Bodhisattva statue, Double Color Oxidized, 21 by 15 cm, made by Copper, Buddhist Statue, Bodhisattav

Date Added : 2009-12-27 17:01:01 (3211)Views

Bodhisattva Statue, Double Color Oxidized
Code	HME4206
Size	Height 21cm (8") Width 15cm (6") Depth 11cm (4")
Weight	2000 2 kg - 4.41 lbs
Material	Copper
Availability	Available

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US$ 400.00

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Copper solid statue, finished in double color oxidation: made in patan Nepal by loss wax process

Bodhisattva
In the Pāli canon, the bodhisattva Siddhartha Gautama is described thus before my Awakening, when I was an un awakened bodhisattva, being subject myself to birth, sought what was likewise subject to birth. Being subject myself to aging... illness... death... sorrow... defilement, I sought happiness in what was likewise subject to illness... death... sorrow... defilement.
Ariyapariyesana Sutta
While Maitreya is mentioned in the Pāli canon, he is not referred to as a bodhisattva, but simply the next fully awakened Buddha to come into existence long after the current teachings of the Buddha are lost.

In later Theravāda literature, the term "bodhisatta" is used fairly frequently in the sense of someone on the path to liberation. The later tradition of commentary also recognizes the existence of two additional types of bodhisattas: the paccekabodhisatta who will attain Paccekabuddhahood, and the savakabodhisatta who will attain enlightenment as a disciple of a Buddha. According to the Theravāda teacher Bhikkhu Bodhi the bodhisattva path was not taught by Buddha Read More

In Mahāyāna Buddhism
Bodhisattva ideal
Mahāyāna Buddhism is based principally upon the path of a bodhisattva. The term Mahāyāna was originally synonym for Bodhisattvayāna, or the "Bodhisattva Vehicle."The holly book of Mahayana contains a simple and brief definition for the term bodhisattva, which is also the earliest known Mahāyāna definition. This definition is given as the following.

"Because he has enlightenment as his aim, a bodhisattva-mahāsattva is so called."
Mahāyāna Buddhism encourages everyone to become bodhisattvas and to take the bodhisattva vows. With these vows, one makes the promise to work for the complete enlightenment of all sentient beings by practicing the six perfections. Indelibly entwined with the bodhisattva vow is merit transference

In Mahāyāna Buddhism life in this world is compared to people living in a house that is on fire. People take this world as reality pursuing worldly projects and pleasures without realizing that the house is on fire and will soon burn down (due to the inevitability of death). A bodhisattva is one who has a determination to free sentient beings from universe and its cycle of death, rebirth and suffering. This type of mind is known as the mind of awakening (bodhicitta). Bodhisattvas take bodhisattva vows in order to progress on the spiritual path towards buddhahood.

There are a variety of different conceptions of the nature of a bodhisattva in Mahāyāna. According to some Mahāyāna sources a bodhisattva is someone on the path to full Buddhahood. Others speak of bodhisattvas renouncing Buddhahood.
A bodhisattva can choose any of three paths to help sentient beings in the process of achieving buddhahood. They are:

king-like bodhisattva - one who aspires to become buddha as soon as possible and then help sentient beings in full fledge;
boatman-like bodhisattva - one who aspires to achieve buddhahood along with other sentient beings and
shepherd-like bodhisattva - one who aspires to delay buddhahood until all other sentient beings achieve buddhahood. Bodhisattvas like Avalokiteśvara and Śāntideva are believed to fall in this category.

Ten grounds
According to many traditions within Mahāyāna Buddhism, on the way to becoming a Buddha, a bodhisattva proceeds through ten, or sometimes fourteen, grounds. Below is the list of the ten grounds and their descriptions.

Great Joy: It is said that being close to enlightenment and seeing the benefit for all sentient beings, one achieves great joy, hence the name. In this bhūmi the bodhisattvas practice all perfections (pāramitās), but especially emphasizing generosity .

Stainless: In accomplishing the second bhūmi, the bodhisattva is free from the stains of immorality, therefore, this bhūmi is named "stainless". The emphasized perfection is moral discipline.

Luminous: The third ground is named "luminous", because, for a bodhisattva who accomplishes this bhūmi, the light of Dharma is said to radiate for others from the bodhisattva. The emphasized perfection is patience .

Radiant: This ground is called "radiant", because it is said to be like a radiating light that fully burns that which opposes enlightenment. The emphasized perfection is vigor.
Very difficult to train: Bodhisattvas who attain this bhūmi strive to help sentient beings attain maturity, and do not become emotionally involved when such beings respond negatively, both of which are difficult to do. The emphasized perfection is meditative concentration.

Obviously Transcendent: By depending on the perfection of wisdom, [the bodhisattva] does not abide in either saṃsāra or nirvāṇa, so this state is "obviously transcendent". The emphasized perfection is wisdom.

Gone afar: Particular emphasis is on the perfection of skillful means (upāya), to help others.
Immovable: The emphasized virtue is aspiration. This, the "immovable" bhūmi, is the bhūmi at which one becomes able to choose his place of rebirth.
Good Discriminating Wisdom: The emphasized virtue is power.
Cloud of Dharma: The emphasized virtue is the practice of primordial wisdom.

School doctrines
Some sutras said a beginner would take 3-22 countless eons to become a buddha. Various traditions within Buddhism believe in specific bodhisattvas. Some bodhisattvas appear across traditions, but due to language barriers may be seen as separate entities. For example, Tibetan Buddhists believe in various forms of Chenrezig, who is Avalokiteśvara in Sanskrit, Guanyin in China and Korea, Quan Am in Vietnam, Kannon and Japan. Followers of Tibetan Buddhism consider the Dalai Lamas and the Karmapas to be an emanation of Chenrezig, the Bodhisattva of Compassion.

Kṣitigarbha is another popular bodhisattva in Japan and China. He is known for aiding those who are lost. His greatest compassionate vow is:"If I do not go to the hell to help the suffering beings there, who else will go? ... if the hells are not empty I will not become a Buddha. Only when all living beings have been saved, will I attain Bodhi."

The place of a bodhisattva's earthly deeds, such as the achievement of enlightenment or the acts of dharma, is known as a bodhimanda, and may be a site of pilgrimage. Many temples and monasteries are famous as bodhimandas;
for instance, the island of Putuoshan, located off the coast of Ningbo, is venerated by Chinese Buddhists as the bodhimanda of Avalokitesvara. Perhaps the most famous bodhimanda of all is the bodhi tree under which shakyamuṇi achieved buddhahood.

Double-color Oxidized
The Bodhisattva 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 Bodhisattva 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. Read More

Lost-Wax System
This Bodhisattva 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.	Drying the image with a blow torch.