Master Quality, Sterling Silver, 1496 Gram Statue of Namtose Vaisravana Jambhala, Old Stock, 7 by 6 cm, made by Sterling Silver, Statue Mix Material, Silver Statue

Date Added : 2021-01-17 01:00:44 (421)Views

Master Quality, Sterling Silver, 149.6 Gram Statue of Namtose Vaisravana Jambhala, Old Stock
Code	HME22552
Size	Height 7cm (3") Width 6cm (2") Depth 3cm (1")
Weight	149.6 149.6 gm - 0.33 lbs
Material	Sterling Silver
Availability	Available

Quantity	PCS	US$ 660.00 $ 728.00 -10% off Shipping Cost
Selling on ETSY discount [ Ends in : 35 days ]

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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

Jambhala: namtose
Vaisravana or Vessavana, also known as Namtose in Tibetan, is one of the Four Heavenly Kings and holds significant importance in Buddhism. He is often depicted as a warrior-king and is associated with warfare. Vaisravana is known by various names in different cultures and languages, such as Kubera and Jambhala in Sanskrit, Kuvera in Pali, and Namtose in Tibetan. Read More

Iconography:
Vaisravana is typically portrayed with a yellow face and can be seen carrying an umbrella or parasol as a symbol of his sovereignty. He is sometimes depicted with a mongoose, which is shown ejecting jewels from its mouth, representing generosity. His mount is a snow lion.

History:
Vaisravana's character is based on the Hindu deity Kubera, but he has his own distinct functions and associated myths. He is considered the guardian of the northern direction and resides in the northern quadrant of Sumeru. Vaisravana is the leader of all the yaksas who dwell on the slopes of Sumeru.

Temples and Monasteries:
In Tibet, Vaisravana is considered a lokapala or dharmapala in the retinue of Ratnasambhava. He is often depicted on temple murals outside the main door. In Thailand, there is a prominent statue of Vaisravana at Wat Chulamanee temple in Samut Songkhram Province.

Benefit of Practicing:
The practice of Vaisravana is believed to bring benefits such as wealth and prosperity. He is considered a god of wealth and abundance. Devotees seek his blessings to attain material well-being and cultivate a mindset of generosity and detachment from greed.

How to Practice:
The specific practices and rituals associated with Vaisravana may vary across different Buddhist traditions. Generally, devotees can engage in prayers, offerings, and meditation to establish a connection with Vaisravana and seek his blessings.

Mantras:
The mantras associated with Vaisravana vary depending on the specific tradition or lineage. Some common mantras include "Om Vasudhare Svaha" and "Om Jambhala Jalendraye Svaha." These mantras can be chanted as part of the practice to invoke Vaisravana's blessings and protection.

The character of Vai?rava?a is founded upon the Hindu deity Kubera, but although the Buddhist and Hindu deities share some characteristics and epithets, each of them has different functions and associated myths. Although brought into East Asia as a Buddhist deity, Vai?rava?a has become a character in folk religion and has acquired an identity that is partially independent of the Buddhist tradition (cf. the similar treatment of Guanyin and Yama).

Statue of Vai?rava?a as the guardian at the royal crematorium of King Bhumibol Adulyadej of Thailand, 2017.

Vai?rava?a as the Seal of Udon Thani Province, Thailand

Tamonten statue at T?dai-ji, Nara

Partly gilded Tibetan bronze statue of Vaisravana (Jambhala) sitting on a snow lion and holding a mongoose in his left hand. 18th century

Vai?rava?a is the guardian of the northern direction, and his home is in the northern quadrant of the topmost tier of the lower half of Sumeru. He is the leader of all the yak?as who dwell on the Sumeru's slopes.

He is often portrayed with a yellow face. He carries an umbrella or parasol (chakra) as a symbol of his sovereignty. He is also sometimes displayed with a mongoose, often shown ejecting jewels from its mouth. The mongoose is the enemy of the snake, a symbol of greed or hatred; the ejection of jewels represents generosity.

What is master Quality?
The attribute of "master quality" distinguishes the Jambhala: namtose as an embodiment of extraordinary craftsmanship and artistic excellence. This exceptional piece is directly handcrafted by an artist or craftsman of the highest categorization, reflecting their unparalleled skill and expertise. The uniqueness of Jambhala: namtose lies in its exclusivity to the artist, making it a rare find with nearly impossible chances of finding an identical piece in the same category. While copies may exist, they can never truly replicate the essence of the original, as an artist or craftsman capable of creating such exceptional artistry would prefer to showcase their own creative vision rather than reproduce another's work. Read More

silver statue : About Silver Statue:
The Silver Statues are rarely made these days, This Jambhala: namtose statue date back to the late 1990 A.D. Most of the statues in our collection are highly collectibles because the silver statues were rarely found even though the prices were cheap during the late 1990 and early 2000. In this present era, the price of silver has hicked so much that making a silver statue for a commercial purpose is not viable anymore. The price we have offered for the statues are comparatively than of making a new one.

Lost-Wax System
This Jambhala: namtose 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.