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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.
Ganesh
Ganesha is one of the deities best-known and most widely worshiped in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known for many other attributes, Ganesha's elephant head makes him particularly easy to identify. Ganesha is widely revered as the Remover of Obstacles and more generally as Lord of Beginnings and Lord of Obstacles, patron of arts and sciences, and the deva of intellect and wisdom. He is honored at the beginning of rituals and ceremonies and invoked as Patron of Letters during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
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Iconography Representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century.[38] Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a noose in the other upper arm.
Associations Obstacles
Ganesha is Vighneshvara or Vighnaraja, the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakart? (obstacle-creator) to vighnahart? (obstacle-averter). However, both functions continue to be vital to his character, as Robert Brown explains, "even after the Pur??ic Ga?e?a is well-defined, in art Ga?e?a remained predominantly important for his dual role as creator and remover of obstacles, thus having both a negative and a positive aspect
Buddhi (Knowledge)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word Priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband"
Frist Chakra
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (m?l?dh?ra). Mula means "original, main " adhara means "base, foundation". The Muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests.[95] This association is also attested to in the Ganapati Atharvashirsa. You continually dwell in the sacral plexus at the base of the spine. Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life"
Family And Consort
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. He may have been created by Shiva, or by Parvati, or by Shiva and Parvati, or appeared mysteriously and was discovered by Shiva and Parvati.
The family includes his brother Warlord Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when the worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried Brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant. Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or ?arda. He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had two sons: K?ema (prosperity) and L?bha (profit). In northern Indian variants of this story, the songs are often said to be ?ubha (auspiciousness) and L?bha.
10 Ganesh Mantra Om Gan Ganapataye Namo Namaha, Shree Siddhi Vinayak Namo Namaha I Ashta Vinayak Namo Namaha Ganapati Bappa Moraya ||
This is a mantra from Ganapati Upanishad. One may always use it before beginning a journey, a new course in school, a new career or job, or before entering into any new contract or business so that impediments are removed and your endeavor may be crowned with success.
AUM GAJANANAM BHOOTGANADHISEVITAM KAPITTHYA JAMBOO PHALCHARU BHAKSHANAM UMASUTAM SHOKVINASHKARAKAM NAMAMI VIGHNESHWAR PADPANKAJAM AUM
Elephant-faced, worshipped by the existing beings, of all living beings, tasting the elephant apple (kaith) and jambolana (jamun), the son of Uma, destroyer of grief, I bow to the lotus feet of Ganesha who is Lord of all.
Shree Vakratunda Mahakaya Suryakoti Samaprabha Nirvighnam Kuru Me Deva Sarva-Kaaryeshu Sarvada?
O Lord Ganesha of the curved trunk and massive body, the one whose splendor is equal to millions of Suns, please bless me to that I do not face any obstacles in my endeavors.
Aum Shreem Gam Saubhaagya Ganpataye Varvard Sarvajanm Mein Vashamaanya Namah
By chanting this saubhagya mantra, we are asking for good fortune and blessings for our current and future life-times from Lord Ganesha. We bow in homage to Lord Ganesha who protects us with health and happiness.
Aum Ekadantaya Namah
Ekadanta refers to one tusk of the elephant-faced Lord Ganesha. This means God broke the duality and made you have a complete one-pointed mind. Chanting this Ganesha mantra will help in filling your mind with the feelings of oneness for a single-minded devotion.
Aum Lambodaraya Namah
This mantra means that all the celestial bodies are within an individual. Aum represents the sound of creation and the entire universe is comprised inside it. It is a suitable mantra to be chanted during Ganesh Chaturthi.
Aum Vighna Nashanaya Namah
Lord Ganesha is believed to have the power to remove every hindrance in our life. By chanting this mantra, all impediments and blocked energy in your physical and cosmological bodies are unconfined. This is a suitable mantra for Ganesh Chaturthi.
Aum Ganadhyakshaya Namah
This mantra is very suitable for chanting on Ganesh Chaturthi. Lord Ganesha is the leader of the Gana. It is believed that chanting this mantra by thinking a group of people in your mind will help in a group healing.
Aum Gajakarnikaya Namah
The word Gajakarnikaya refers to the ears of Lord Ganesha which is similar to that of an elephant. By chanting this mantra, you can tune your body with seven chakras and all 72,000 Nadis, to any Loka.
About Metal - Stone Craft
The Ganesh statue is crafted using the intricate lost wax casting process. In this method, the skin portion of the statue is meticulously cut out and replaced with a variety of metals, such as crystal, lapis, coral, or even a combination of these materials, to create a striking visual effect. Meanwhile, the remaining sections of the statue, including the body elements like the clothing, the lotus base, and the jewelry, retain their original copper material. This unique combination of metals and craftsmanship highlights both the skill and the artistic vision behind the creation of the Ganesh statue.
Crystal : Brief Introduction
A crystal or crystalline solid is a solid material whose constituents (such as atoms, molecules, or ions) are arranged in a highly ordered microscopic structure, forming a crystal lattice that extends in all directions.[1][2] In addition, macroscopic single crystals are usually identifiable by their geometrical shape, consisting of flat faces with specific, characteristic orientations. The scientific study of crystals and crystal formation is known as crystallography. The process of crystal formation via mechanisms of crystal growth is called crystallization or solidification.
What is Crystal Healings Crystal healing is a type of alternative therapy that involves using gemstones to bring balance to an individual's life and mind. Crystals are said to "have a stable and unchanging energy pattern, each with a unique frequency and energy field, or resonance" that gives them special properties, explains Judy Hall, in her work, The Little Book of Crystals. As a result, "they act like tuning forks," helping bring "harmony" to the "very unstable energy field of the human body".
The benefits of crystals The proposed healing benefits of crystals predominantly surround areas of mental wellbeing; including feelings of increased tranquility, positivity and focus, as well as enhanced immunity and pain relief.
Individual crystals are also known to have their own special energies that align to different areas of your life, with their shape and colour - as well as their type - affecting their influence.
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Partly Gold plating.
This Ganesh 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.
