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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.
Vajrasattva
Vajrasattva is also regarded as Adi-Buddha by Nepalese Bajracharya's who follow Vajrayana tradition according to the text Vajrasattva Kaya. His body is white with one face and two hands. His right-hand holds a five-pronged golden vajra at his heart. His left-hand holds a silver bell at his side. He sits in the Vajraparyanka posture wearing precious silks and ornaments with jewel diadem. His body is adorned with the major and minor marks of a Sambhogakaya and emits a clear limitless light. It appears to lack all notion of substantiality, like the reflection of the moon in the water.
Vajrasattva has a father-mother aspect too. Generally, this form is not exhibited in open. It is shown only to those who are initiated in the Highest Yoga Tantra. His form is the same as in the single one but his consort carries a Kartika in her right hand and a kapala in her left hand.
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Iconography Vajrasattva is pure white in colour and is sometimes known as the Prince of Purity. His name means "Adamantine Being", or more poetically "Embodying Reality". He is a member of the Vajra family of Akṣobhya which also includes Vajrapāṇi.
He is depicted as a young man in the prime of life, with all the silks and jewels of a wealthy prince. In his right hand he delicately balances a vajra at his heart. In his left had he holds a bell at his waist. The vajra represents Reality, and Compassion; while the bell represents Wisdom.
Vajrasattva is said to have been originated from seed syllable Hum and is generally invoked for removal of obscuration of Kleshavarana and Jneya Avarana. His hundred syllable mantra is very efficacious in purifying our defilements through confession practice. It is said if confession is done with the four opponent powers, then non-virtuous actions or obscurations will be purified. The first opponent power is the force of reliance. This means looking upon the visualized image of Vajrasattva as the embodiment of one’' refuge. The second opponent power is the sincere regret for the non-virtuous action done by oneself. The third opponent power is desisting from evil deeds. The fourth opponent power is to apply power of good deeds; and specially regarding this case, practicing the meditation and recitation of Vajrasattva without parting from Bodhicitta while remaining in the state of emptiness. Vajrasattva is a very popular tutelary deity for Nepalese Vajracharya. He is worshipped very often by Nepalese Buddhists through Guru Mandala ritual.
In some mandalas Vajrasattva represents the Adi Buddha or the Primordial Principle of Buddhahood; in others he changes places with Akṣobhya in the East. In Shingon Buddhism it is Vajrasattva that passes on the initiation of the Dharmakāya Buddha Mahāvairocana to Nāgārjuna, thereby creating the Vajrayāna lineage.
Vajrasattav Purification Purification of Body
Your disturbing attitudes and negativities in general and particularly those of the body, take the form of black ink. Sickness takes the form of pus and blood and afflictions caused by spirits appear in the form of scorpions, snakes, frogs and crabs. Flushed out by the light and nectar, they all leave your body through the lower openings, like filthy liquid flowing down a drain pipe. Feel completely empty of these problems and negativities; they no longer exist anywhere. Purification of Speech
Your disturbing attitudes and imprints of negativities of speech take the form of liquid tar. The light and nectar fill your body as water fills a dirty glass: the negativities, like the dirt, rise to the top and flow out through the upper openings of your body: your eyes, ears, mouth, nose, etc. Feel completely empty of these problems; they no longer exist. Purification of the Mind
Your disturbing attitudes and the imprints of mental negativities appear as darkness at your heart. When struck by the forceful stream of light and nectar, the darkness completely vanishes. It is like turning a light on in a room: the darkness does not go anywhere, it simply ceases to exist. Feel that you are completely empty of all these problems; they are non-existent. Simultaneous Purification
Do the three above visualizations simultaneously. This sweeps away the subtle obscurations that prevent you from seeing correctly all that exists. Feel completely free of these obscurations. The Power of the Promise
After reciting the mantra and doing the visualizations, make the following promise to Vajrasattva, specifying a period of time for which you intend to keep it: "I shall not create these negative actions from now until ."
Vajrasattva is extremely pleased and says, "My spiritual child of the essence, all your negativities, obscurations and degenerated vows have been completely purified."
With delight, Vajrasattva melts into light and dissolves into you. Your body, speech and mind become inseparably one with Vajrasattva holy body, speech and mind. Concentrate on this.
Dedication
Due to this merit may I soon Attain the enlightened state of Vajrasattva, That I may be able to liberate
All sentient beings from their suffering.
May the precious bodhi mind Not yet born arise and grow. May that born have no decline,But increase forever more.
Mantras in Various Language
Gold Painted Face
The face of Vajrasattva 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 Vajrasattva.
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 Vajrasattva 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 Vajrasattva 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 Vajrasattva 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 Vajrasattva is a unique and captivating piece of art.
