Ratna sambhava statue, Full Gold Plated, Old Post, Remakable, 6 by 4 cm, made by Copper, Statue Miniature, Statue 2 Inches

Date Added : 2010-10-14 09:08:50 (1232)Views

Ratna Sambhava Statue, Full Gold Plated, Old Post, Remakable
Code	HME5703
Size	Height 6cm (2") Width 4cm (2") Depth 3cm (1")
Weight	100 100 gm - 0.22 lbs
Material	Copper
Availability	Subject to Avilability

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$7 Partly Gold Plated

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PCS

US$ 20.00

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weight of 1 Pcs of the product is 0.5 kg and will cost USD $ 26.94

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Item location: kathmandu, Nepal
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We normally dispatch the product in 2-5 business days. Else Buyer will be infromed personally about the dispatch Date.

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7 days money back, buyer pays return shipping

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Ratnasambhava Buddha
He is one of five Tathagatas symbolizing the wisdom of equality (skt. Samatajnana). According to the commentary of Namasangiti, the author Ravisri says;
“All the phenomena are devoid of essence, lacks true inherent existence and hence is dreamlike or illusion or is empty”.
Thus the knowledge of senselessness of persons and the phenomena is the wisdom of equality: Buddha Ratnasambhava is the personification of this wisdom in Vajrayana Buddhism.
In the extant literature, he has rarely described his vows, aspirations, and activity. He is usually called the Buddha born from a jewel. a Sambhava Buddha’s body, one’s desire would be fulfilled. Read More

Iconography
He is yellow in color. He belongs to the Buddha family of Jewel. He is placed in the stupa facing to the south. He shows varada mudra with his right hand. He holds cintamani jewel in his left hand kept on his lap. He also represents the purified form of the defilement pride. He rides on the horse throne symbolizing that he ferries over the suffering sentient beings with full vigor. He resides in the pure abode of Ratnavati heaven (buddha field).
It is said that when Ratna Sambhava Buddha attained enlightenment golden colored rays emitted from his crown and manifested limitless golden colored bodhisattvas; each one of them carrying jeweled scepters emitting light shining on the southern worlds, which were numerous as the sands of the Ganges.
It is said that the sentient beings’ wish would be fulfilled when one sees the golden colored light. It is also said that by meditating on Ratn

OLD POST
Please note that this Ratnasambhava Buddha is an old post. We typically do not remove our posts from the website for various reasons, such as nostalgia and maintaining page ratings. These posts are not intended for direct sales, but occasionally, we can remake the items.

Remakable
Please note that the Ratnasambhava Buddha we posted some time ago is not currently available in our store. However, due to the possibility of a remake, it is still on sale. The remake will not be an exact replica of the original statue shown in the picture and will require additional time to be ready for dispatch. If you are willing to wait for this custom remake, you may proceed with your order. Thank you for your understanding and patience.

About Elector Gold Plating
The Ratnasambhava Buddha 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. Read More

Lost-Wax System
This Ratnasambhava Buddha 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.