Prajnaparamita Yum Chenmo Statue Oxidized, Pragya parmita, 16 by 11 cm, made by Copper, Buddhist Statue, Prajnaparamita

Date Added : 2016-04-20 16:09:16 (761)Views

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Prajnaparamita Yum Chenmo Statue Oxidized, Pragya Parmita
Code	HME12174
Size	Height 16cm (6") Width 11cm (4") Depth 8cm (3")
Weight	800 800 gm - 1.76 lbs
Material	Copper
Availability	Available

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US$ 120.00

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weight of 1 Pcs of the product is 1 kg and will cost USD $ 32.21

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Item location: kathmandu, Nepal
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Prajnaparamita
Prajnaparamita means "the Perfection of Transcendent Wisdom" in Mahayana Buddhism. Prajnaparamita refers to this perfected way of seeing the nature of reality, as well as to a particular body of sutras and the embodiment of the concept in the Bodhisattva known as the "Great Mother" (Tibetan: Yum Chenmo). The word Prajnaparamita combines the Sanskrit words prajna "wisdom" with paramita "perfection". Prajnaparamita is a central concept in Mahayana Buddhism and is generally associated with the doctrine of emptiness (Shunyata) or 'lack of Svabhava' (essence). Its practice and understanding are taken to be an essential part of the path of the Bodhisattva. Read More

History
Astasahasrika Pajanaparmita
Earliest Prajnaparamita Sutra is Astasahasrika Pajanaparmita Sutra, which was probably put in writing in the 1st century BCE. The first translation of the Astasahasrika Prajnaparamita also has a corresponding version in poetry format called the Ratnagu?asamcaya Gatha, which some believe to be slightly older because it is not written in Sanskrit. However, these findings rely on late-dating Indian texts, in which poetry and mantras are often kept in archive forms.

Mahayana Prajnaparamita teachings were first developed by the Caitika subsect of the Mahasamghikas. Astasahasrika Prajnaparamita Sutra originated amongst Mahasamghika schools and they had two copy of the Astasahasrika Prajnaparamita Sutra in Prakrit Script.

In 2012, A partially damaged, Kharosthi manuscript of the Astasahasrika Prajnaparamita was radiocarbon dated to 75 CE , making it one of the oldest Buddhist texts in existence.

Overview of the prajnaparamita Sutra
The teaching of Prajnaparamita is classified as inferior to superior, Based on the grade of the disciple.
For example,

The inferior was taught to the merchants, Trapusa and Bahalika because they were ordinary men,
The middle was taught to the group of people who were at the stage of becoming saints or are already saints;
The Superior [the eightfold Prajnaparamitas] were taught to bodhisattvas.

The eightfold Prajnaparamitas are the teachings of the Prajnaparamita which can be categorized as:

Trisatika Prajnaparamita Sutra :300 lines, alternatively known as the Vajracchedika Prajnaparamita Sutra (Diamond Sutra)
Pancasatika Prajnaparamita Sutra: 500 lines
Saptasatika Prajnaparamita Sutra :700 lines, the bodhisattva Manjusri's exposition of Prajnaparamita
Sardhadvisahasrika Prajnaparamita Sutra : 2500 lines, from the questions of Suvikrantavikramin Bodhisattva
Astasahasrika Prajnaparamita Sutra :8000 lines
Astadasasahasrika Prajnaparamita Sutra :18,000 lines
Pancavimsatisahasrika Prajnaparamita Sutra : 25,000 lines, alternatively known as the MahaPrajnaparamita Sutra
satasahasrika Prajnaparamita Sutra :100,000 lines, alternatively known as the MahaPrajnaparamita Sutra
Pancavimsatisahasrika Prajnaparamita Sutra :(25,000 lines)
satasahasrika Prajnaparamita Sutra : (100,000 lines) have a connection with the Dharmaguptaka sect, while the Astasahasrika Prajnaparamita Sutra (8000 lines) does not.

The titles of these eight Prajnaparamita texts are given according to their length. The texts may have other Sanskrit titles as well, or different variations which may be more descriptive.

There are also other Prajnaparamita sutras the Heart Sutra (Prajnaparamita H?daya), and Diamond Sutra which exists in a shorter and longer version. these two sutras are in a class by themselves and deservedly renowned throughout the world of Northern Buddhism.

About Chocolate Oxidized
This Prajnaparamita has been meticulously treated with a chocolate color antique patina. The intention behind this patina is to replicate the appearance of a copper statue that has gracefully aged over a century. Unlike a simple coat of paint, this patina is not applied superficially and is designed to endure. It undergoes an artificial oxidation process that adds depth and character, while also serving as a protective layer against natural oxidation.
By imitating the natural aging process, the chocolate color antique patina lends an air of authenticity and vintage charm to the Prajnaparamita. This carefully crafted finish ensures that the patina remains intact for an extended period, offering longevity and resistance to wear. The result is a unique piece that captures the essence of a time-worn copper statue, evoking a sense of history and artistic heritage.

Lost-Wax System
This Prajnaparamita 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.