Discount Buddhist
To help adjust for the recent dollar price hike and ensure that our customers can continue to enjoy our collection, we are offering a 10% discount on all Buddhist statues and figurines. This special offer is our way of making these sacred pieces more accessible while maintaining the quality and craftsmanship that define our products.
Vajradhara
Shakyamuni Buddha appeared in this world with the sole purpose of benefitting all sentient beings. Out of great compassion Lord Buddha revealed many different means/paths to enlightenment and set forth three Wheels of Law to suit varying degrees of intelligence and receptivities.
Shakyamuni Buddha himself was, it is said, in the form of Vajradhara while he was teaching tantric path to his gifted disciples.
Vajradhara is depicted holding a Vajra and a bell in his left hand and his arms are kept crossed in front of him expressing complete integration of Prajna and Upaya. He is usually depicted in blue colour in vajraparyanka posture. He has a crown, an Urna and an Ushnisha as a Sambhogakaya Buddha. Vajradhara is also depicted in father-mother (Anju-Aji in Newari) aspect. en he holds his usual symbols while his arms are crossed at the back of his consort. the consort is none other than Prajnaparamita in deified form.
The Kargyudpa lineage of Tibetan Buddhism begins with the Buddha Vajradhara. The individual in this tradition is allowed to visualize his root Guru as Buddha Vajradhara. Guru Tilopa is said to have received Mahamudra instruction directly from Buddha Vajradhara through visions and other extraordinary means.
In Nispannayogavali, Vajradhara is the main deity in Vajrasattvamandala. He is three faced, six-armed and reddish white in color. His right arm holds a vajra, a sword and a kapala and his left hand holds a bell, an ankush and a noose. He stands in the Ardhaparyanka posture and dances in Tandava style.
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Brief Introduction
This image represents the understanding & application of internal & external tantric energy, by skilfully influencing & directing energies arising from everyday experiences [Skt. dharmas]. Vajradhara expresses not just the awoken mind but the direction of understanding which develops into a transcendent experience of the Dharmakaya. This is symbolised by the lightening [Skt. vajra] headed bell [Skt. ghanta] which represents the feminine creative wisdom and the double ended lightening sceptre representing 'energy', method & the masculine. Vajradhara personifies the ways [bell] & means [lightening sceptre] to objectively transform experience beyond everyday conception of space & time.
Dharmakaya is often taken to mean the 'truth body' & is one of the three Forms of or realms of understanding [Skt. Trikaya]. The Principle of Non-Duality i.e. the 'union of two' is represented in the Bell [Skt. Ghanta] & the Lightning sceptre [Skt. Vajra]. The bell embodies female wisdom & the Diamond Sceptre being compassion or method. The truth body of Vajradhara and Vajrayana tools will empower your journey in all places. This involves unlocking the mysteries or obscuration's of the material & inner world through methods of tantric practice & understanding. In fact Vajradhara represents latent power of transformation using tantric through wisdom to allow us to uncover Great Bliss. Vajradhara the realised way of method. Since Vajradhara personifies the essence of non dualitic union the figure represents a mastery of the symbols portrayed in other tantric deities & having understood their meaning does not need to bear them.
Iconography
The name Vajradhara means the bearer of the lightning sceptre. The inherent tradition of lightning representing transformation & energy originates 2,500 c. BCE. The term Vajra is a typical Sanskrit word being a composite of va- meaning to bear or carry, ja or ja whose syllable denotes the energy & ra meaning to rise, overcome or power. The vajra sceptre is a special object embodies the principle of change. Conjoined prongs at each end denote lightning bolts and their being conjoined denotes latent self reacting energy. In effect as important to Buddhism as the Cross to Christianity. The Vajra [Tib. Dorje] has four prongs enclosing a fifth central prong making five in total and at both end. The tridents is another representation of the lightening more associated with Hinduism. Varjadhara's arms are crossed in a gesture of Victory over the Three Worlds [Skt. Triolyavijaya mudra also called Skt. Vajrahumkara],with reference to the syllable 'Hum', & is seated in the lotus seat [Skt. Padmasana] The lotus seat & the crossed arms mudra are together called the Skt. Vajrasana or Position of transcendent change. The white sash draped across Vajradharas chest represents the purity and essence of the varjayana school of Buddhism. In fact Mahayana & Hinayana both arise from the ancient Vajrayana tradition of personal transformation.
Commentary
Vajradhara is one of two primeval [Skt. Adi] Buddhas associated with the Trikaya Doctrine. The Sanskrit stem Tri means three & the word Kaya means body in the sense of form. Samantabhadra & Vajradhara, Bodhisattvas & mankind all exist within the primary dimension called Nirmanakaya because have been conceived by the human mind and so in part manifests within time and space. Vajradhara also exists in a second dimension of emptiness realised through the understanding of the emptiness of all phenomena called Dharmakaya. Dharmakaya [Skt.] means Truth Body or Reality Body. Dharmas are phenomena in this universe such as candles, televisions, planets, cows and significantly the laws governing them. The principle of Dharmakaya is that there is no individuality at all as nothing exists on its own and all is transient. The idea is that in fact they are temporary arrangements of emptiness. Thus Dharmakaya is ultimate truth of the unreal nature of all things and that truth is in fact nothing of emptiness. The concept of emptiness helps us break our attachment or dependency on the physical world and free ourselves from cyclical existence.
Dharmakaya represents the inconceivable [Skt. Acintya] aspect of a Buddha out of which Buddhas and indeed all phenomena [Skt. Dharmas] arise and to which they return after their dissolution. The principle of Dharmakaya helps us free ourselves from material bondage & dependency on the material world to take us towards Individual & Universal Bliss which is the union of Great Love and great Freedom. The Five Transcendent Buddhas [Skt. Dhyani Buddhas] arose from the Vajradhara, Adi Buddha,& Samantabhadra. As we detach ourselves we are able to create the Sambhogakaya state of Great Bliss. Some Vajrayana sutras refer to a fourth kaya dimension called Svabhavikiakaya [Skt.] meaning the self created body in the sense of self arising and self perpetuating essence embodying the three other kaya's. This alludes to the self arising self emanating and self perpetuating Thousand Petalled Lotus of Great Bliss.
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These items are marked as sold and are kept here purely for nostalgic value. You might have landed on this post via Google, a wrong item code search, or an incorrect URL, but please note that these items are no longer available for sale.
The prices shown are not updated and are also displayed for nostalgic reasons. We can remake these items, but it will take approximately six months to a year as we need to recreate them from wax.
Shakti : Introduction
Shakti Yab-yum is a common symbol in Nepalese and Tibetan art. It represents the primordial union of wisdom and compassion, depicted as a male deity in union with his female consort via the similar concept of interpenetration or "coalescence," as illustrated by the concept of Indra's net. The male figure represents compassion and dexterity, while the female figure represents insight. The female is seated on the male's lap in yab-yum. A rare rendition of a similar figure, but reversed, with the male sitting on the female's lap, is known as yum-yab.
Yab-yum is widely regarded as representing the primordial union of wisdom and compassion. The masculine form is active in Buddhism, representing the compassion and skillful means that must be developed in order to achieve enlightenment. The feminine form is passive and represents wisdom, both of which are required for enlightenment. The figures, when joined, represent the union required to remove the veils of Maya, the false duality of object and subject.
These figures are frequently worked into statues or reliefs, or they are painted on thangkas. Yab-yum can also be represented by the aniconic symbols yantra and mandala.
In Tibetan Buddhism
In Tibetan Buddhism, the same ideas are to be found concerning the bell and the dorje, which, like the yab-yum, symbolize the dualism that must be transcended. The sacred Tantric practice leads to rapid development of mind by using the experience of bliss, non-duality, and ecstasy while in communion with one's consort, either visualized, or in the case of advanced practitioners, in some cases physical. In one important Anuttarayoga text, where Tilopa expounds the meaning to Naropa, it is said:
When you rely on a consort, the wisdom of empty bliss will arise, so enter into union—the blessing of method and wisdom. Bring it down slowly, retain it, reverse it, and draw it back up. Bring it to the places in the body and let it spread throughout. When you remain free of desire, the wisdom of empty bliss will appear.
Indicating the advanced nature of the actual practice with consort, the verses are the last in what is already widely considered as a text for the most advanced practitioners, a fact clearly evident in the story about Naropa's receiving the teaching.
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Shakti : Introduction
Shakti Yab-yum is a common symbol in Nepalese and Tibetan art. It represents the primordial union of wisdom and compassion, depicted as a male deity in union with his female consort via the similar concept of interpenetration or "coalescence," as illustrated by the concept of Indra's net. The male figure represents compassion and dexterity, while the female figure represents insight. The female is seated on the male's lap in yab-yum. A rare rendition of a similar figure, but reversed, with the male sitting on the female's lap, is known as yum-yab.
Yab-yum is widely regarded as representing the primordial union of wisdom and compassion. The masculine form is active in Buddhism, representing the compassion and skillful means that must be developed in order to achieve enlightenment. The feminine form is passive and represents wisdom, both of which are required for enlightenment. The figures, when joined, represent the union required to remove the veils of Maya, the false duality of object and subject.
These figures are frequently worked into statues or reliefs, or they are painted on thangkas. Yab-yum can also be represented by the aniconic symbols yantra and mandala.
In Tibetan Buddhism
In Tibetan Buddhism, the same ideas are to be found concerning the bell and the dorje, which, like the yab-yum, symbolize the dualism that must be transcended. The sacred Tantric practice leads to rapid development of mind by using the experience of bliss, non-duality, and ecstasy while in communion with one's consort, either visualized, or in the case of advanced practitioners, in some cases physical. In one important Anuttarayoga text, where Tilopa expounds the meaning to Naropa, it is said:
When you rely on a consort, the wisdom of empty bliss will arise, so enter into union—the blessing of method and wisdom. Bring it down slowly, retain it, reverse it, and draw it back up. Bring it to the places in the body and let it spread throughout. When you remain free of desire, the wisdom of empty bliss will appear.
Indicating the advanced nature of the actual practice with consort, the verses are the last in what is already widely considered as a text for the most advanced practitioners, a fact clearly evident in the story about Naropa's receiving the teaching.
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Lost-Wax System
This Vajradhara 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 systemThe 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.
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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 |
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| 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. |
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| 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. |
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| 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 |
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| 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. |
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