Dashavatara - 10 Incarnations
1. Matsya (The fish)
1. Matsya, the fish, from the Satya Yuga. Vishnu takes the form of a fish to save Manu from the deluge, after which he takes his boat to the new world along with one of every species of plant and animal, gathered in a massive cyclone.

2. Kurma
Kurma, the tortoise, from the Satya Yuga. When the devas and asuras were churning the Ocean of milk in order to get amrita, the nectar of immortality, the mount Mandara they were using as the churning staff started to sink and Vishnu took the form of a tortoise to bear the weight of the mountain.

3. Varaha
Varaha, the boar, from the Satya Yuga. He appeared to defeat Hiranyaksha, a demon who had taken the Earth, or Prithvi, and carried it to the bottom of what is described as the cosmic ocean in the story. The battle between Varaha and Hiranyaksha is believed to have lasted for a thousand years, which the former finally won. Varaha carried the Earth out of the ocean between his tusks and restored it to its place in the universe.

4. Narsimha
Narasimha, the half-man/half-lion, from the Satya Yuga. The rakshasa (Demon) Hiranyakashipu, the elder brother of Hiranyaksha, was granted a powerful boon from brahma, not allowing him to be killed by man or animal, inside or out, day or night, on earth or the stars, with a weapon either living or inanimate. Vishnu descended as an anthropomorphic incarnation, with the body of a man and head and claws of a lion. He then disembowels the rakshasa at the courtyard threshold of his house, at dusk, with his claws, while he lay on his thighs.

5. Vamana
Vamana, a boy, from the Satya Yuga. The fourth descendant of Hiranyakashyap, Bali, with devotion and penance was able to defeat Indra, the god of firmament. This humbled the other deities and extended his authority over the three worlds. The gods appealed to Vishnu for protection and he descended as a boy Vamana. During a yajna (यज्ञ )of the king, Vamana approached him and Bali promised him for whatever he asked. Vamana asked for three paces of land. Bali agreed, and the dwarf then changed his size to that of a giant. He stepped over heaven in his first stride, and the netherworld with the second. Bali realized that Vamana was Vishnu incarnate. In deference, the king offered his head as the third place for Vamana to place his foot. The avatar did so and thus granted Bali immortality. Then in appreciation to Bali and his grandfather Prahlada, Vamana made him ruler of Pathala, the netherworld.

6. Parashurama
Parashurama, warrior with the axe, from the Satya Yuga. He is son of Jamadagni and Renuka and received an axe after a penance to Shiva. He is the first Brahmin-Kshatriya in Hinduism, or warrior-saint, with duties between a Brahmana and a Kshatriya). King Kartavirya Arjuna and his army visited the father of Parashurama at his ashram, and the saint was able to feed them with the divine cow Kamadhenu. The king demanded the cow, Jamadagni refused, and the king took it by force and destroyed the ashram. Parashurama then killed the king at his palace and destroyed his army. In revenge, the sons of Kartavirya killed Jamadagni. Parashurama took a vow to kill every Kshatriya on earth twenty-one times over, and filled five lakes with their blood. Ultimately, his grandfather, rishi Rucheeka, appeared and made him halt. He is a Chiranjeevi (immortal), and believed to be alive today in penance at Mahendragiri.

7. Rama
Rama, the prince and king of Ayodhya, from the Treta Yuga. He is a commonly worshiped avatar in Hinduism, and is thought of as the ideal heroic man. His story is recounted in one of the most widely read scriptures of Hinduism, the Ramayana. While in exile from his own kingdom with his brother Lakshman and the monkey God Hanuman, his wife Sita was abducted by the demon king of Lanka, Ravana. He travelled to Ashoka Vatika in Lanka, killed the demon king and saved Sita.

8. Krishna
Krishna was the eighth son of Devaki and Vasudev, from the Dwapara Yuga. He is also a frequently worshiped deity in Hinduism and an avatar in Vaishnava belief. He appeared alongside his elder brother Balarama. Balarama is regarded generally as an avatar of Shesha. However, Balarama is included as the eighth avatar of Vishnu in the Sri Vaishnava lists, where Buddha is omitted and Krishna appears as the ninth avatar in this list. He particularly included in the lists, where Krishna is removed and becomes the source of all avatars.

9. Buddha
Buddha: Gautama Buddha, the founder of Buddhism, is generally included as an avatar of Vishnu in Hinduism. Buddha may be depicted in Hindu scriptures as a preacher who deludes and leads demons and heretics away from the path of the Vedic scriptures. Another view praises him as a compassionate teacher who preached the path of ahimsa (non-violence).

10. Kalki
Kalki ("Eternity", or "White Horse", or "Destroyer of Filth"), will be the final incarnation of Vishnu, foretold to appear at the end of Kali Yuga, our present epoch. He will be atop a white horse and his sword will be drawn, blazing like a comet. He is the harbinger of end time in Hindu eschatology, and will destroy all unrighteousness and evil at the end of Kali Yuga.

This art form is shrouded in secrecy, as each artisan holds their own closely guarded formulas and methods. With deep knowledge of materials and an artistic sensibility, they skillfully replicate the natural aging process, infusing the Dhunge Dhara with a sense of authenticity and character. The result is a captivating piece that tells a visual story, evoking a bygone era and adding a touch of allure to any space.

The artist's dedication to creating an aged aesthetic goes beyond mere appearance. It is a deliberate and intentional effort to give the Dhunge Dhara a unique identity, imbued with the charm and beauty of time. With every carefully applied treatment and artistic touch, the Dhunge Dhara becomes a work of art that not only stands as a testament to the artisan's skill but also carries a sense of history and narrative, making it truly exceptional.

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.