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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.
Offering Bowls
The most common type of offering on Tibetan Buddhist shrines are made with seven water offering bowls — called “yonchap” in Tibetan.
The main point of any offerings is a pure motivation to cultivate generosity and to reduce our selfishness, stinginess, and greed.
We seek to give with an open, pure heart, with no attachment to what we are giving, and with no motivation of receiving something in return.
Read More
Why Offer Water? The main point of any offerings is a pure motivation to cultivate generosity and to reduce our selfishness, stinginess, and greed.
We seek to give with an open, pure heart, with no attachment to what we are giving, and with no motivation of receiving something in return.
Paradoxically, as His Holiness the Dalai Lama often teaches, cultivating generosity and devoting ourselves to the welfare of others increases our own happiness in many ways, as we release the painful, stiff worry that accompanies greed and self-centeredness.
He encourages us to become selfishly altruistic, to become happy people by concerning ourselves primarily with the well being of others.
One reason that we offer water is that water in Tibet has traditionally been considered plentiful and free, and therefore painless to give. The idea is that all of our offerings should be given as freely as we would give water.
Another way to view the water offerings is as representing the seven aspects of prayer:
prostrating
offerings to the Buddhas
confessing our wrongs
rejoicing in the good qualities of oneself and others
requesting the Buddhas to remain in this world
beseeching the Buddhas to teach others
dedicating the merit of ourselves and others which has been accumulated throughout time, in order that all sentient beings may enjoy happiness and virtue
How Should I Set Up the Water Offering Bowls?
Traditionally in Tibetan homes, we make our yonchap every morning. If that is not possible, we do it as often as we can.
Start with seven clean bowls — called ting in Tibetan — and a pitcher of fresh water. Tibetans usually use silver, brass or copper bowls, which range from very plain to carved and intricately decorated treasures.
One by one, pour a little water in each bowl before you place it on the shrine, lining the bowls up from left to right as you face the shrine. The reason to start with a little water in each bowl is that it is inauspicious to have a bowl sitting empty on the shrine.
Tibetan Buddhist masters explain that each bowl should be the distance of one barley seed from the next one.
Starting from left to right, fill each bowl with water, almost to the top. Again, the common thought is that you leave the space of one barley seed from the rim of the bowl.
While setting up your offering bowls, it is common for Tibetans to recite one of the more common mantras, like:
— Om mani padme hung (Avalokiteshvara’s mantra)
— Om muni muni maha munaye soha (Buddha Shakyamuni’s mantra)
— Om tare tuttare ture soha (Tara’s mantra)
Others may recite what is called the gyamdro prayer. The prayer can be whatever you choose. What is most important is that you pray with a sincere wish to cultivate generosity and an open heart.
In the same spirit, you might visualize that you are offering endless quantities of everything beautiful and precious, plus all the good qualities in our hearts and minds, to a vast assembly of Buddhas.
You can put a butter lamp between the third and fourth bowls, or between the fourth and fifth bowls, symbolizing the light of wisdom, dispelling the darkness of ignorance.
Once the bowls are filled, it is common to bless the offerings with kusha grass (also called elephant grass) or any kind of clean straw or stick that you may have access to. To do this, you dip your grasses into one of the bowls and sprinkle the shrine with water, reciting the purifying mantra “om a hum.” (From Khandro.net)
Finally, you can dedicate the merit you have gained by the offerings to the elimination of suffering and its causes for all sentient beings.
Removing the Offerings
Normally, we will remove the bowls at the end of each day, any time before sunset. In central Tibet, this commonly happens as early as 3 p.m., but you can do it any time.
Empty the bowls one by one, starting from the right this time, drying each one as you empty it with a clean cloth.
When you are done, stack the bowls upside down as you see in the images here, and if you can, offer the used water to your plants.
May water offerings help you to cultivate generosity and to be relieved of the pain of selfishness and greed!
About Chocolate Oxidized
This Offering Bowls has been meticulously treated with a chocolate color antique patina. The intention behind this patina is to replicate the appearance of a copper statue that has gracefully aged over a century. Unlike a simple coat of paint, this patina is not applied superficially and is designed to endure. It undergoes an artificial oxidation process that adds depth and character, while also serving as a protective layer against natural oxidation.
By imitating the natural aging process, the chocolate color antique patina lends an air of authenticity and vintage charm to the Offering Bowls. This carefully crafted finish ensures that the patina remains intact for an extended period, offering longevity and resistance to wear. The result is a unique piece that captures the essence of a time-worn copper statue, evoking a sense of history and artistic heritage.
Partly Gold plating.
This Offering Bowls has a Partly gold-plated finish. Partly fire gold gilding, a common practice in Nepali handicrafts. This technique is skillfully employed by artisans to create intricate designs on various metal objects, including statues, jewelry, and decorative items. Through a process, a mask or resist is applied to safeguard specific areas from the gold plating. The object is then subjected to high temperatures, allowing the gold to beautifully adhere to exposed surfaces using a combination of heat and pressure.
In the realm of Buddhist statues, this technique holds additional significance as it distinguishes the golden-plated body from the oxidized or maroon-painted clothing. This visual separation conveys the contrast between the divine purity of the body and the modest attire symbolizing the humble lifestyle of Buddhist monks. The partly fire gold gilding not only adds exquisite detail and elegance but also embodies the deep cultural and spiritual meaning associated with these treasured artifacts.
Partly gold plating using the Fire Gold plating technique requires a high level of skill and precision, and Nepali artisans have been perfecting this technique for centuries. The process is labor-intensive and time-consuming, but the end result is a work of art that is both durable and long-lasting, with intricate designs highlighted by a touch of gold. This technique finds significant application in the creation of religious objects such as statues and prayer wheels, as well as everyday items. It showcases the artisans' expertise in preserving traditional methods while imbuing the objects with deep cultural and spiritual significance.
Detailed Description of Mercury Gilding - Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.
When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface using quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.
The amalgam is equally spread over the prepared surface of the metal, the mercury is then sublimed by heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.
It is then covered with gilding wax and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation, the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum, or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.
By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.
This method of gilding metallic objects was formerly widespread but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous.
Fire Gold Plating In Nepal
Detailed Description of Mercury Gilding - Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.
When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface using quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.
The amalgam is equally spread over the prepared surface of the metal, the mercury is then sublimed by heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.
It is then covered with gilding wax and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation, the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum, or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.
By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.
This method of gilding metallic objects was formerly widespread but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous.
