The process of creating Seku designs involves carefully shaping and molding the metal wire into various patterns. This can include simple geometric shapes or more complex, detailed designs. The wire is then carefully placed onto the surface of the object, where it is secured in place. The final result is a beautiful and intricate design that showcases the skill and precision of the artisan.

Seku craftsmanship can be found on a variety of different objects, including traditional Newari jewelry, home decor, and even architectural elements. The technique is often used to add decorative touches to objects that are already rich in cultural significance, such as statues of deities and other religious artifacts. The intricate and detailed nature of the craftsmanship makes it highly valued and respected within the Newari community, and it continues to be an important aspect of their cultural heritage.

Conch The right-turning white conch shell represents the beautiful, deep, melodious, interpenetrating and pervasive sound of the dharma, which awakens disciples from the deep slumber of ignorance and urges them to accomplish their own welfare for the welfare of others	Endless knot The endless knot denotes "the auspicious mark represented by a curled noose emblematic of love" . It is a symbol of the ultimate unity of everything. Moreover, it represents the intertwining of wisdom and compassion, the mutual dependence of religious doctrine and secular affairs, the union of wisdom and method, the inseparability of śūnyatā "emptiness" and pratītyasamutpāda "interdependent origination" , and the union of wisdom and compassion in enlightenment. This knot, net or web metaphor also conveys the Buddhist teaching of interpenetration. It is also an attribute of the god Vishnu, which is said to be engraved on his chest. A similar engraving of the Shrivatsa on the historical Gautama Buddha's chest is mentioned in some lists of the Physical characteristics of the Buddha.	Pair of Golden FishThe two golden fish symbolise the auspiciousness of all sentient beings in a state of fearlessness without danger of drowning in saṃsāra. The two golden fishes are linked with the Ganges and Yamuna nadi, prana and carp:
LotusThe lotus flower , represent the primordial purity of body, speech, and mind, floating above the muddy waters of attachment and desire. The lotus symbolizes purity and renunciation. Although the lotus has its roots in the mud at the bottom of a pond, its flower lies immaculate above the water.	ParasolThe jewelled parasol , which is similar in ritual function to the baldachin or canopy: represents the protection of beings from harmful forces and illness. It represents the canopy or firmament of the sky and therefore the expansiveness and unfolding of space and the element æther. It represents the expansiveness, unfolding and protective quality of the sahasrara: all take refuge in the dharma under the auspiciousness of the parasol.	VaseThe treasure vase represents health, longevity, wealth, prosperity, wisdom and the phenomenon of space. The treasure vase, or pot, symbolizes the Buddha's infinite quality of teaching the dharma: no matter how many teachings he shared, the treasure never lessened.
DharmaChakraThe Dharmachakra or "Wheel of the Law" represents Gautama Buddha and the Dharma teaching. This symbol is commonly used by Tibetan Buddhists, where it sometimes also includes an inner wheel of the Gankyil. Nepalese Buddhists don't use the Wheel of Law in the eight auspicious symbols.	Vicoty BannerThe dhvaja "banner, flag" was a military standard of ancient Indian warfare. The symbol represents the Buddha's victory over the four māras, or hindrances in the path of enlightenment. These hindrances are pride, desire, disturbing emotions, and the fear of death. Within the Tibetan tradition, a list of eleven different forms of the victory banner is given to represent eleven specific methods for overcoming defilement. Many variations of the dhvaja's design can be seen on the roofs of Tibetan monasteries to symbolise the Buddha's victory over four māras. Banners are placed at the four corners of monastery and temple roofs. The cylindrical banners placed on monastery roofs are often made of beaten copper.

Cheppu is portrayed in his fierce appearance eating up showing just 50% of Cheppu's body and eating up Naga(snake).

It is additionally informed that Cheppu vanished from the world as he would not like to see the kaliyuga, the incredible yuga, when the evil would totally victorious over the great and the world would be obliterated by Vishnu in his manifestation as kalki, the destroyer. Knowing his fortitude, honesty and entitled with every one of the better stamps Manjushree needed than see him and mentioned him to show his full structure. He showed up gradually in the midst of the cloud. Manjushree, as a veteran craftsman, quickly drew his structure by his foot subtly without the information on Cheppu. At the point when Manjushree could complete to draw his head just he came to know Manjushree's misdirection and promptly vanished. Because of his valiance, honesty and every unrivaled imprint, he was given the spot at the highest point of the fundamental passage of the sanctums for the assurance from every one of the risks. Nagas(serpents) are the food of Cheppu.

Along the narratives of Manjushree, comes an intriguing and interesting story joined to Cheppu – The Mythical Creature:

Quite a while past, the Kathmandu Valley was just an enormous lake occupied by the endless number of sea-going creatures. Most of them were the Nagas (snakes). Along these lines, this valley was otherwise called Naga Daha, which means the "Home of the Serpents'.

One day Manjushree Bodhisattva (a Buddhist god from China) stayed with this valley. He loved the valley. He loved the valley such a lot of that he needed to make a delightful town out of it . With this aim he promptly slice through the southern slope of the valley with one stroke of this his incredible sword (Chandrahara) and depleted off the water. This constrained every one of the occupants of the lake to leave, as they couldn't do anything against the omnipotent Manjushree. Be that as it may, an animal called Cheppu waited. When by his yogic force Manjushree detected that there was somebody actually covered up some place under the remainder of the lake, he instructed the last to leave the water in a flash. He was frightened when he saw that he was unable to conflict with the force of Manjushree. In this way, he said he would leave the lake if Manjushree would vow not to take a gander at his shocking element when he moved out of the lake. As indicated by the guarantee, Manjushree shut his eyes and Cheppu arranged to emerge from the water. As the dread stricken animal pushed half of his terrible body over the surface, Manjushree couldn't resist the opportunity to open eyes covertly, wondering for no specific reason. At the point when Cheppu saw Manjushree open his eyes, he got so vexed that he immediately plunged back profound under the water to conceal himself once more. Manjushree, embarrassed about breaking his guarantee, before long haggled with Cheppu guaranteeing him that he could never trouble again to seen by anybody). He additionally guaranteed that he would permit him to involve an exceptionally critical spot in the blessed sanctuaries of Nepal (he planned to develop soon in the valley) and stay there half-covered up for eternity.

This story appears to clarify a ton about our engineering custom of showing just 50% of Cheppu's body over the tympanums of the sanctuary entryways. Regardless of whether this legendary story contains any trace of legitimacy or not issue the least. What includes in the social worth it reflects and the creative interest it leaves for the whole gang to comprehend and appreciate.



Cheppu - The Mythical Creature

Iconography
Green Tara's special lotus is the blue lotus or 'night lotus' which she bears in both hands. The word utpala means to 'burst open'. Her left-hand holds a stem with an open blooming flower and an unopened bud. The bent lower part of the stem represents the root. The open blossom represents the present and also the present Buddha; the bud represents the future and also Buddhas yet to be born. The future here also refers to a safe journey's end and future well-being. Her right-hand wisdom hand is in the gesture of giving refuge. The third finger touches the thumb to create a circle representing the union of wisdom and compassion, and the three extended fingers symbolize the Three Jewels of Buddhism a. The Buddha State b. The Body of Teachings. The Principles of the Universe The same hand holds the stem of a blue lotus representing her willingness to assist. The closed blossom in her right hand represents the past and also the Buddhas of the past. Green Tara is shown in a place of paradise called Khadiravani where she Tara dwells. Khadiravani is described as a great mountain kingdom with many trees, flowers, and animals (not shown). 3 rainbow tails emanate from her outer aureole. The crescent moon and sun symbolize the union of male and female ubiquitous in Tantric art.
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The seventy-two golden lines represent psychic energy channels emanating from her body and her central psychic channel running up her spinal column. Each one signifies a thousand as there are traditionally seventy-two thousand channels. The gold lines alternate between wiggly and straight to represent the two main psychic channels running up the central channel that entwine to create the interlocking 'snaking' caduceus to which the energy channels are connected. The trees in the foreground are the Ashoka Tree. The word Ashoka means 'without sorrow' and is the tree linked to the Vedic God of love and sexual union Kamadeva. Apparently, the tree blossoms when a virtuous lady touches it.

Commentary
The word Tara means the one who saves. The word Tara is derived from the root tri meaning to cross and in context is taken to mean the one who helps people to cross the Ocean of Existence and Suffering. Green Tara is also called 'dark' Tara or more directly Shyama Tara. Green Tara is associated with the Amoghasiddhi who is also green and the north-facing Meditation who is head of the action family. Her willingness to help others is shown by her body posture with one foot ready so that she can rise to offer assistance. Like WhiteTara, she was born of the tears of compassion of the Bodhisattva Avalokiteshvara, resulting from the extreme state of sadness he experienced when observing the continuing ceaseless suffering which he sought to end.

Mantra for Green Tara