Old Stock, Tibetan Statue of Mahakala Panjaranatha Two arms, Chocolate Oxidized, Last Piece, 11 by 9 cm, made by Copper, Statue Old Stock, Collection

Date Added : 2020-09-30 11:50:27 (729)Views

Old Stock, Tibetan Statue of Mahakala Panjaranatha Two Arms, Chocolate Oxidized, Last Piece
Code	HME21687
Size	Height 11cm (4") Width 9cm (4") Depth 4cm (2")
Weight	342 342 gm - 0.75 lbs
Material	Copper
Availability	Available

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PCS

US$ 110.00

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weight of 1 Pcs of the product is 0.5 kg and will cost USD $ 26.94

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Item location: kathmandu, Nepal
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Mahakala Panjaranatha
Mahakala Panjaranatha is a significant wrathful deity in Vajrayana Buddhism, particularly in the Tibetan Buddhist tradition. He is a two-armed manifestation of Mahakala, depicted in a standing form. As a fierce and powerful protector, he embodies the wrathful aspect of compassion, helping practitioners overcome obstacles and liberate themselves from suffering. Read More

Iconography:

Physical Form: Mahakala Panjaranatha is depicted with a dark-blue or black complexion, symbolizing his transcendence beyond worldly concerns and his all-encompassing nature.

Two Arms: Unlike many other wrathful deities who have multiple arms, Mahakala Panjaranatha has only two arms. His two-arm form is unique and distinguishes him from other Mahakala manifestations.

Right Arm: His right arm is raised in a threatening gesture, with the index finger pointing upwards. This mudra symbolizes the cutting of ignorance and the dispelling of obstacles. It demonstrates his ability to protect practitioners and remove hindrances on the path to enlightenment.

Left Arm: In his left arm, Mahakala Panjaranatha holds a long staff or bar (sometimes referred to as a club or vajra staff). This represents his power to clear the path and remove obstructions, paving the way for spiritual progress.

Ornaments: He wears bone ornaments, including a garland of severed heads. These ornaments symbolize the transformation of the five negative emotions (ignorance, attachment, aversion, pride, and jealousy) into wisdom.

Tiger Skin Loincloth: Mahakala Panjaranatha is often depicted wearing a tiger skin loincloth, signifying his triumph over ignorance and the wild, untamed aspects of the mind.

Surrounded by Flames: He stands on a lotus pedestal amidst the flames of pristine awareness. The flames represent the transformative power of wisdom and the burning away of impurities.

Meaning and Practice:
Mahakala Panjaranatha's wrathful appearance is not meant to invoke fear but to symbolize the ferocity with which he protects and purifies the Dharma. Practitioners engage in visualizations, rituals, and mantra recitations to connect with his fierce energy and seek his protection and assistance in overcoming obstacles.

The practice of Mahakala Panjaranatha is particularly emphasized during challenging times or when facing inner and outer hindrances. By meditating on his form and reciting his mantra, practitioners aim to transform negative emotions and obstacles into wisdom and compassion.

As with any Vajrayana Buddhist practice, approaching Mahakala Panjaranatha requires guidance from qualified teachers and a sincere commitment to the practice. The understanding of the deity's symbolism and significance is essential for practitioners to engage in the practice effectively and with the right intention.

About Sacred Serenity Collection
This is a beautiful old Buddhist statue that carries a deep sense of spirituality and craftsmanship. These statues were made around 15 to 20 years ago and are crafted from pure copper. If the statue has gold, it has a thick layer of gold plating, unlike modern statues where using a lot of gold is expensive.
Skilled artisans, who were well-versed in religious teachings, made these statues. They followed traditional guidelines and sacred texts to create each statue with precise expressions and postures. The artisans believed they were creating representations of gods rather than just ordinary figures. This unique perspective is reflected in the statues themselves. Read More

About Chocolate Oxidized
This Mahakala Panjaranatha 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 Mahakala Panjaranatha. 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.

Lost-Wax System
This Mahakala Panjaranatha 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.