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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.
Green Tara
Samaya Tara, popularly known as Green Tara. She is represented in a royal ease posture with her left leg bent her left leg overstepping the main lotus and resting on a blue lotus ready to get up and offer assistance to those in need. She is portrayed with maroon Buddhist robes and jewelry. The earrings represent patience, understanding, and renunciation. The diadem with five jewels represents the transmutation of the five delusions into the Five Buddha Wisdoms. She is shown with a benevolent countenance seated upon a white moon disk which is associated with special restorative nectar associated with the naval chakra center. In Buddhists, the moon symbolizes the wisdom aspect which when coupled with compassion leads to Sakyamuni Buddha's enlightenment. Her right hand is gracefully lowered in Varada mudra, the boon-granting gesture.
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Iconography Green Tara's special lotus is the blue lotus or 'night lotus' which she bears in both hands. The word utpala means to 'burst open'. Her left-hand holds a stem with an open blooming flower and an unopened bud. The bent lower part of the stem represents the root. The open blossom represents the present and also the present Buddha; the bud represents the future and also Buddhas yet to be born. The future here also refers to a safe journey's end and future well-being. Her right-hand wisdom hand is in the gesture of giving refuge. The third finger touches the thumb to create a circle representing the union of wisdom and compassion, and the three extended fingers symbolize the Three Jewels of Buddhism a. The Buddha State b. The Body of Teachings. The Principles of the Universe The same hand holds the stem of a blue lotus representing her willingness to assist. The closed blossom in her right hand represents the past and also the Buddhas of the past. Green Tara is shown in a place of paradise called Khadiravani where she Tara dwells. Khadiravani is described as a great mountain kingdom with many trees, flowers, and animals (not shown). 3 rainbow tails emanate from her outer aureole. The crescent moon and sun symbolize the union of male and female ubiquitous in Tantric art.
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The seventy-two golden lines represent psychic energy channels emanating from her body and her central psychic channel running up her spinal column. Each one signifies a thousand as there are traditionally seventy-two thousand channels. The gold lines alternate between wiggly and straight to represent the two main psychic channels running up the central channel that entwine to create the interlocking 'snaking' caduceus to which the energy channels are connected. The trees in the foreground are the Ashoka Tree. The word Ashoka means 'without sorrow' and is the tree linked to the Vedic God of love and sexual union Kamadeva. Apparently, the tree blossoms when a virtuous lady touches it.
Commentary
The word Tara means the one who saves. The word Tara is derived from the root tri meaning to cross and in context is taken to mean the one who helps people to cross the Ocean of Existence and Suffering. Green Tara is also called 'dark' Tara or more directly Shyama Tara. Green Tara is associated with the Amoghasiddhi who is also green and the north-facing Meditation who is head of the action family. Her willingness to help others is shown by her body posture with one foot ready so that she can rise to offer assistance. Like WhiteTara, she was born of the tears of compassion of the Bodhisattva Avalokiteshvara, resulting from the extreme state of sadness he experienced when observing the continuing ceaseless suffering which he sought to end.
Finishing: Stone Setting
The Green Tara is adorned with an exquisite array of semi-precious stones, including turquoise, coral, and lapis lazuli. These stones are carefully selected and meticulously placed on the Green Tara's surface, adding a touch of opulence and enhancing its overall beauty. Each stone is thoughtfully positioned using a high-quality adhesive, ensuring secure and long-lasting attachment. The vibrant colors and unique patterns of the stones create a captivating contrast against the backdrop of the Green Tara, elevating its visual appeal and making it truly eye-catching.
Beyond their decorative purpose, these semi-precious stones carry symbolic significance in various cultures and traditions. Turquoise is often associated with protection and healing, coral represents vitality and passion, while lapis lazuli symbolizes wisdom and truth. The inclusion of these stones not only adds to the aesthetic allure of the Green Tara but also imbues it with deeper meaning and cultural symbolism.
The intricate placement of these semi-precious stones showcases the meticulous craftsmanship and attention to detail that goes into the creation of the Green Tara. It is a testament to the skill and artistic vision of the artisans who delicately adorn the statue, resulting in a truly remarkable and captivating piece of art.
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Gold Painted Face
The face of Green Tara 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 Green Tara.
Protecting the Face In the process of painting the face, a special variation of gold is utilized. This variation is transformed into a powder form that can be applied as paint. The gold used is believed to be 100% pure, enhancing the reverence and spiritual significance associated with this practice.
As the face is painted it is highly recommended that the face of the statue is to be greatly taken care of as it requires a very professional and skilled face artist to repair the face of dirt and damages. Commonly to protect it from damage, the statue with painted face is placed under a glass box and it is always covered with a cotton face mask if it has to be moved
Video of Face Painting
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Partly Gold plating.
This Green Tara has a Partly gold-plated finish. Partly fire gold gilding, a common practice in Nepali handicrafts. This technique is skillfully employed by artisans to create intricate designs on various metal objects, including statues, jewelry, and decorative items. Through a process, a mask or resist is applied to safeguard specific areas from the gold plating. The object is then subjected to high temperatures, allowing the gold to beautifully adhere to exposed surfaces using a combination of heat and pressure.
In the realm of Buddhist statues, this technique holds additional significance as it distinguishes the golden-plated body from the oxidized or maroon-painted clothing. This visual separation conveys the contrast between the divine purity of the body and the modest attire symbolizing the humble lifestyle of Buddhist monks. The partly fire gold gilding not only adds exquisite detail and elegance but also embodies the deep cultural and spiritual meaning associated with these treasured artifacts.
Partly gold plating using the Fire Gold plating technique requires a high level of skill and precision, and Nepali artisans have been perfecting this technique for centuries. The process is labor-intensive and time-consuming, but the end result is a work of art that is both durable and long-lasting, with intricate designs highlighted by a touch of gold. This technique finds significant application in the creation of religious objects such as statues and prayer wheels, as well as everyday items. It showcases the artisans' expertise in preserving traditional methods while imbuing the objects with deep cultural and spiritual significance.
Detailed Description of Mercury Gilding - 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.
Fire Gold Plating In Nepal
Detailed Description of Mercury Gilding - 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.
Fire Gold Plating In Nepal
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Ceramic Molding System
The Green Tara has been crafted using the Ceramic mold casting process, a modern approach that provides an alternative to traditional methods such as the lost-wax system or rubber molding. Also referred to as ceramic molding, this technique involves the creation of a ceramic mold to cast the statue. The process begins by making a precise and detailed wax model of the desired sculpture. The wax model is then coated with layers of ceramic material, creating a sturdy mold. Once the mold is complete, it is fired in a kiln, causing the wax to melt and escape, leaving behind a cavity that perfectly replicates the original sculpture. Molten metal is then poured into the mold, allowing it to fill the cavity and take on the desired form. Once cooled and solidified, the ceramic mold is carefully broken away, revealing the final metal statue.
Contrary to common assumptions, this statue of Green Tara is not only created through the ceramic mold casting process but is also 100% hand-finished in Nepal. Skilled artisans in Nepal bring their expertise and attention to detail to add the final touches and refine the sculpture by hand. The city of Patan, renowned for its artistic heritage and craftsmanship, takes pride in being the place where this statue is entirely made. This adds a touch of authenticity and cultural significance to the artwork, as it carries the essence of the artistic traditions and craftsmanship of Patan. The combination of the modern ceramic mold casting process, the meticulous hand-finishing in Nepal, and the artistic legacy of Patan ensures that this statue of Green Tara is a unique and captivating piece of art.
