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Welcome to Handmade Handicraft
At Handmade Handicraft, we prioritize simplicity, reflected in our user-friendly website design. We have streamlined the process so everything you need is just a click away.
While our website does not support online shopping, we've incorporated a convenient shopping cart system to assist you in sending us your inquiries. Please note, we do not process payments on our site. All transactions will be handled via email, respecting the inquiries you submit.
Should you encounter any issues while submitting your inquiries, please contact us via mobile app, email, or follow the procedure outlined below. We've provided documentation to guide you through the selection process.
Good selecting Procedure
In every product you will find Order Now and Quick Inquiry buttons, they are the two process of sending us your enquiry.
For Business ordering standard quantity
This website has been designed to incorporate retail and wholesale pricing in one place. You can increase or decrease the quantity based on which you will be provided with suitable prices instantly.
For Business ordering Bluk quantity [Above 100 pcs]
This is not a direct shopping website. So no payments are needed for placing an order. Please feel free to send us an order for the product you are interested in, mentioning the approximate quantity. Based on which we will send you a wholesale price quotation.
Simhamukha Yogini
Simhamukha or Senge Dongma can be translated into English as Lion-Faced Dakini. According to the Indian traditions followed by the Sarma schools, the dakini Simhamukha is a tutelary deity arising out of the Chakrasamvara cycle of Tantras and belongs to the Anuttarayoga 'wisdom' classification. The Sarma schools' Simhamukha is unrelated to the deity of the same name and appearance which arose in the later indigenous Tibetan Nyingma 'terma' (treasure) traditions, where she is regarded as the secret form of Guru Rinpoche (Padmasambhava). According to the Nyingma school, this dakini and female tantric Buddha is the principal dakini teacher and one of the principal fierce manifestations of Padmasambhava, the 8th Century mahasiddha, claimed to be the founder of the same school. As such, she is connected with many ceremonies of the Dzogchen tradition. A fierce dakini, she is also one of the Phramenma, a group of female deities from the Bardo Thödol, or 'Tibetan Book of the Dead'. The female lama Jetsun Lochen (1865- 1951) founded a Simhamukha practice lineage.
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RIGPA SHEDRA names him Senge Dradok describing him to be one of the eight principal forms assumed by Guru Rinpoche at different points in his life, Senge Dradok's activity being "the subjugation of non-buddhists".dred upholders of wrong views in debate at Bodhgaya. He reversed their magic with the aid of a wrathful mantra given him by the lion-faced dakini Marajita. ,
Simhamukha is iconographically represented as a wrathful deity who is usually depicted as a dark blue, or maroon, coloured lion-faced female and is associated with the direction East. As Simhavaktra, an alternate form of Simhamukha, she is also an attendant of the Dharmapala Palden Lhamo, in which case she is depicted as carrying both a kapala, or skullcup, and a kartika, or ritual knife.
According to Sengdongma (lion-faced dakini) is a wrathful manifestation of Padmasambhava [Guru Rinpoche] who eliminates obstacles, whereas Sinhavaktra is a dark blue Lion-head Dakini who dispels obstacles to enlightenment. She holds a broad-bladed knife and skull cup.
In Hinduism
Every Hindu temple has the face of lion at the apex entrance carved artistically. This lion-face appears at the top of the door, niche, and windows as well. The countenances of man and lion are fused and it is also known as Simhamuka or Simhalalata. It is supposed to lead worshippers to Supreme Reality.
Simhamukha usually indicates Rahu (eclipse). One of the nine planets, Rahu stands for a devourer. There is a Puranic story. During the fight between gods and demons for nectar or Amrita, the demon Rahu tried to get a sip of drink of immortality, stealthily. But he was caught in the nick of time by the Surya (the Sun God) and Chandra (the Moon God) and Lord Vishnu was informed instantly. He cut off Rahu's head. But the head became immortal, having tasted a drop of nectar. Rahu now tried to swallow Sun and Moon when they passed near him. During eclipses (grahana), this scene is repeated according to believers.
Rahu is the son of Simhika or the lioness, who symbolizes destruction. The incarnation of Narasimha has this concept behind it. The earliest carving of Kirtimuka or Simhamukha is seen in the stupa at Amaravati (2nd century C.E.). Dancers of Cambodia use Kirtimuka as a headdress. Artifacts and any worship-worthy idols or mandaps carry this symbol.
==Tibet == Within the Nyingma School, of the two divisions of Kama (Oral Teachings) and Terma (Revealed Treasures), Simhamukha belongs to the Terma. From the three general divisions of Terma: Root, Branch and Essence, Simhamukha belongs to the Dakini Cycle within the Root Terma class. Only in the Nyingma tradition she is regarded as the secret form of Guru Rinpoche Padmasambhava. Otherwise, in the Sarma Traditions coming from India, the deity Simhamukha is found in the Chakrasamvara Cycle of Tantras. Although both forms are similar in name and appearance, they are unrelated.
The dakini Simhamukha is a tutelary deity arising out of the Chakrasamvara cycle of Tantras and belongs to the Anuttarayoga 'wisdom' classification. The Sarma tradition Simhamukha is unrelated to the deity of the same name and appearance in the Nyingma 'terma' (treasure) traditions. In that tradition, of the many forms of Padmasambhava, Simhamukha is a secret form of Guru Rinpoche.
Gelugpa lineage: Vajradhara, Dakini Simhamukha, Vajrasana, Bari Lotsawa Rinchen Drag, Sachen Kunga Nyingpo (1092-1158) and the five Holy Superiors of Sakya, Rongpa Dorje Gyaltsen, Sanggye Yeshe, Yak De Panchen, Gyalwa Tsongkapa (1357-1419), etc.
There is reference to this protector's emanations in the Shurangama Mantra found in the Tibetan Chandragomin's Shurangama Mantra Sadhana translated from the original Buddhist Hybrid Sanskrit into Tibetan (Tibetan canon Tengyur Karchag Phangthangma Toh 3096, Toh 593/2/1), and also Padmankusha's Text Toh 3106, and the Vajrasana's Text Toh 3110 - Sarvatathāgataoṣṇīṣaśitātapatrā-nāmāparājitā-mahāpratyangirā-mahāvidyārājñī-nāma-dhāraṇī; Tibetan name is ['phags pa] De bshin gshegs pa'i gtsug tor nas byung ba'i gdugs dkar po can gshan gyi mi thub pa phir bzlog pa chen mo mchog tu grub pa shes bya ba'i gzungs.
Gold Painted Face
The face of Simhamukha Yogini is painted with gold to enhance its significant features, particularly the eyes, and lips. This detailed painting is essential as it brings forth the crucial attributes of the expression of eyes and lips that metal carving alone cannot capture.
Moreover, the painted face serves as a symbolic and sacred ritual in Buddhism, preparing the statue for consecration and practice. The act of painting the face with gold in Buddhism holds deep meaning. It represents the intention to bring life and expression to the statue, imbuing it with a sense of vitality and presence. The application of gold on the face showcases the devotion and craftsmanship of the artisans, ensuring that every detail is carefully attended to honor the sacred essence of the Simhamukha Yogini.
Protecting the Face In the process of painting the face, a special variation of gold is utilized. This variation is transformed into a powder form that can be applied as paint. The gold used is believed to be 100% pure, enhancing the reverence and spiritual significance associated with this practice.
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
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Partly Gold plating.
This Simhamukha Yogini has a Partly gold-plated finish. Partly fire gold gilding, a common practice in Nepali handicrafts. This technique is skillfully employed by artisans to create intricate designs on various metal objects, including statues, jewelry, and decorative items. Through a process, a mask or resist is applied to safeguard specific areas from the gold plating. The object is then subjected to high temperatures, allowing the gold to beautifully adhere to exposed surfaces using a combination of heat and pressure.
In the realm of Buddhist statues, this technique holds additional significance as it distinguishes the golden-plated body from the oxidized or maroon-painted clothing. This visual separation conveys the contrast between the divine purity of the body and the modest attire symbolizing the humble lifestyle of Buddhist monks. The partly fire gold gilding not only adds exquisite detail and elegance but also embodies the deep cultural and spiritual meaning associated with these treasured artifacts.
Partly gold plating using the Fire Gold plating technique requires a high level of skill and precision, and Nepali artisans have been perfecting this technique for centuries. The process is labor-intensive and time-consuming, but the end result is a work of art that is both durable and long-lasting, with intricate designs highlighted by a touch of gold. This technique finds significant application in the creation of religious objects such as statues and prayer wheels, as well as everyday items. It showcases the artisans' expertise in preserving traditional methods while imbuing the objects with deep cultural and spiritual significance.
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
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.
