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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.
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 34 Days from now
Manjushri
Manjushree is a Sanskrit word meaning 'gentle glory'. In Sanskrit, "shree" means 'glorious' or 'honorable'. His name signifies one who embodies enlightened wisdom. He confers mastery of the Dharma, wisdom, and eloquence and teaches the path of a bodhisattva in the Mahayana tradition.
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Commentary Manjushree is the Bodhisattva who holds the flaming sword [Skt. Khadga] of enlightenment, by his left hand in a warning( Tarjani) hand gesture ( Mudra) in his left hand representing his realization of wisdom to cut through ignorance & wrong view. His right hand depicted in teaching (Jnana Mudra) holds the stem of a Blue Lotus (Utpala) flower upon which rests the Book (Pustaka) of Perfection of Transcendental Wisdom. The blue lotus is a symbol of the victory of the spirit over the senses and signifies the wisdom of knowledge. This represents the lotus that he obtained from the middle of the lake in the Kathmandu Valley out of which grew a lotus bearing a Blue Flame which represents wisdom. Manjushree sits upon a moon disc upon a lotus with an elongated stem arising from a lake. He wears a gold diadem fitted with precious jewels. He wears a silk scarf fastened at the waist and over this, a softly glowing green scarf decorated with golden motifs. His head is silhouetted against a nimbus. The lotus he is sitting on has an elongated stem and arises from a lake representing his recovery of the blue flame of transcendent wisdom and the teaching he originated. The white sash is the attire of the Vajrayana school of Buddhism.
According to legend, Manjushree founded the Nepalese civilization. In ancient times, way before Buddha Shakyamuni the Kathmandu Valley was a vast lake. The Buddha Vipashyin came to Nepal to meditate on the hill above the lake. Wishing to give the rough mountain people an object of worship, Vipashyin threw a lotus seed into the lake. When this lotus bloomed, a blue flame of wisdom light shone from the center of its thousand petals. This light was called the Swayambhunath Dharmadhatu, the Self-Sprung Infinite Field of Light, and the flame of the enlightened mind of the primal Buddha, Vajradhara burned at its center. The light of Vajradhara also emanated in the colors of the rainbow and in each of the five colors appeared one of the Five Buddhas - Vairochana, Akshobhya, Ratnasambhava, Amitabha, and Amoghasiddhi. Then Manjushri went to Nagarkot Peak on the edge of the lake, and after having pondered in Samadhi how best the lake may be drained, with his keen-edged sword of wisdom he cut three Gorges. After the lake had been drained and the Valley bottom made suitable for cultivation Manjushree founded the city of Patan which was originally called Manjupattan. He taught the people many things. Manjushree manifests himself in the form of Yamantaka, known also as Vajrabhairava in order to overcome the lord of Death, Yama.
The Book (Pustaka) represents Transcendent Wisdom which came to be embodied by the Dyani {Pancha} Buddha Families. The book symbolically contains Buddhist teaching that had been lost to mankind & which was revealed to Manjushree. The book is commonly mistaken for the Prajna Paramita which was written by many hands between 100 & 200 CE realizing the Boddhisattva Principle. The book of Manjushree alludes to Wisdom and the emanation of the Five Transcendent Buddha Families. These are Vairochana, Akshobhya, Ratnasambhava, Amitabha & Amoghasiddhi. Wisdom Energy is a power that can extinguish the Five Negative afflictions. Each family heads wisdom and energy to overcome these Five hindrances to enlightenment which are greed, hatred, delusion, jealousy & pride.
Gold Painted Face
The face of Manjushri 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 Manjushri.
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 Manjushri 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 Manjushri 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 Manjushri 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 Manjushri is a unique and captivating piece of art.
