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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.
Prayer Wheel
A prayer wheel is a cylindrical wheel on a spindle made from metal, wood, stone, leather, or coarse cotton. Traditionally, the mantra Om Mani Padme Hum is written in the Newari language of Nepal, on the outside of the wheel. Also sometimes depicted are Dakinis, Protectors, and very often the 8 auspicious symbols Ashtamangala. At the core of the cylinder is a "Life Tree" often made of wood or metal with certain mantras written on or wrapped around it. Many thousands (or in the case of larger prayer wheels, millions) of mantras are then wrapped around this life tree. The Mantra Om Mani Padme Hum is most commonly used, but other mantras may be used as well. According to the Tibetan Buddhist tradition based on the lineage texts regarding prayer wheels, spinning such a wheel will have much the same meritorious effect as orally reciting the prayers.
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Origin The earliest recorded prayer wheels were written of by a Chinese pilgrim around 400 C.E. in Ladakh.prayer wheel is a physical manifestation of the phrase "turning the wheel of Dharma," which describes the way in which the Buddha taught. Prayer Wheels originated from The School of Shakyamuni sutra, which states that, those who set up the place for worship, use the knowledge to propagate the dharma to common people, should there be any man or woman who are illiterate and unable to read the sutra, they should then set up the prayer wheel to facilitate those illiterate to chant the sutra, and the effect is the same as reading the sutra
According to the Tibetan tradition, the prayer wheel lineage traces back to the famous Indian master, Arya Nagarjuna. Tibetan texts also say that the practice was taught by the Indian Buddhist masters Tilopa and Naropa as well as the Tibetan masters Marpa and Milarepa.
Practice
According to the lineage texts on prayer wheels, prayer wheels are used to accumulate wisdom and merit (good karma) and to purify negativities (bad karma). In Buddhism, Buddhas and Bodhisattvas have created a variety of skillful means (upaya) to help bring practitioners ever closer to realizing enlightenment. The idea of spinning mantras relates to numerous Tantric practices whereby the Tantric practitioner visualizes mantras revolving around the nadis and especially around the meridian chakras such as the heart and crown. Therefore, prayer wheels are a visual aid for developing one's capacity for these types of Tantric visualizations. The spiritual method for those practicing with a prayer wheel is very specific (with slight variations according to different Buddhist sects). The practitioner most often spins the wheel clockwise, as the direction in which the mantras are written is that of the movement of the sun across the sky. On rare occasions, advanced Tantric practitioners such as Senge Dongma, the Lion-Faced Dakini, spin prayer wheels counterclockwise to manifest a more wrathful protective energy. As the practitioner turns the wheel, it is best to focus the mind and repeat the Om Mani Padme Hum mantra. Not only does this increase the merit earned by the wheel's use, but it is a mind-stabilization technique that trains the mind while the body is in motion. Intoning the mani mantra with mindfulness and the "Bodhicitta" motivation dramatically enhances the effects of the prayer wheel. However, it is said that even turning it while distracted has benefits and merits, and it is stated in the lineage text that even insects that cross a prayer wheel's shadow will get some benefit. Each revolution is as meritorious as reading the inscription aloud as many times as it is written on the scroll, and this means that the more Om Mani Padme Hum mantras that are inside a prayer wheel, the more powerful it is. It is best to turn the wheel with a gentle rhythm and not too fast or frantically. While turning smoothly, one keeps in mind the motivation and spirit of compassion and bodhichitta (the noble mind that aspires to full enlightenment for the benefit of all beings). The benefits attributed to the practice of turning the wheel are vast. Not only does it help wisdom, compassion and bodhichitta arise in the practitioner, it also enhances siddhis (spiritual powers such as clairvoyance, precognition, reading others thoughts, etc.). The practitioner can repeat the mantra as many times as possible during the turning of the wheel, stabilizing a calm, meditative mind. At the end of a practice session, there is a Tibetan Buddhist tradition of dedicating any accumulated merits that one may have gathered during practice to the benefit of all sentient beings. Then Om Ah Hum 3 times. This is customary with Tibetans upon completing any Buddhist practice, including the practice of the prayer wheel.
Thubten Zopa Rinpoche has commented that installing a prayer wheel has the capacity to completely transform a place, which becomes "...peaceful, pleasant, and conducive to the mind." Simply touching a prayer wheel is said to bring great purification to negative karmas and obscurations.
Finishing: Stone Setting
The Prayer Wheel 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 Prayer Wheel'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 Prayer Wheel, 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 Prayer Wheel 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 Prayer Wheel. 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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About Elector Gold Plating
The Prayer Wheel 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.
The process begins with the thorough cleaning and preparation of the object to be plated. A layer of silver plating is first applied to create a base. Subsequently, the object is submerged in a solution containing gold ions, while an electric current is passed through the solution. The gold ions are attracted to the surface of the object, forming a layer that can be polished to achieve a smooth and radiant finish.
The Full Electro Gold plated finishing offers several advantages, including affordability and high-quality results. In Nepal's handicraft industry, this method of gold plating is gaining popularity due to its ability to produce exquisite and long-lasting handicraft items. Skilled craftsmen employ their expertise to ensure that the gold plating is of the utmost quality, resulting in beautiful and durable Prayer Wheel products.
By choosing the Full Electro Gold plated finishing, you can enjoy the luxurious and captivating allure of gold, enhancing the aesthetic appeal of the Prayer Wheel product while ensuring its longevity and enduring beauty.
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Seku Design : What is Seku Desing
Seku is a traditional Newari craftsmanship technique that involves the use of thin metal wire, typically copper or silver, to create intricate patterns on various objects. The word "Seku" is derived from the Newari language, and is commonly used to refer to this type of craftsmanship. This technique is a prominent aspect of Newari art and has been passed down through generations of artisans.
The process of creating Seku designs involves carefully shaping and molding the metal wire into various patterns. This can include simple geometric shapes or more complex, detailed designs. The wire is then carefully placed onto the surface of the object, where it is secured in place. The final result is a beautiful and intricate design that showcases the skill and precision of the artisan.
Seku craftsmanship can be found on a variety of different objects, including traditional Newari jewelry, home decor, and even architectural elements. The technique is often used to add decorative touches to objects that are already rich in cultural significance, such as statues of deities and other religious artifacts. The intricate and detailed nature of the craftsmanship makes it highly valued and respected within the Newari community, and it continues to be an important aspect of their cultural heritage.
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Partly Gold plating.
This Prayer Wheel 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.
