Name: Green Jambhala, Chocolate Oxidized, Partly Silver Plated – 19 × 15 cm | Copper by Norlha Sangpo, Lvcai Shen, Ryoku Bishamonten – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME10922
Price: 360.0 USD
Availability: InStock

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Green Jambhala, Chocolate Oxidized, Partly Silver Plated , Wealth Deity, Bestower of Prosperity and Abundance Norlha Sangpo Lvcai Shen Ryoku Bishamonten
Product Specification
Code	HME10922
Size	Height 19cm (7") Width 15cm (6") Depth 12cm (5")
Weight	2080 2.08 kg - 4.59 lbs
Material	Copper
Availability	Available

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 270.00 $ 360.00 -25% off Shipping Cost
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This is a triple color statue of Green Jambhala or Jambhala Shakti Made by the process of Loss wax system.

Green Jambhala

Jambhala (also known as Dzambhala, Dzambala, Zambala or Jambala) is the God of Wealth and appropriately a member of the Jewel Family (see Ratnasambhava). He is sometimes equated with the Hindu deity Kubera. Jambhala is also believed to be an emanation of Avalokitesvara or Chenrezig, the Bodhisattva of Compassion. There are five different wealth Jambhalas; each has his own practice and mantra to help eliminate poverty and create financial stability.
Gyalten Sogdzin Rinpoche said that Jambhala is the protector of all Lineages and of all sentient beings from all sickness and difficulties. Jambhala is a Bodhisattva of material and spiritual wealth as well as many other things, especially of granting financial stability.
”Because in this world, there are all kinds of wrathful and negative emotions or bad spirits, and sometimes they will harm you and other sentient beings, Dzambhala must take on such a wrathful and powerful form to protect us from these harmful spirits and negative karma. Especially, Dzambhala helps us minimize or decrease all misfortunes and obstacles and helps us increase all good fortune and happiness.” Read More

About the Green Jambala

White Jambhala (or Dzambhala Gapee in Tibetan) is the compassionate manifestation of the Bodhisattva Chenrezig (Guan Yin). He can remove the suffering of poverty and sickness, purify non-virtuous karma and karmic obstacles, avert disaster and sickness, and evolve bodhicitta mind.

The Tibetan legend said that a revered high lama, Atisha, was walking alone when he found a man starving and near death. After looking around and unable to find food for the old man, he cut flesh from his own body and offered it to the starving man. But the man refused to eat of his flesh. Being depressed and not knowing how else to help the man nearing death, Lama Atisha sat down next to him. At that point there was a blinding bright white light and before Atisha appeared Chenrezig of Compassion. He told Lama Atisha that he was going to manifest himself as the God of Wealth, Jambhala, and assure that those in poverty would suffer no longer.

As the manifestation of Avalokitesvara Bodhisattva, White Jambhala was born from his right eye. He sits on a snow lion, although some artists depict him sitting on a dragon, and a mongoose in his left hand spits out precious diamonds and ornaments. White Jambhala has white colored body. He also holding a Wealth Banner in his left arm and a gold sword in his right. The Mantra of White Jambhala is:

Om Padma Krodha Arya Jambhala Hridaya Hum Phat
When cultivating the "Dragon-ridding White Jambhala Practice", the practitioners can also pray that he will lead them to hidden treasures. In the olden days, Tibetan Tantric masters placed their precious teachings in caves. These teachings were sealed in the four elements of "earth, water, fire and wind". One needs to employ very special methods to retrieve these Dharma treasures. One must also know the location of the caves where these ancestry masters had practiced in seclusion. The practitioners may pray to the "Dragon-ridding White Jambhala" so that he will bring them to these caves where the treasures were hidde

Silver and Chocolate Oxidized

The Green Jambhala features a captivating combination of partly silver plating and dark oxidation. This unique finishing technique combines the lustrous shine of silver with the rich, deep tones achieved through oxidation. In the process of creating this finish, selected areas of the Green Jambhala are expertly silver-plated, creating a radiant and reflective surface that catches the light. The remaining areas are intentionally oxidized, resulting in a darkened patina that adds depth and character to the piece. Read More

Double-color Oxidized

The Green Jambhala 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 Green Jambhala 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 Green Jambhala 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.