Handmade Nepali Statue Of Ekajata, Full Gold Plated, 20 by 12 cm, made by Copper Gold Plated, Buddhist Statue, Ekajata

Date Added : 2021-01-07 06:40:23 (541)Views

Handmade Nepali Statue of Ekajata, Full Gold Plated
Code	HME22348
Size	Height 20cm (8") Width 12cm (5") Depth 5cm (2")
Weight	1154 1.15 kg - 2.54 lbs
Material	Copper Gold Plated
Availability	Available

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$29 Partly Gold Plated

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$33 Partly Gold Plated with extra gold

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$53 HQ, Partly Gold Plated

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$36 Electro Gold with painted Face

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$36 Electro Gold with Antique finish

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$41 Electro Gold Plated with Painted face an

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$60 Full Fire Gold Plated

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$89 HQ, Full Fire Gold with face paint

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$65 Full Fire Gold Anique Finishing

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$91 HQ, Full Fire Gold With Matt Finishing

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$96 HQ, Full Fire Gold with Antique Finihsin

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$105 HQ Full Gold with Gold Painted Skin

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$29 Colors only Basic

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$65 Color and Gold Good

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$89 Good Quality Color and gold Good Quality

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$65 Color Gold and Sivler

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$89 HQ, Color and Stond Setting

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$125 HQ Gold Empahised Color support

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$197 HQ, Cremamic wasable Color, with Gold

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$12 Chocolate Oxidized

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$17 Chocolate oxidized with Silver plating

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$33 Silver Plated, Gold ornament, with Doub

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$33 Green antique finishing

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$48 Painted Antique Finishing

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$7 Glossy Finished

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$12 Copper Plated

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$24 Stone Setting

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$26 Stone Setting & Antique Finishing

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Quantity	PCS	US$ 320.00 $ 360.00 -10% off Shipping Cost
Selling on ETSY discount [ Ends in : 35 days ]

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weight of 1 Pcs of the product is 1.5 kg and will cost USD $ 36.42

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Item location: kathmandu, Nepal
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Selling on ETSY discount
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Discount is scheduled to end on 2024-12-26 Which is 35 Days from now

Ekajata
Ekaja?? or Ekaja??,, also known as M?hac?na-t?r?,one of the 21 Taras, is one of the most powerful and fierce goddesses of Indo-Tibetan mythology. According to Tibetan legends she is an acculturation of the Bön goddess of heaven, whose right eye was pierced by the tantric master Padmasambhava so that she could much more effectively help him subjugate Tibetan demons. Ekajati is also known as 'Blue Tara'. She is generally considered one of the three principal protectors of the Nyingma lineage, along with R?hula and Vajras?dhu (Dorje Legpa).
Often she appears as liberator in the mandala of Green Tara. Along with that her ascribed powers are removing the fear of enemies, spreading joy and removing personal hindrances on the path to enlightenment.
Ekajati is the protector of secret mantras and "as the mother of the mothers of all the Buddhas," represents ultimate unity. As such her own mantra is also secret. She is the most important protector of the Vajrayana teachings, especially the inner tantras and termas. As the protector of mantra she supports the practitioner in deciphering symbolic dakini codes and properly determines appropriate times and circumstances for revealing tantric teachings. Because she completely realizes the texts and mantras under her care, she reminds the practitioner of their preciousness and secrecy. Read More

Iconography
She is of a blue skin tone, with a high, red chignon ("she who has but one chignon" is another one of her titles). She has one head, three breast, two hands and a third eye. However, she can also be depicted with more body parts; up to twelve heads and twenty four arms, with different tantric attributes (sword, kukuri, phurba, blue lotus axe, vajra)

In another form her hair is arranged in the same single bun with a turquoise forehead curl. This and her other features signify her blazing Loyalty to no duality. Ekajati's single eye gazes into unceasing space, a single fang pierces through obstacles, a single breast "nurtures supreme practitioners as her children." She is naked, like awareness itself, except for a garment of white clouds and tiger skin around her waist. The tiger skin is the realized siddha's garb, which signifies fearless enlightenment. She is ornamented with snakes and a garland of human heads.
In some representations, she stands on a single leg. Her body is dark in color, brown or deep blue. She stands on a flaming mandala of triangular shape. She is surrounded by a fearsome retinue of mamo demonesses who do her bidding in support of the secret teachings, and she emanates a retinue of one hundred ferocious iron she wolves from her left hand. For discouraged or lazy practitioners, she is committed to being "an arrow of awareness" to reawaken and refresh them. For defiant or disrespectful practitioners, she is wrathful and threatening, committed to killing their egos and leading them to dharmakaya, or the ultimate realization itself. She holds in her right hand the eviscerated, dripping red heart of those who have betrayed their Vajrayana vows.

In her most common form she holds an axe, drigug (cleaver) or khatvanga (tantric staff) and a skull cup in her hands. In her chignon is a picture of Akshobhya.
Her demeanour expresses determination. With her right foot she steps upon corpses, symbols of the ego. Her vajra laugh bares a split tongue or a forked tongue and a single tooth. She is dressed in a skull necklace and with a tiger and a human skin. She is surrounded by flames representing wisdom.

When Ekajati appears to yogins in hagiographies, she is especially wrathful. She speaks in sharp piercing shrieks, her eye boils, and she gnashes her fang. At times she appears twice human size, brandishing weapons and served by witches drenched in blood.

Gold Painted Face
The face of Ekajata is painted with gold to enhance its significant features, particularly the eyes, and lips. This detailed painting is essential as it brings forth the crucial attributes of the expression of eyes and lips that metal carving alone cannot capture.
Moreover, the painted face serves as a symbolic and sacred ritual in Buddhism, preparing the statue for consecration and practice. The act of painting the face with gold in Buddhism holds deep meaning. It represents the intention to bring life and expression to the statue, imbuing it with a sense of vitality and presence. The application of gold on the face showcases the devotion and craftsmanship of the artisans, ensuring that every detail is carefully attended to honor the sacred essence of the Ekajata. Read More

Full Fire Gold Plating
This Ekajata is finished with full gold plating. also known as mercury gold plating or fire gold plating. This traditional technique involves the application of a genuine layer of gold onto the Ekajata. Referred to as mercury gold plating, it is considered the correct and authentic form of gold plating in Nepal. Despite being more expensive than electroplating, this traditional mercury gold plating is gaining popularity again in Nepal. People are drawn to its authenticity, longevity, and the unmatched beauty it brings to the Ekajata. The resurgence of interest in this traditional form of gold plating reflects a growing appreciation for the craftsmanship and cultural heritage of Nepal Read More

Lost-Wax System
This Ekajata 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.