Name: Statue of Vajrakilaya Dorje Phurba HerukaPhurba Full Fire Gold plated with Painted Face and Antique finishing – 20 × 14 cm | Copper by Dorje Phurba, Jingang Ju, Kongoko – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME12685
Price: 580.0 USD
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Statue of Vajrakilaya - Dorje Phurba - Heruka Phurba Full Fire Gold Plated with Painted Face and Antique Finishing , Fierce deity of transformation, destroying obstacles and negativity Dorje Phurba Jingang Ju Kongoko
Product Specification
Code	HME12685
Size	Height 20cm (8") Width 14cm (6") Depth 10cm (4")
Weight	1000 1 kg - 2.2 lbs
Material	Copper
Availability	Available

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This is a Statue of Vajrakillaya. This statue is handmade in Patan, Nepal by the skillful hands of Nepali Craftsman.

Features:
1.This statue has been plated with Gold by the ancient process of Fire Gold plated(Mixture of Mercury and Gold is applied on the statue, Which after is burnt so as mercury evaporated and the gold is plated on the statue. ) This type of gold plating is permanent as the real layer of Gold is plated on the statue.

Assembly
This Statue is detachable in three parts. Lotus Base, Body and the Background Fire.

finishing
Full Gold Plated with [Antique finishing]

Vajrakilaya

Vajrakila is a powerful personification of the diamond-tipped peg [Skt. Kila] symbolizing the power of 'one-pointed concentration [Skt. Ekagrapha] which transfixes negative energies that obscure spiritual truth & awakening. Concerted mindfulness on the interdependence & ultimate unity of all principles [Skt. Dharmas], which govern the inner & outer worlds. By subduing delusions & negativities that arise as obstacles during spiritual awakening [dharma practice] he purifies spiritual journeys which lead to enlightenment. Read More

Iconography

The image of Vajrakila is usually the first introduction to a wrathful tantric deity. Importantly the 'wrath' is always deemed to be benevolent. The principle is that by concentrating on activities such as drinking a cup of coffee or meeting somebody we can direct personal energy by consciously applying our thoughts or feelings so affecting the way we are & condition the place we temporally occupy. The effect of concentration is that we begin to channel our energy toward something which is considered the prime tool of transformation. The principle here is that through reflection we can generate conditions, circumstances & energy around us through determined concentration. The usual three phases of reflection are concentration, meditation & contemplation considered absolutely vital to both Buddhists & Hindus. However simple the idea of applied concentration maybe the symbolism of Vajrakila is highly complex as are all wrathful manifestations.

He is a wrathful yidam deity presented in yab-yum embracing his consort Diptachakra. Vajrakila is painted dark blue with four legs, six arms, three faces. His two principal hands clasp a VajrakilayaKila. The Sanskrit word Vajrakila [Tib. Vajrakilaya] is a composite of the words Vajra here meaning diamond & Kila [Tib. Phurpa] meaning peg or short stake. The blade of the peg is a blue three-sided diamond crystal which symbolically used to free humans from the Principle Three Negative Energies [greed, hatred & delusion] by binding & then transmuting each into the three wisdom energies of love, compassion & understanding. The diamond represents incorruptibility & strength over another form. The Kila is a symbolic spiritual object rather than a weapon. The pommel of the Kila is a five-pronged vajra with each prong representing one of the five Transcendent Buddhas & the energy of lightning. Wooden Kila is favoured by shamans for healing & energetic work are often carved with the three faces of Vajrakila being one joyful, one peaceful & one wrathful. The Tibetan word for Vajra is Dorje.

Vajrakila's two top left hands both hold Vajra sceptres. The upper nine pronged [often open pronged] sceptre signifies his wrathful aspect, the smaller lower sceptre his peaceful nature. Vajrakila's top right hand is in threatening Tarjani hand gesture [Skt. mudra] with the index finger raised releasing a blaze of wisdom fire. His middle right-hand brandishes a trident [Skt. trisula] with three severed & impaled heads in deteriorating stages of decay. [The top having become a skull]. The blue head represents hatred, the redhead greed & the white skull the overriding cause of human suffering, delusion. His middle right-hand brandishes a small khartvanga trident. The staff is traditionally made of red sandalwood. The flame issuing from the middle prong [wisdom fire] symbolises the transmutation of the three principal causes of suffering into enlightened awareness. The white silk scarf depicts a funeral shroud that represents victory over the power of suffering death. He has two outstretched Garuda wings which represent his supremacy over the primordial underlying energy of the earth and her water. This subterranean energy is represented by naga serpents which the Garuda is held to have authority over. His association with primordial energy is also depicted in his horse neck, face whiskers, symbolic mane & similarity to Garuda-winged deity Hayagriva.

Diptachakra cusps a skullcap [Skt. kapala] with her left arm held upwards offering the uterine blood & entrails to Vajrakila. Together they represent the power of regeneration & renewal. She stands with her right leg extended & her left leg wrapped around Vajrakila's waist. She wears the five bone ornaments, a necklace of fifty dry skulls, and a leopard-skin dhoti [loincloth]. The skull necklace [Skt. Kapalamala] represents the female principle of emptiness & the ultimate emptiness of all phenomena. Unlike severed heads, skulls are strung with human hair. Her right arm is around Vajrakila's neck & her association with the blue lotus [Skt. Utpala] is found on Vajrakila's headpiece where there are three blue flowers. Vajrakila is draped with two flayed skins represent his power over the two sources of cyclical existence. The human skin represents his power over greed and the elephant skin his power over delusion. His consort wears the tiger skin representing her power over the third of the three original causes of suffering being hatred.

The necklace of severed heads [Skt. mundamala] strung with intestines is the male principle representing the physical world of form. The intestines [Skt. antra] represent the transitory & illusory nature of phenomena. Foodstuffs in the intestines are transformed into excrement and although nutrition is gained the iconography here alludes to the understanding of transition. The Yab-yum deities trample the bodies of Rudra & his consort Khrodhishvari, who lie prone upon a sun disc. His three faces painted white, blue & red symbolise Vajrakila's destruction of the Three Primary Poisons [greed, hatred & delusion]. His twisted earrings, bracelets anklets are rendered from serpents [Skt. nagas] & with the green stoles symbolise them. The wooden horseshoe object around his neck is a sorcerer's gong [Skt. Ghandi] made of white sandalwood & traditionally supported on the shoulder. The sound of this magical gong is reputed to terrify the Maras. The blue-flowered pattern between the end gold bosses symbolise gateways that conceal all the Vedic Gods & the Asuras with the power & energy which Vajrakila wields.

Commentary

Vajrakila's form represents the pinning down of the manifestation of all phenomena & the stabilisation of Mount Meru which embodies the principles of Dharma. Padmasambhavapracticed Vajrakilaya.

Gold Painted Face

The face of Vajrakilaya is painted with gold to enhance its significant features, particularly the eyes, and lips. This detailed painting is essential as it brings forth the crucial attributes of the expression of eyes and lips that metal carving alone cannot capture.
Moreover, the painted face serves as a symbolic and sacred ritual in Buddhism, preparing the statue for consecration and practice. The act of painting the face with gold in Buddhism holds deep meaning. It represents the intention to bring life and expression to the statue, imbuing it with a sense of vitality and presence. The application of gold on the face showcases the devotion and craftsmanship of the artisans, ensuring that every detail is carefully attended to honor the sacred essence of the Vajrakilaya. Read More

Full Gold Gilded with Antique Patina.

The Vajrakilaya has full gold plated antique finishing. This finishing is a combination of fire mercury gold plating and antique finishing. This traditional technique involves the application of a genuine layer of gold onto the Vajrakilaya using the time-honored process of mercury gold plating. Skilled artisans meticulously handle the amalgamation of gold with mercury, ensuring precise application and a truly authentic result. To enhance its charm further, the Vajrakilaya undergoes an antique finishing process. This meticulous treatment adds a touch of age and character to the gold plating, creating a sense of antiquity. Through careful craftsmanship and the application of specialized techniques, the Vajrakilaya acquires a beautifully aged appearance that adds depth and uniqueness to its overall aesthetic.

The fire mercury gold plating with antique finishing showcases the artisan's dedication to preserving traditional techniques and capturing the essence of timeless elegance. The combination of gold plating and antique finishing lends the Vajrakilaya an exquisite and enchanting allure, making it a cherished piece that stands out with its enduring beauty.

Detailed Description of Mercury Gilding - Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.

When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface by means of quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.

The amalgam being equally spread over the prepared surface of the metal, the mercury is then sublimed by a heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.

It is then covered with gilding wax, and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.

By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.

This method of gilding metallic objects was formerly widespread, but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders, since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous.

Fire Gold Plating In Nepal

Lost-Wax System

This Vajrakilaya 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.