Buddhist Handmade Statue Of Tsongkhapa, Full Fire Gold Plated, Face Painted, 23 by 13 cm, made by Copper, Buddhist Statue, Tsongkhapa

Date Added : 2022-08-03 07:51:27 (515)Views

Buddhist Handmade Statue of Tsongkhapa, Full Fire Gold Plated, Face Painted
Code	HME26128
Size	Height 23cm (9") Width 13cm (5") Depth 9cm (4")
Weight	1145 1.15 kg - 2.52 lbs
Material	Copper
Availability	Available

Order configuration (Optional)

Filling & Blessing

HIDE

Select Option

Click Here to View All Option and Prices

$35 Filling and Blessing

Select

$29 Filling Only

Select

$14 Blessing Only

Select

Statue Finishing

HIDE

Select Option

Click Here to View All Option and Prices

$34 Partly Gold Plated

Select

$40 Partly Gold Plated with extra gold

Select

$64 HQ, Partly Gold Plated

Select

$34 Electro gold Plated

Select

$43 Electro Gold with painted Face

Select

$43 Electro Gold with Antique finish

Select

$49 Electro Gold Plated with Painted face an

Select

$79 Full Gold with face paint

Select

$73 Full Fire Gold Plated

Select

$109 HQ, Full Fire Gold with face paint

Select

$79 Full Fire Gold Anique Finishing

Select

$112 HQ, Full Fire Gold With Matt Finishing

Select

$118 HQ, Full Fire Gold with Antique Finihsin

Select

$130 HQ Full Gold with Gold Painted Skin

Select

$34 Colors only Basic

Select

$79 Color and Gold Good

Select

$109 Good Quality Color and gold Good Quality

Select

$79 Color Gold and Sivler

Select

$109 HQ, Color and Stond Setting

Select

$154 HQ Gold Empahised Color support

Select

$244 HQ, Cremamic wasable Color, with Gold

Select

$13 Chocolate Oxidized

Select

$13 Dark Chocolate oxidized

Select

$19 Chocolate oxidized with Silver plating

Select

$16 Double Color Oxidation

Select

$16 Chocolate Oxidized with Painted Face

Select

$16 Silver Plated Oxidized

Select

$19 Extra Silver Plated Oxidized with Painte

Select

$22 Silver Plated Double Color Oxidized wit

Select

$40 Silver Plated, Gold ornament, with Doub

Select

$40 Silver Skin and Gold ornaments Plated D

Select

$13 Antique With red Powder

Select

$22 Antique finishing with face paint

Select

$40 Green antique finishing

Select

$58 Painted Antique Finishing

Select

$49 Super Antique

Select

$7 Glossy Finished

Select

$13 Copper Plated

Select

$28 Stone Setting

Select

$31 Stone Setting & Antique Finishing

Select

Quantity	PCS	US$ 180.00 $ 200.00 -10% off Shipping Cost
Selling on ETSY discount [ Ends in : 35 days ]

5 Seconds

Add To Order Quick Inquiry

Alternative Store [ETSY]

SusamHandicraft

Shipping Calculation

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

Select
Item location: kathmandu, Nepal
Worldwide shipping

Dispatch

We normally dispatch the product in 2-5 business days. Else Buyer will be infromed personally about the dispatch Date.

Payment

Paypal | Credit - Debit Card | Bank Transfer | See More

Return

7 days money back, buyer pays return shipping

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.

Selling on ETSY discount
This discount is offered to ensure our prices remain highly competitive across all platforms, including Etsy. We aim to provide the best value for our customers, so we adjust our pricing to stay in line with market trends. By doing so, we continue to uphold our commitment to being the leading provider of high-quality Nepali handicrafts at the best prices.

Discount is scheduled to end on 2024-12-26 Which is 35 Days from now

Tsongkhapa
Tsongkhapa usually taken to mean "the Man from Onion Valley", born in Amdo, was a famous teacher of Tibetan Buddhism whose activities led to the formation of the Gelug school of Tibetan Buddhism. He is also known by his ordained name Losang Drakpa (Wylie: blo bzang grags pa) or simply as "Je Rinpoche" (Wylie: rje rin po che). Also, he is known by the Chinese as Zongkapa Lobsang Zhaba, He was the son of a Tibetan Longben Tribal leader who also once served as an official of the Yuan Dynasty of China.
In his two main treatises, the Lamrim Chenmo (Wylie: lam rim chen mo) and Ngakrim Chenmo (Wylie: sngags rim chen mo), Tsongkhapa meticulously sets forth this graduated way and how one establishes oneself in the paths of sutra and tantra. Read More

Life History
Early Life
With a Mongolian father and a Tibetan mother, Tsongkhapa was born into a nomadic family in the walled city of Tsongkhapa in Amdo, Tibet (present-day Haidong and Xining, Qinghai) in 1357. It is said that the Buddha Sakyamuni spoke of his coming as an emanation of the Bodhisattva Manjusri in the short verse from the Root Tantra of Manjushri (Wylie: 'jam dpal rtsa rgyud):

After I pass away
And my pure doctrine is absent,
You will appear as an ordinary being,
Performing the deeds of a Buddha
And establishing the Joyful Land, the great Protector,
In the Land of the Snows.

According to hagiographic accounts, Tsongkhapa's birth was prophesied by the 12th abbot of the Snar thang monastery and was recognized as such at a young age, taking the lay vows at the age of three before Rolpe Dorje, 4th Karmapa Lama, and was named Künga Nyingpo (Wylie: kun dga' snying po). At the age of seven, he was ordained as a ?r?ma?era by Döndrup Rinchen (Wylie: don grub rin chen, 1309–1385), the first abbott of Jakhyung Monastery (Wylie: bya khyung brag), and was given the ordination name Losang Drakpa (Wylie: blo bzang grags pa).

Monastic career
It was at this early age that he was able to receive the empowerments of Heruka, Hevajra, and Yamantaka, three of the most prominent wrathful deities of Tibetan Buddhism, as well as being able to recite a great many Sutras, not the least of which was Mañju?r?n?masamg?ti. He would go on to be a great student of the Vinaya, the doctrine of behavior, and even later of the Six Yogas of Naropa, the Kalachakra tantra, and the practice of Mahamudra. At the age of 24, he received full ordination as a monk of the Sakya school.

From Zhönnu Lodrö (Wylie: gzhon nu blo gros) and Rendawa (Wylie: red mda' pa), he received the lineage of the Pramanavarttika transmitted by Sakya Pandita. He mastered all the courses of study at Drigung kagyud Monastery in Ü-Tsang.

As an emanation of Manjusri, Tsongkhapa is said to have been of "one mind" with Ati?a, received the Kadam lineages and studied the major Sarma tantras under Sakya and Kagyu masters. He also studied with a Nyingma teacher, the siddha Lek gyi Dorjé (Wylie: legs gyi rdo rje) and the abbot of Shalu Monastery, Chö kyi Pel (Wylie: zhwa lus pa chos kyi dpal), and his main Dzogchen master was Drupchen Lekyi Dorje (Wylie: grub chen las kyi rdo je), also known as Namkha Gyaltsen (Wylie: nam mkha' rgyal mtshan, 1326–1401).

In addition to his studies, he engaged in extensive meditation retreats. He is reputed to have performed millions of prostrations, mandala offerings, and other forms of purification practice. Tsongkhapa often had visions of i??adevat?s, especially of Manjusri, with whom he would communicate directly to clarify difficult points of the scriptures.

Monastic career
It was at this early age that he was able to receive the empowerments of Heruka, Hevajra, and Yamantaka, three of the most prominent wrathful deities of Tibetan Buddhism, as well as being able to recite a great many Sutras, not the least of which was Mañju?r?n?masamg?ti. He would go on to be a great student of the vinaya, the doctrine of behaviour, and even later of the Six Yogas of Naropa, the Kalachakra tantra, and the practice of Mahamudra. At the age of 24, he received full ordination as a monk of the Sakya school.

From Zhönnu Lodrö (Wylie: gzhon nu blo gros) and Rendawa (Wylie: red mda' pa), he received the lineage of the Pramanavarttika transmitted by Sakya Pandita. He mastered all the courses of study at Drigung kagyud Monastery in Ü-Tsang.

As an emanation of Manjusri, Tsongkhapa is said have been of "one mind" with Ati?a, received the Kadam lineages and studied the major Sarma tantras under Sakya and Kagyu masters. He also studied with a Nyingma teacher, the siddha Lek gyi Dorjé (Wylie: legs gyi rdo rje) and the abbot of Shalu Monastery, Chö kyi Pel (Wylie: zhwa lus pa chos kyi dpal), and his main Dzogchen master was Drupchen Lekyi Dorje (Wylie: grub chen las kyi rdo je), also known as Namkha Gyaltsen (Wylie: nam mkha' rgyal mtshan, 1326–1401).

In addition to his studies, he engaged in extensive meditation retreats. He is reputed to have performed millions of prostrations, mandala offerings and other forms of purification practice. Tsongkhapa often had visions of i??adevat?s, especially of Manjusri, with whom he would communicate directly to clarify difficult points of the scriptures.

Death
Tsongkhapa died in 1419 at the age of sixty-two. After his death several biographies were written by Lamas of different traditions. Wangchuk Dorje, 9th Karmapa Lama, praised Tsongkhapa as one "who swept away wrong views with the correct and perfect ones." Mikyö Dorje, 8th Karmapa Lama, wrote in his poem In Praise of the Incomparable Tsong Khapa:

When the teachings of the Sakya, Kagyue, Kadam
And Nyingma sects in Tibet were declining,
You, O Tsong Khapa, revived Buddha's Doctrine,
Hence I sing this praise to you of Ganden Mountain.

Gold Painted Face
The face of Tsongkhapa 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 Tsongkhapa. Read More

Full Fire Gold Plating
This Tsongkhapa 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 Tsongkhapa. 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 Tsongkhapa. 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 Tsongkhapa 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.