Chakrasamvara Heruka Statue, Natural Finishing, 35 cm, made by Copper, Buddhist Statue, Chakrasamvara

Date Added : 2014-07-04 18:03:06 (4983)Views


Chakrasamvara - Heruka Statue, Natural Finishing
Code	HME10546
Size	Height 35cm (14") 35
Weight	4400 4.4 kg - 9.7 lbs
Material	Copper
Availability	Subject to Avilability

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US$ 800.00

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weight of 1 Pcs of the product is 4.5 kg and will cost USD $ 62.87

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Item location: kathmandu, Nepal
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Chakrasamvara
Chakrasamvara is a leading tantric deity who embodies great bliss [Skt. Mahasukha] realisable through a combination of wisdom and method. The idea of duality, the merging & union of two opposite forms or ideas originated thousands of years ago. Through a union of our self & the universe we become part of the Sambhogakaya realm within which great happiness which includes love, friendship, peace and joy. Chakra Sambhava is a tutelary deity seeking to guide people to great happiness. Read More

Iconography
Chakrasamvara is represented with a blue body, four faces and twelve arms in yib-yum union with his swisdom energy Vajravarahi {also known as Vajrayogini}. She holds a skullcap in her left hand behind his back and a vajra headed chopper in her right. The chakra referred to is the chakra of Supreme Bliss. Chakrasamvara is regarded as the most important meditational deity [Yidam] of Vajrayana Buddhism, & primary Yidam of the Kagyu tradition with its origin in the meditation of the eighty four Mahasiddhis of India.

He stands on a sun disc surrounded by a flaming aura of his own radiant wisdom. He wears a tiger skin loin cloth in the manner of an ascetic yogi and is adorned with both bone and jewelled ornaments and a garland of fifty freshly severed human heads. His forehead sports the third eye of wisdom and the expression on his face is a mixture of wrath and passion. Heruka embraces his red wisdom energy Vajravarahi who holds a curved knife in her right hand to cut off ego interferences and in her left behind Heruka's head she has a skull-cup symbolizing self regenerating blissful wisdom. Heruka's right leg stands on the back of the worldly deity wrathful Ishvara (also known as Bhairava), while his left leg tramples on the breast of Bhairava's consort Kalarati. this stance symbolizes the ability of Chakrasamvara to overcome the forces of ignorant hatred and desirous attachment respectively. In addition to the traditional vajra and bell, the skin of an elephant, a drum, dagger, curved knife and ant three pointed spear in his right hands, and the staff, skull-cup, noose and the head of a worldly deity in his left hands. The symbolism of these various attributes can be explained as follows (partial). The 4 faces stand for the 4 doors of liberation.

His twelve arms signify the purification of the twelve links of dependent arising explained in the Wheel of Life The vajra and bell symbolize the supreme unification of method and wisdom. The elephant skin illustrates the abandonment of ignorance. The hand drum enhances the blissful happiness experienced in the minds of all fully enlightened ones. The dagger and curved knife cut off the thre poisons as the hub of the Wheel of Becoming [Skt. Bhavachakra] and eliminate all extreme views, while the 3-pointed spear pierces through the delusions of the 3 realms of existence. The green orb around Chakrasaṃvara's head symbolizes the enlightened transformation of sensual desire through the union of bliss and emptiness.

Commentary
Chakrasamvara is sometimes called Heruka. The term Heruka is also be applied to all wrathful male deities of high-end tantra yoga. In Sanskrit Chakrasamvara means 'Born or arising from the Chakra'. The chakra refers to the wheel of life. Sometimes the deity is called 'Chakrasamvara' means "Binding the Chakra or controlling the Chakras. Chakrasamvara is a heruka which means a divine father energy & the two armed form of Chakrasamvara is often called Heruka. Hi is a principal meditational deity [Skt. Istha-devata especially of the Kagyu. The Chakrasamvara sadhana is in the mother class of the Anuttara Yoga Tantra. Their embrace symbolizes the union of wisdom and skillful means. They symbolize the sameness in the distinctions of relative truth and the non-distinctions of absolute truth. Chakrasaṃvara, the Wrathful Lord of the Wheel of Supreme Bliss, is one of the major meditational deities of the mother tantras.

Natural Finish
The Chakrasambara has no patina finishing over it. presenting a unique opportunity for personalization. As it is, the statue can be displayed in its raw form, showcasing its inherent beauty and craftsmanship. Alternatively, you have the option to further enhance the statue's appearance by applying various finishes such as gold plating, oxidation, or silver plating. Over time, if left untreated, the statue will naturally develop a patina. This is a gradual process where the surface undergoes subtle changes, resulting in a charming and distinct aged appearance. The patina adds character and depth to the statue, telling a story of its journey and the passage of time. Read More

Lost-Wax System
This Chakrasambara 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.