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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.
Singing bowl Clearence Sales
As a direct wholesaler of premium singing bowls, we are thrilled to offer significant price cuts across our extensive collection. By streamlining our supply chain and optimizing our inventory, we’re able to pass on substantial savings directly to you. Our goal is to provide these beautifully handcrafted items at prices that are not just competitive, but truly unbeatable. This isn’t just a sale—it’s an opportunity to acquire high-quality singing bowls at a fraction of the usual cost.
Discount is scheduled to end on 2024-12-31 Which is 39 Days from now
Singing Bowl
Singing bowls , also known as Himalayan bowls , are used in yoga, music therapy, sound healing, and religious ceremonies. In the Buddhist tradition, they are played to signal the beginning and the end of silent meditation cycles. Tibetan bowls emit very pure tones, close to sine waves. Their sound is a synonym of purity for our ears. Like a bell, the tone is produced by striking the side of the bowl with a wooden mallet. By running the mallet around the bowl - only with slight pressure - a pure tone will eventually rise. When this happens, the bowl is said to sing - hence its name.
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How To Play Tibetan Singing Bowls 1. Hold the singing bowl on the palm of the left hand. For smaller bowls, seven inches and under, hold on your fingertips.
2. Grasp the mallet about mid-length, with all the fingertips pointing downwards and touching the wood. (If you are using one of our padded mallets, the red wool should be on top.) Palm downward.
3. Gently tap the mallet against the side of the bowl to "warm-up" the bell.
4. With an even pressure, rub the mallet clockwise around the outside edge of the rim of the bowl. Use a full arm movement, just like stirring a big kettle of soup, and keep the mallet straight up and down! Again, it's not a wrist movement, but a full-arm movement.
Remember to apply pressure-- the friction of the mallet against the
outer rim produces vibrations which result in sound.
Experiment with your speed. Usually people go too fast! Let the sound build up slowly as the singing bowl picks up the vibration
How To Play Tibetan Singing Bowls -Breaking in Your Mallet
The mallet that comes with your Tibetan singing bowl is handmade of Himalayan hardwood. When you play the bowl, using the mallet-around-the-rim technique, the friction of the mallet produces vibrations which result in sound. In the beginning the mallet is relatively smooth, but as you continue to use it it will develop "micro-grooves", shallow grooves which help to grab more of the playing edge of the bowl. Allow about five minutes for initial break-in of a new mallet. As you use the mallet more the micro-grooves become impressed in the mallet and you will get better sound and easier playig from your bowl.
How To Play Tibetan Singing Bowls -The Wah-Wah
1. Most all Tibetan singing bowls have natural wah-wahs which you can amplify and bend by using the wah-wah technique.
2. Get the bowl singing by using the mallet-around-the-rim technique described above. Pull the mallet away from the bowl and let the bowl continue to sing.
3. While still holding the bowl in your hand, raise the bowl up to your mouth so that the outside rim is just above the opening of your mouth and about an inch away.
Open and close your mouth while thinking of the sound wah-wah. You are not actually making any sound with your mouth, but simply changing the shape of the oral cavity so as to allow the sound of the singing bowl to bounce around inside of your mouth and then be reflected back. By changing the size of the oral cavity you are modulating the sound!
Experiment with the relative position of your mouth to the outside bowl rim. Also, if you turn the bowl, while experimenting with the wah-wah effect, you will find "hot spots" where the bowl is naturally louder.
How To Play Tibetan Singing Bowls -Water Bowl Sounds
A special sound effect can be produced by adding a small amount of water to the bottom of the singing bowl. The sounds produced using this technique sound like dolphins singing!
1. The amount of water to use varies with the individual bowl. Start by pouring about 3/4" of water into the bowl. Be careful NOT to get the outside rim of the bowl wet.
2. Now, play the bowl using the mallet-around- the-rim technique. Bring up the sound by using a steady even pressure. Pull the mallet away from the bowl rim and let the bowl continue to sing.
3. Still holding the bowl in your hand, tilt the bowl so that the water inside gently laps up toward the inside rim. Continue to gently swirl and tilt the bowl and the water.
Experiment with the amount of water used. Usually the best effect is produced with a minimum amount of water. Keep a towel handy in case of spills.
Isolating the Fundamental
This technique requires awareness, breath and concentration. If you have a fairly thin-walled Buddha bowl, you can isolate the fundamental (bass tone) by using a leather-covered mallet. Follow the instructions regarding your rimming technique for the female overtone, only use the leather end of your mallet for rimming and make sure your mallet is pointed straight up. Experiment with using a lighter pressure.
Request a sound check
We personally check Singing Bowl to ensure the quality of the sound and its resonance. However, if you still require to listen to the sound before purchase. To maintain the quality of service we have introduced a nominal fee of $2 for this service. This non-refundable deposit will be deducted from your invoice upon purchase. Please note due to the limitation of the microphone and the speaker quality, the effectiveness of experiencing the sound will not be the same.
If you have any further questions or require assistance, please do not hesitate to contact us. WhatsApp: +9779841614206
We understand that it's important to hear the sound of a product before making a purchase, and we want to make sure you feel confident in your decision. Our team is always available to help you with any questions or requests you may have, so please don't hesitate to reach out if you need any assistance.
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Singing bowl Accessories
The Jambati Singing Bowl you are purchasing includes a cushion, a wooden playing mallet, and a felt-hitting mallet for playing the bowl. If you require additional accessories, you can browse the options above and purchase them separately. Should you have any further questions or need assistance, please don't hesitate to let us know.
One Cushion Fitting the Size
One Mallet Fitting the Size
One DrumStick Fitting the Size
Request for Sound Check Normally we will send the best quality sound for our web client, but if you like to be sure about what you are purchasing you can request for the sound of the singing bowl. We will provide you with a youtube video of a few Singing bowl playing of similar sizes.
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Vajrayogini : Brief Introduction
Vajrayogini, literally 'the diamond female yogi'. She is a Highest Yoga Tantra Yidam , and her practice includes methods for preventing ordinary death, intermediate state and rebirth (by transforming them into paths to enlightenment), and for transforming all mundane daily experiences into higher spiritual paths. Vajrayoginī is a generic female yidam and although she is sometimes visualized as simply Vajrayoginī, in a collection of her sādhanas she is visualized in an alternate form in over two thirds of the practices. Her other forms include Vajravārāhī and Krodikali. Vajrayoginī is a ḍākiṇī and a Vajrayāna Buddhist meditation deity. As such she is considered to be a female Buddha.
Iconography Vajrayoginī is often described with the epithet sarva-buddha-dakinī, meaning 'the ḍākiṇī who is the Essence of all Buddhas'.Vajrayogini's sādhana, or practice, originated in India between the tenth and twelfth centuries. It evolved from the Chakrasaṃvara sādhana, where Vajrayoginī appears as his yab-yum consort, to become a stand-alone practice of anuttarayoga tantra in its own right. The practice of Vajrayoginī belongs to the Mother Tantra (Tibetan: ma-rgyud) class of anuttarayoga tantra, along with other tantras such as Heruka Chakrasaṃvara and Hevajra.
According to scholar Miranda Shaw, Vajrayoginī is "inarguably the supreme deity of the Tantric pantheon. No male Buddha, including her divine consort, Heruka Chakrasaṃvara, approaches her in metaphysical or practical import."A number of lamas and other contemporary scholars do in fact argue otherwise, as Vajradhāra is widely considered the supreme deity of the Tantric pantheon, but the importance of Vajrayoginī is agreed upon.
Vajrayoginī is visualized as the translucent, deep red form of a 16 year old female with the third eye of wisdom set vertically on her forehead. Vajrayoginī is generally depicted with the traditional accoutrements of a ḍākiṇī including a cleaver (Tib. drigug, Skt. kartṛī) marked with a vajra in her right hand and a kapala (skull cup) in her left hand which is filled with blood that she partakes of with her upturned mouth. Her consort Chakrasaṃvara is often symbolically depicted as a khaṭvāṇga on Vajrayoginī's left shoulder, when she is in 'solitary hero' form. Vajrayoginī's khatvanga is marked with a vajra and from it hang a damaru drum, a bell, and a triple banner. Her extended right leg treads on the chest of red Kālarātri, while her bent left leg treads on the forehead of black Bhairava, bending his head backward and pressing it into his back at the level of his heart. Her head is adorned with a crown of five human skulls and she wears a necklace of fifty human skulls. She is depicted as standing in the center of a blazing fire of exalted wisdom.
Each aspect of Vajrayoginī's form and mandala is designed to convey a spiritual meaning. For example, her brilliant red-colored body symbolizes the blazing of her inner fire (Tib. tummo). Her single face symbolizes that she has realized that all phenomena are of one nature in emptiness. Her two arms symbolize her realization of the two truths. Her three eyes symbolize her ability to see everything in the past, present and future. She looks upward toward the Pure Dākiṇī Land (Skt. Kechara), demonstrating her attainment of outer and inner Pure Dākiṇī Land, and indicating that she leads her followers to these attainments. The curved drigug knife in her right hand shows her power to cut the continuum of the delusions and obstacles of her followers and of all living beings. Drinking the nectar of blood from the kapala in her left hand symbolizes her experience of the clear light of bliss.
In her form as Vajravārāhī, when she is known as 'the Vajra Sow' she is often pictured with a sow's head on the side of her own as an ornament and in one form has the head of a sow herself. Vajrayoginī is often associated with triumph over ignorance, the pig being associated with ignorance in Buddhism. This sow head relates to the origins of Vajravārāhī from the Hindu sow-faced goddess Vārāhī.
The severed-headed form of Vajrayoginī is similar to the Indian goddess Chinnamasta who is recognized by both Hindus and Buddhists
Mantra of Vajrajogni
oṃ oṃ oṃ sa rva bu ddha
ḍā ki ṇī ye va jra va
rṇa nī ye va jra vai ro
ca nī ye hūṃ hūṃ hūṃ pha
ṭ pha ṭ pha ṭ svā hā
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What is Etching Carving?
Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal. In modern manufacturing, other chemicals may be used on other types of material. As a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In several modern variants such as microfabrication etching and photochemical milling, it is a crucial technique in much modern technology, including circuit boards.
