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 Buddhist Crown 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 Buddhist Crown. 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.

Mercury gold plating is a time-honored process where a real layer of gold is carefully applied to the Buddhist Crown. Skilled artisans expertly handle the amalgamation of gold with mercury, ensuring precise application and stunning results. This method not only imparts a rich and lustrous appearance to the Buddhist Crown but also enhances its durability, allowing the gold plating to last for an extended period.

Detailed Description of Mercury Gilding
The process of Fire Gold plating is both time-consuming and intricate, requiring skilled artisans to carefully apply the gold layer using specialized tools and techniques. Despite the labor-intensive nature of the process, the end result is a stunning work of art that is sure to impress anyone who sees it.


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

The contrast between the silver plating and dark oxidation creates a visually striking effect, enhancing the intricate details and contours of the Buddhist Crown. This combination of techniques not only adds visual interest but also provides a sense of antiquity and time-worn charm to the statue.

The partly silver plating and dark oxidation finishing is a testament to the craftsmanship and artistic vision of the creators. It showcases their ability to harmonize different elements, resulting in a distinctive and captivating aesthetic for the Buddhist Crown.

The process begins by placing a copper sheet on a bed of wax, setting the foundation for the creation of the ritual object. The Nepali craftspersons then employ their mastery of hammering, delicately striking the copper to shape it into various forms. This methodical approach allows them to gradually mold the metal, resulting in intricate designs and details that are unique to Nepali art.

Through the hammering and folding process, the copper sheet takes on a three-dimensional quality, enhancing its visual impact. The craftspersons skillfully incorporate embossed carvings, meticulously etching sacred symbols, mantra inscriptions, and representations of revered Buddhist deities. Each stroke of the hammer and each carefully placed fold holds deep spiritual significance, capturing the essence of Buddhist teachings.

The artistry displayed in these ritual objects is a testament to the expertise and devotion of Nepali craftspersons. They bring forth their heritage, cultural understanding, and profound spirituality into every piece they create. The resulting objects not only serve as sacred tools for spiritual practices but also stand as exquisite examples of Nepali craftsmanship.

When you acquire a Buddhist Ritual Object crafted by Nepali artisans, you are not only embracing the beauty of their art but also supporting a vibrant artistic tradition. Each object becomes a testament to the rich cultural heritage of Nepal and a representation of the skill and passion of its craftspersons.

Embrace the magnificence of Nepali artistry and the spiritual significance of the hammered and folded copper in these ritual objects. Let them inspire and deepen your connection to the profound teachings of Buddhism, while also honoring the mastery of Nepali craftspersons.