Nairatmya Dagmema Yogini statue, Old Post, Remakable, 22 by 15 cm, made by Copper, Buddhist Statue, Nairatmya Yogini

Date Added : 2008-04-08 02:07:30 (4244)Views

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Nairatmya- Dagmema Yogini Statue, Old Post, Remakable
Code	HME157
Size	Height 22cm (9") Width 15cm (6") Depth 11cm (4")
Weight	1200 1.2 kg - 2.65 lbs
Material	Copper
Availability	Subject to Avilability

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US$ 240.00

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weight of 1 Pcs of the product is 1.5 kg and will cost USD $ 36.42

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Item location: kathmandu, Nepal
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7 days money back, buyer pays return shipping

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Nairatma
The word Nairatma means having no soul and is another name for Surya. there of Nairatma is in many respect similar to the form of Vajravarahi, She is blue in color while Vajravarahi is red in color. Vajravarahi is emanation of Vairochana so there should be the image of Vairochana on th crown ; While Nairatma being an emanation of Akshyobhay should bear the image of Akshobhya on the crown. like Vajravarahi She stand in the Ardhapayanka in a dancing attitude on the moon over the chest of a corpse. her face looks terrible with bare fangs an protruding tongue. She carries the Katri in the right hand and bears the Kapala ant kartwang in the left
Made by loss wax system in nepal(Casting process) in pure copper and later finished in bronze color

Nairatmya Yogini
Nairatmya Yogini is a female Buddha in Tibetan Buddhism, the consort of Hevajra in the Hevajra-tantra. She is also known as Dagmema, which means "ego-less woman." Nairatmya is a powerful symbol of non-duality and emptiness, and she is often depicted with three eyes, bared fangs, and a crown of skulls. Read More

Iconography

Nairatmya is typically depicted as a black-skinned figure with one face and two hands. She is often seated in a lotus position, with her right hand holding aloft a curved knife and her left hand holding a skullcup to her heart. She may also be depicted with a katvanga (a ritual staff) in the bend of her elbow. Nairatmya's three eyes represent her ability to see the past, present, and future, and her bared fangs represent her fierce determination to overcome ignorance and delusion. The crown of skulls represents the death of the ego, and the skullcup represents the nectar of wisdom.

History
The cult of Nairatmya originated in India, where she was first worshipped as a yogini. She was later introduced to Tibet, where she became one of the most important deities in the Buddhist pantheon. Nairatmya is often seen as a patron deity of tantric practitioners, and she is frequently depicted in mandalas and thangkas.

Temples and Monasteries
There are no temples dedicated specifically to Nairatmya in Nepal, but she is often worshipped in temples dedicated to other deities, such as Hevajra and Vajrayogini. There are also a number of monasteries in Nepal where Nairatmya is worshipped, such as the Sakya Monastery in Kathmandu and the Gyume Tantric Monastery in Dolpo.

Benefits of Practicing Nairatmya
There are many benefits to practicing Nairatmya, including:
Increased non-dual awareness
Reduced attachment to the ego
Increased compassion for others
Improved mental clarity
Increased peace and happiness

How to Practice Nairatmya
There are many different ways to practice Nairatmya. Some common practices include:
Chanting the mantra "Om Nairatmya Hum"
Visualizing Nairatmya
Offering prayers and supplications to Nairatmya
Serving others in the spirit of Nairatmya

Mantras of Nairatmya
The most famous mantra of Nairatmya is "Om Nairatmya Hum." This mantra is said to have many benefits, including:

Removing obstacles
Accumulating merit
Achieving enlightenment
Conclusion

Nairatmya Yogini is a powerful and compassionate deity who can help us to develop our own non-dual awareness and compassion. By practicing Nairatmya, we can bring more peace and happiness into our own lives and into the world.

OLD POST
Please note that this Nairatmya Yogini is an old post. We typically do not remove our posts from the website for various reasons, such as nostalgia and maintaining page ratings. These posts are not intended for direct sales, but occasionally, we can remake the items.

Remakable
Please note that the Nairatmya Yogini we posted some time ago is not currently available in our store. However, due to the possibility of a remake, it is still on sale. The remake will not be an exact replica of the original statue shown in the picture and will require additional time to be ready for dispatch. If you are willing to wait for this custom remake, you may proceed with your order. Thank you for your understanding and patience.

Bronze Finishing
This Nairatmya Yogini product features a stunning Bronze patina finish. Our store takes pride in offering this exclusive patina, which involves a meticulous process utilizing organic materials such as butter and vegetable color. The aim is to recreate the appearance of an aged bronze statue, evoking a sense of timeless elegance.
The art of giving the bronze color to red copper is truly exceptional and is practiced by skilled craftsmen. With each piece, you not only acquire a beautifully finished Nairatmya Yogini product but also pay homage to the artisans who are dedicated to preserving this rare and fading art form. The result is a unique and captivating aesthetic that adds a touch of sophistication and nostalgia to any setting. Read More

Lost-Wax System
This Nairatmya Yogini 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.