Akash Yogini, Vidyadhari statue, Sold, 33 by 23 cm, made by Copper, Buddhist Statue, Vajrayogini

Date Added : 2008-04-08 02:08:20 (1707)Views

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Akash Yogini, Vidyadhari Statue, Sold
Code	HME158
Size	Height 33cm (13") Width 23cm (9") Depth 17cm (7")
Weight	2500 2.5 kg - 5.51 lbs
Material	Copper
Availability	Sold

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US$ 250.00

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weight of 1 Pcs of the product is 4 kg and will cost USD $ 58.66
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Item location: kathmandu, Nepal
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7 days money back, buyer pays return shipping

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Vidhyadhari is a spirit, or demigod possessed of knowledge of magic powers she is one of the tantric group of four females, skilled in yoga. She has two arms and two legs. Her right leg is touching the corpse. That is lying face down beneath her. At the same time she has thrown her left leg so high hat it is actually backward. This performance shows that she is a slim young woman. She has splendid crown round earrings chains round her neck and sober breast and bends round her upper arms, writs and ankles. From her shoulders hangs a long garland of human skulls bowl made out of human skulls with bloods. In her right hand carries a chopper

Akash Yogini
Vidyadhari, the 'Knowledge Holder', manifests as one of the four principal aspects of Vajrayogini in the Newar Buddhist tradition, where she is commonly known as Bijeshwori Devi, or Akash-yogini, the Sky (Skt. akasha) or Space-going aspect of the goddess Vajrayogini. The Bijeshwori temple in Kathmandu is situated above the western bank of the Bishnumati River on the road to Swayambhu, and its Newar name is derived from Vidhyeshvari, meaning the ‘Wisdom Goddess'. The presiding goddess of this temple is specifically associated with the Indian Mahasiddha Maitripa, who practiced and attained the realization of this flying aspect of Vajrayogini at this site, so she is also known as Maitri-dakini, or Maitri-khechari. Read More

Full Description
The temple of Bahal Bidjeshwori was once at the centre of a great cremation ground that was sacred to Vajravarahi, and its main image was Bhagavani Devi Vidyadhari Viramante, the ‘Divine Pleasure-giving Knowledge Holder Goddess’. She is the heart-dakini of Maitripa, who brought this symbol of his realization from India. On the right side of the goddess is Urdhvapada Varahi, with her left leg extended high in the sky to Brahmaloka, and her other foot pressing down upon a golden Maheshvara. On her left side is Vajravarahi (Tib. Dorje Palmo), and then the twelve-year-old virgin form of Vajrayogini as Naropa’s Dakini (Skt. Naro Khechari) or Chakreshvari, the consort of Chakrasamvara.

In the Newar Buddhist tradition the four aspects of Vajrayogini appear as the four ‘Heart Yoginis’ that form the inner circle of Great Bliss of the Chakrasamvara and Vajravarahi mandalas. These are:
(1) Vajrayogini as Naropa’s Dakini or Naro Khandroma, whose temple is located at Shanku.
(2) Vajravarahi as Indrabhuti’s Dakini, or Indra Yogini, whose temple is located at Guhyeshvari.
(3) The ‘Raised Foot’ form of Vajrayogini, whose temple is located at Pharphing.
(4) Vajrayogini as Akash Yogini or Vidyadhari, whose temple is located at Bijeshwori.

Vidyadhari Vajrayogini is beautiful, playful and lusty, and youthful like a sixteen-year-old. She is the colour of a red hibiscus flower, with three lotus-like eyes, and an expression that combines the sentiments of passion and slight wrath. She is shown leaping into space in the flying posture of a sky-going dakini, with her right leg bent back at the knee, and her right leg extended in ‘raised foot’ (Skt. urdhvapada) posture and held in the crook of her left arm, such that her thighs are fully splayed. Her nubile body is perfect in proportion, with a narrow waist, and firm round breast with aroused nipples.

Her long tresses of black hair flow freely behind her back, and her head is adorned with a golden crown of five jewel-topped and carved white skulls, with loops of bone beads hanging beneath below each little skull. She wears the golden ornaments of jeweled earrings, a heavy neck choker decorated with the serpent-devouring head of a garuda, wide Newar bracelets, armlets, anklets, and finger rings. A golden breast ornament loops around her chest, with small coins hanging from its upper thread, little round bells from its lower thread, with a small endless knot and reliquary box (Tib. gau) joining the threads together between her breasts. From her golden belt hang the sixty-four filigree beaded strands of her bone apron, the joined loops of which are embellished with pendant-emblems of auspicious symbols and swans, with the large pendant near her right knee displaying a small carved image of the goddess Vidyadhari herself. An embellished Newar medallion on a long silver chain swings out behind her neck, and around her shoulders she wears a long garland of dry white skulls that are described as being fifty in number.

Vidyadhari's face is inclined upward to her left as she drinks a stream of fresh blood from the tilted skull-cup she holds in her left hand. Her drinking of blood symbolizes that she is consumed with great bliss, and her inclined posture of flying towards the left represents the importance placed upon 'left-hand rituals' within the yogini or mother-tantra traditions. With her lowered right hand she circles a vajra-handled curved knife towards the ten directions, with her index finger raised in the threatening tarjani gesture, symbolizing that she terrorizes all obstructive demons. Across her left shoulder she carries the golden staff of her tantric-staff or khatvanga, which is equal in height to her own body and represents her male consort, Chakrasamvara. The top of her khatvanga is sealed with a golden crossed-vajra and a nectar vase, the impaled blue head of Bhairava, a freshly severed head, a dry white skull, and a crowning half-vajra. A billowing silk ribbon, and a damaru and bell hang from a chain near the top of the khatvanga's shaft.

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 Akash 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.