Array
(
[country] => United States
[mode] => Standard
[buying_id] => 17322443513933
[c1] => show
[c2] => show
[c3] => show
[c4] => show
[c5] => show
[c6] => show
[c7] => show
[c8] => show
[c9] => show
[c10] => show
[c11] => show
[c_trigger] => no
)
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.
Simhamukha Yogini
Simhamukha or Senge Dongma can be translated into English as Lion-Faced Dakini. According to the Indian traditions followed by the Sarma schools, the dakini Simhamukha is a tutelary deity arising out of the Chakrasamvara cycle of Tantras and belongs to the Anuttarayoga 'wisdom' classification. The Sarma schools' Simhamukha is unrelated to the deity of the same name and appearance which arose in the later indigenous Tibetan Nyingma 'terma' (treasure) traditions, where she is regarded as the secret form of Guru Rinpoche (Padmasambhava). According to the Nyingma school, this dakini and female tantric Buddha is the principal dakini teacher and one of the principal fierce manifestations of Padmasambhava, the 8th Century mahasiddha, claimed to be the founder of the same school. As such, she is connected with many ceremonies of the Dzogchen tradition. A fierce dakini, she is also one of the Phramenma, a group of female deities from the Bardo Thödol, or 'Tibetan Book of the Dead'. The female lama Jetsun Lochen (1865- 1951) founded a Simhamukha practice lineage.
Read More
RIGPA SHEDRA names him Senge Dradok describing him to be one of the eight principal forms assumed by Guru Rinpoche at different points in his life, Senge Dradok's activity being "the subjugation of non-buddhists".dred upholders of wrong views in debate at Bodhgaya. He reversed their magic with the aid of a wrathful mantra given him by the lion-faced dakini Marajita. ,
Simhamukha is iconographically represented as a wrathful deity who is usually depicted as a dark blue, or maroon, coloured lion-faced female and is associated with the direction East. As Simhavaktra, an alternate form of Simhamukha, she is also an attendant of the Dharmapala Palden Lhamo, in which case she is depicted as carrying both a kapala, or skullcup, and a kartika, or ritual knife.
According to Sengdongma (lion-faced dakini) is a wrathful manifestation of Padmasambhava [Guru Rinpoche] who eliminates obstacles, whereas Sinhavaktra is a dark blue Lion-head Dakini who dispels obstacles to enlightenment. She holds a broad-bladed knife and skull cup.
In Hinduism
Every Hindu temple has the face of lion at the apex entrance carved artistically. This lion-face appears at the top of the door, niche, and windows as well. The countenances of man and lion are fused and it is also known as Simhamuka or Simhalalata. It is supposed to lead worshippers to Supreme Reality.
Simhamukha usually indicates Rahu (eclipse). One of the nine planets, Rahu stands for a devourer. There is a Puranic story. During the fight between gods and demons for nectar or Amrita, the demon Rahu tried to get a sip of drink of immortality, stealthily. But he was caught in the nick of time by the Surya (the Sun God) and Chandra (the Moon God) and Lord Vishnu was informed instantly. He cut off Rahu's head. But the head became immortal, having tasted a drop of nectar. Rahu now tried to swallow Sun and Moon when they passed near him. During eclipses (grahana), this scene is repeated according to believers.
Rahu is the son of Simhika or the lioness, who symbolizes destruction. The incarnation of Narasimha has this concept behind it. The earliest carving of Kirtimuka or Simhamukha is seen in the stupa at Amaravati (2nd century C.E.). Dancers of Cambodia use Kirtimuka as a headdress. Artifacts and any worship-worthy idols or mandaps carry this symbol.
==Tibet == Within the Nyingma School, of the two divisions of Kama (Oral Teachings) and Terma (Revealed Treasures), Simhamukha belongs to the Terma. From the three general divisions of Terma: Root, Branch and Essence, Simhamukha belongs to the Dakini Cycle within the Root Terma class. Only in the Nyingma tradition she is regarded as the secret form of Guru Rinpoche Padmasambhava. Otherwise, in the Sarma Traditions coming from India, the deity Simhamukha is found in the Chakrasamvara Cycle of Tantras. Although both forms are similar in name and appearance, they are unrelated.
The dakini Simhamukha is a tutelary deity arising out of the Chakrasamvara cycle of Tantras and belongs to the Anuttarayoga 'wisdom' classification. The Sarma tradition Simhamukha is unrelated to the deity of the same name and appearance in the Nyingma 'terma' (treasure) traditions. In that tradition, of the many forms of Padmasambhava, Simhamukha is a secret form of Guru Rinpoche.
Gelugpa lineage: Vajradhara, Dakini Simhamukha, Vajrasana, Bari Lotsawa Rinchen Drag, Sachen Kunga Nyingpo (1092-1158) and the five Holy Superiors of Sakya, Rongpa Dorje Gyaltsen, Sanggye Yeshe, Yak De Panchen, Gyalwa Tsongkapa (1357-1419), etc.
There is reference to this protector's emanations in the Shurangama Mantra found in the Tibetan Chandragomin's Shurangama Mantra Sadhana translated from the original Buddhist Hybrid Sanskrit into Tibetan (Tibetan canon Tengyur Karchag Phangthangma Toh 3096, Toh 593/2/1), and also Padmankusha's Text Toh 3106, and the Vajrasana's Text Toh 3110 - Sarvatathāgataoṣṇīṣaśitātapatrā-nāmāparājitā-mahāpratyangirā-mahāvidyārājñī-nāma-dhāraṇī; Tibetan name is ['phags pa] De bshin gshegs pa'i gtsug tor nas byung ba'i gdugs dkar po can gshan gyi mi thub pa phir bzlog pa chen mo mchog tu grub pa shes bya ba'i gzungs.
Full Fire Gold Plating
This Simhamukha Yogini 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 Simhamukha Yogini. 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 Simhamukha Yogini. The resurgence of interest in this traditional form of gold plating reflects a growing appreciation for the craftsmanship and cultural heritage of Nepal
Mercury gold plating is a time-honored process where a real layer of gold is carefully applied to the Simhamukha Yogini. Skilled artisans expertly handle the amalgamation of gold with mercury, ensuring precise application and stunning results. This method not only imparts a rich and lustrous appearance to the Simhamukha Yogini but also enhances its durability, allowing the gold plating to last for an extended period.
Detailed Description of Mercury Gilding
The process of Fire Gold plating is both time-consuming and intricate, requiring skilled artisans to carefully apply the gold layer using specialized tools and techniques. Despite the labor-intensive nature of the process, the end result is a stunning work of art that is sure to impress anyone who sees it.
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