Maha Patingar, Sitatapatra, Umbrella Buddha, Dugar statue Waiting For Patina Finishing, Big Statue, 146 by 95 cm, made by Copper, Statue Large, Bodhisattvas

Date Added : 2018-09-03 13:27:26 (1042)Views

Maha Patingar, Sitatapatra, Umbrella Buddha, Dugar Statue Waiting For Patina Finishing, Big Statue
Code	HME15669
Size	Height 146cm (57") Width 95cm (37") Depth 30cm (12")
Weight	78000 78 kg - 171.96 lbs
Material	Copper
Availability	Available

Quantity

PCS

US$ 8,050.00

$ 11,500.00 -30% off

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5 Seconds

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weight of 1 Pcs of the product is 96.5 kg and will cost USD $ 916.75
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Item location: kathmandu, Nepal
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7 days money back, buyer pays return shipping

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Sitatapatra
Sitātapatrā (Sanskrit: "White Parasol",) is a protector against supernatural danger. She is venerated in both the Mahayana and Vajrayana traditions. She is also known as Uṣṇīṣa Sitātapatrā. It is believed that Sitātapatrā is a powerful independent deity emanated by Gautama Buddha from his uṣṇīṣa. Whoever practices her mantra will be reborn in Amitābha's pure land of Sukhāvatī as well as gaining protection against supernatural danger and witchcraft Read More

Forms
There are several different forms of Sitatapatra including: with one face and two arms; with three faces and six arms; with three faces and eight arms; with three faces and ten arms; with five faces and ten arms; and, with 1000 faces, 1000 arms and 1000 legs

Symbolism
Sitātapatrā is one of the most complex Vajrayana goddesses. According to Miranda Shaw in the Buddhist Goddesses of India, Sitātapatrā emerged from Buddha's uṣṇīṣa when he was in the Trāyastriṃśa heaven.[citation needed] The Buddha announced her role to "cut asunder completely all malignant demons, to cut asunder all the spells of others...to turn aside all enemies and dangers and hatred." Sitātapatrā's benign and beautiful form belies her ferocity as she is a "fierce, terrifying goddess, garlanded by flames, a pulverizer of enemies and demons."

In the Mahayana Sitatapatra Sutra, she is called Aparājita "Undefeatable, Unconquerable" and is also identified as a form of goddess Tārā.

In other sutras, she is regarded as a female counterpart to Avalokiteśvara, the bodhisattva of compassion. Like him, Sitātapatrā manifests in many elaborate forms: having a thousand faces, arms and legs, or simply as a feminine deity of great beauty. Known foremost for her "white parasol" she is most frequently attributed with the "golden wheel". The auspiciousness of the turning of the dharma wheel is symbolic of Buddhism, both in its teachings and realizations.

Natural Finish
The Sitatapatra has no patina finishing over it. presenting a unique opportunity for personalization. As it is, the statue can be displayed in its raw form, showcasing its inherent beauty and craftsmanship. Alternatively, you have the option to further enhance the statue's appearance by applying various finishes such as gold plating, oxidation, or silver plating. Over time, if left untreated, the statue will naturally develop a patina. This is a gradual process where the surface undergoes subtle changes, resulting in a charming and distinct aged appearance. The patina adds character and depth to the statue, telling a story of its journey and the passage of time. Read More

Lost-Wax System
This Sitatapatra 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.