the goat , which had been completed earlier, fits under the image. ,
Tej Jyoti Shakya and his wife, Nani Maya Shakya Covering the wax model in a mixture of clay and dung	Pressing the mixture of clay and dung around the wax image.	The board with the clay and dung mixture ready for use.
Model Pieces drying after the initial (dipped) thin layer of fine clay.	Clay-covered model pieces drying in the sun.	Molds waiting to be put into the burnout furnace
The same molds, seen in the previous image, in the burnout furnace	The double row of refractory bricks used to support the heated molds during casting.	The melting furnace and a pile of coke used for melting the metals. Laying the bed of coke in the melting furnace.
The first ignition of the coke.	Checking the coke bed.	The electric blower used to force air into the melting furnace
Beginning to fill the crucibles with scrap copper.	Preparing the bed of burning coke to receive the crucibles	Sorting various metals used in the alloys.
Weighing precious metals that are used in the alloys	Weighing copper from Singapore to achieve a correct alloy.	Different sizes of crucibles and various types of metals to be cast in this melt.
Placing the crucibles in the bed of coke filled with metal are in place.	After the crucibles are in place, more coke is piled around them.	The crucibles are covered with scrap metal to hold in the heat.
The electric fan is then connected.Soon a very hot flame is produced.	The entire furnace temperature goes up to about 1800 -1900 degrees.	Setting up molds in between the refractory bricks to receive the molten metal. Handling the molds with asbestos gloves and bracing them with fragments of bricks.
Pouring the molten metal into the base of a mold	Another view of the artists pouring the molten metal.Detailed view showing the molten metal being poured into the sprues.	Preparing to lift and pour molten metal from one of the larger crucibles.
Cooling a mold containing the recently poured metal.	Beginning to break away the clay mold from the metal casting. The mold breaks away revealing the metal image inside	The first metal image from the day's work.
Examining the image for flaws	Two auras (prabhamandalas), one that cast perfectly and one (in front) that only partially filled.	Opening more molds

Researchers mark specific metal images for future identification.	Cleaning the details of the image with a metal tool.	Sawing off the sprues from Aura image. The sprue metal will be reused in future castings.

Two auras that worked perfectly. The one on the right has been cut off of the sprues, while the one on the left still has the sprues attached.	The finishing specialist begins the finishing process with a set of tools, including a small hammer. to give more detail	The entire surface of the image will be gently hammered to a final, almost polished finish.

The finisher's tools and the work in progress	Finishing work on an image of the Buddha.	Hammering the chest of an image that is being held against the work block

A Buddha image hammered and chased to the final, detailed finish.	Cleaning in a very mild acid bath. The image and prabhamandala are placed in a final acidic bath to make sure the surface is absolutely clean.	Drying the image with a blow torch.