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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.
Dorje Legpa
Damchan Dorje Legpa means 'oath-bound Benign Thunderbolt'. His feet are naked and he wears his hair in a yogi's topknot wrapped around a nine-prong vajra. He wears the blue gown of the tantrika and he is the colour of Dorje Trollo, the form of Padmakara who subdued him to the service of Dharma.
This form where Dorje legpa is seen riding a snow lion is a 'majestic yogi form who rides the vast tracks of sky beyond the mountain peaks. The snow lion represents youthful energy , a type of power which is enlivened by humour. The humour of the snow lion is the non dual humour which transcends seriousness and non-seriousness. There is a wide awake, wide open, wide-eyed quality to the youthful 'emotional astuteness' of the snow lion. The snow lion carries Dorje Legpa on her back in a graceful yet precise manner, not needing to be 'swift to the kil with regard to tracking down our deviousness with regard to our vows. The snow lion mount, simply allows Dorje Legpa the space of vajra humour in which all deviations are hoist on their respected petards. Neuroses simply run from the gaze of the Dorje Legpa and his snow lion until they exhaust themselves. This is their field of power.
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History of Dorje Lagpa Like other important Nyingma protectors, there is a wealth of treasure literature on Dorje Lekpa's (Skt. Vajra Sadhu) origins and characteristics, much of it contradictory. However, the following essay will attempt to collate the various myths of Dorje Lekpa, based on the terma sources quoted in the 1734 "Biographies of the Ocean of Oath-Bound Protectors," written by Lelung Zhepe Dorje (1697-1740). According to Lelung's sources, Dorje Lekpa is an emanation of Padma Heruka, the king of the tsen spirits, and ruler over heaven and earth in the western direction. In one telling of his immediately preceding life, Dorje Lekpa was a lay follower of the Buddha Dipankara, named Shritala. However, Shritala fell from the path of righteousness when he stole a neighbor's goat. He took the goat to a charnel ground where he killed and ate it, and dressed himself in its skin. Living in the charnel grounds, Shritala began to murder men and have licentious sex with many different women there. One day, however, he happened to eat the poisoned flesh of a deer, and died.
Myth of Dorje Lagpa
According to another telling of the origin myth, in his previous life Dorje Lekpa was Putapa, son of brahmin parents. He became a monk at twelve, and is said to have completed his monastic training in just three years. Then, at age eighteen, he is said to have completely abandoned his home and gone to dwell in ascetic retreat in the charnel ground Cool Grove in a hut made of kusha grass. Gradually a rumor spread about Putapa that he was engaging in improper practices, and he became known as Siddha of Evil Mantras. The local king heard these rumors and feared the practice of evil mantras would undermine his rule, so he sent his ministers to kill Putapa. The minister went to Cool Grove and questioned the ascetic, but Putapa denied practicing evil mantras and swore he dwelt in wholesome discipline only. Nevertheless, the ministers burned him alive inside his grass hut. Before he died, Putapa swore to be reborn as the son of a yaksha demon, to have immense power in the world, to be able to cast down lightning and hail, and to have power over the life-breath of all living beings.
Right after this, to the northwest of Mount Meru, a mu demon who was the embodiment of hatred, and a female mara who was the embodiment of lust, had sex. Seven months later on the first day of the last winter month of a tiger year, the mother produced an iron placental sack which fell at the base of a poison tree. When the mu father picked it up and looked inside, he saw a single child made out of iron, who immediately flew up to Mount Meru and reduced the four continents of our world system to ash. He bound the gods and demons who lived on Meru under his power. The lords of the mu, za, naga, and tsen demons all offered him their life essence. With these four as his retinue, the iron child began harming all living beings. Angered that they could not control him, the parents prayed that he would be enslaved by an "even greater power....from the realm of space." And so he apparently was, though no specific subjugating deity is mentioned in this account.
In another version of the myth of Dorje Lekpa's birth, Shri Heruka, in the form of a rakshasa, and Krodhishvari, in the form of a rakshasi, produced five daughters. The eldest of these mated with the king of the maras, and from their union was born Dorje Lekpa on the seventeenth day of the twelfth month. His mother urged him to eat the hearts of tigers, goats, and cats, and to protect the teachings of Shri Heruka. Because the boy had a birthmark in the shape of a vajra at his heart, he was determined to be part of the Vajra Buddha Family, and consequently received empowerment by Vajrapani. It is said that he was enthroned as the great yaksha that has power over our world system until the teachings of 5,000 buddhas disappear.
In yet another version of the myth, the "Ten Chapter Tantra of Dorje Lekpa Garwa Nagpo," the deity's parents were a cat-headed rakshasa and a monkey-headed female mara. They lived in a cube-shaped stone castle in a city of yamas in India. It was surrounded by swirling dust storms, whirling sword-blades, blazing fire, lightening, thunder, and hail. The rakshasa and mara lived there, eating the flesh and blood of sentient beings and having sex. From their union came five children. The main one was born with the head of a wolf and he had four siblings that had the teeth of tigers, lions, and jackals, claws like vulture talons, and the horns of scorpions. They were black demons of the charnel ground that attacked the life-force of all living things.
One day, the wolf-headed demon killed a goat that belonged to the sage Tramena. Tramena went to the Buddha and told him that there was a terrible hungry ghost that was preying on the beings of the three worlds, and needed to be subdued, which he promptly was by Vajrapani. Another source asserts that Dorje Lekpa manifested as an iron hawk to kill beings in the sky, an iron wolf to kill those on earth, and a solitary iron man who caused much injury and violence. This being angered Hayagriva who promptly split his head into pieces, before resurrecting and empowering him as the lord of the gods and demons who arise from the eight classes of consciousness.
Also, according to the "Ten Chapter Tantra," Dorje Lekpa took on different deity forms in each of the different realms of rebirth. He was born first as "All-Joyful" the king of the wealth gods. Then he was born as an asura lord of death who had a rat's head, took cat hearts as offerings, and made weapons, called Garwa Nagpo, or "Black Ironsmith." He was also born as the son of the King of Lanka, and named "Tiger Tamer," who took tiger hearts as offerings. Born as animal, he was called "Blue Iron Wolf," a wolf who killed flocks of goats to eat. As this deity he received goat hearts as offerings. As a hungry ghost, he was a tsen who lived in a maroon-colored castle in a rocky crag.
Double-color Oxidized
The Dorje Legpa boasts a mesmerizing double-color oxidation finish, featuring a combination of darker and lighter shades of oxidation. This unique technique adds depth and complexity to the statue's appearance, creating a captivating visual effect. Through a meticulous oxidation process, certain areas of the Dorje Legpa are intentionally oxidized to achieve a darker shade, while other areas are oxidized to a lighter tone. This deliberate contrast between the two shades creates a dynamic interplay of colors, enhancing the contours and details of the statue.
The darker shades of oxidation add a sense of depth and antiquity, evoking a weathered and time-worn aesthetic. In contrast, the lighter shades bring a touch of brightness and contrast, highlighting specific features and creating a sense of balance.
The double-color oxidation finish is a testament to the skill and artistry of the craftsmen involved. It showcases their ability to manipulate the oxidation process to create a unique and visually captivating result, giving the Dorje Legpa a distinct and memorable appearance.
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Partly Gold plating.
This Dorje Legpa 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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Lost-Wax System
This Dorje Legpa is made by the process of the Lost-Wax system. The lost-wax process, also known as investment casting, is a time-honored technique used to create metal sculptures. It involves several steps that have been practiced for thousands of years. Skilled artisans begin by sculpting a detailed wax model, capturing every intricate detail of the desired sculpture. The wax model is then coated with a ceramic shell, formed by multiple layers of ceramic material. Once the shell has cured, the wax is melted and drained out, leaving behind a cavity. Molten metal is poured into the cavity, creating a precise replica of the original wax model. After the metal has cooled and solidified, the ceramic shell is carefully removed, revealing the final metal sculpture.
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.
