Name: Statue of White Mahakala Copper Oxidized – 21 × 15 cm | Copper by Gonpo Karpo, Bai Da Hei Tian , Shiro Daikokuten – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME15031
Price: 170.0 USD
Availability: InStock

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Statue of White Mahakala Copper Oxidized , Peaceful protector, bestowing wealth and dispelling poverty Gonpo Karpo Bai Da Hei Tian Shiro Daikokuten
Product Specification
Code	HME15031
Size	Height 21cm (8") Width 15cm (6") Depth 11cm (4")
Weight	1384 1.38 kg - 3.05 lbs
Material	Copper
Availability	Available

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 130.00 $ 170.00 -25% off Shipping Cost
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This is Copper handmade statue made by the process of loss wax system in Nepal. this statue has been given and dark chocolate color antique finishing to prevent it from nature oxidation and make the statue feel aged.

White Mahakala

White Mahakala, also known as Tseringma or White Umbrella deity, is a significant figure in Tibetan Buddhism. This peaceful manifestation of Mahakala represents compassion, wisdom, and protection. White Mahakala is depicted with a serene expression, dressed in white garments and holding a white parasol, symbolizing protection from obstacles and negativity. Originating from ancient Indian Buddhism, White Mahakala has become particularly revered in the Nyingma and Sakya schools of Tibetan Buddhism. While specific temples solely dedicated to White Mahakala might not be widely known, various Buddhist monasteries and temples in Nepal and other regions have dedicated spaces or shrines for this deity. Practicing White Mahakala is believed to bring blessings of compassion, wisdom, and the ability to overcome obstacles. Visualization, mantra recitation, and cultivating virtues like generosity and loving-kindness are common practices associated with White Mahakala. Read More

Iconography:
White Mahakala is depicted with a serene expression, often seated on a lotus throne. He is adorned with white garments and holds a white parasol or umbrella, symbolizing protection from obstacles and negative influences. On his other hands, he may hold various symbolic objects such as a wish-fulfilling gem or a mongoose.

History:
White Mahakala originated in ancient Indian Buddhism and was subsequently incorporated into Tibetan Buddhist traditions. He is particularly associated with the Nyingma and Sakya schools of Tibetan Buddhism, where he is considered a guardian and protector of the teachings.

Temples and Monasteries:
While specific temples solely dedicated to White Mahakala might not be widely known, various Buddhist monasteries and temples in Nepal and other regions have dedicated spaces or shrines for this deity. These sacred places serve as centers for practitioners to gather, engage in rituals, and pay homage to White Mahakala. Examples of such temples and monasteries include Boudhanath Stupa, Swayambhunath Stupa, Kopan Monastery, and Shechen Monastery in Nepal. These revered sites attract pilgrims and devotees seeking blessings, guidance, and a deeper connection with White Mahakala. Within the serene and prayerful ambiance of these temples and monasteries, individuals can immerse themselves in the practice and devotion associated with White Mahakala.

Benefits of practicing White Mahakala:
Practicing White Mahakala is believed to bring blessings of compassion, wisdom, and protection from obstacles. Devotees seek his assistance in overcoming difficulties, increasing positive energy, and cultivating spiritual growth.

How to practice:
Practices related to White Mahakala typically involve visualization, mantra recitation, and meditation. Devotees may also engage in acts of generosity, ethical conduct, and the cultivation of loving-kindness and compassion towards all beings.

Mantras of White Mahakala:
The primary mantra associated with White Mahakala is "OM TARE TUTTARE TURE MAMA AYU PUNYE JNANA PUSHTIM KURU SVAHA." Chanting this mantra is believed to invoke the blessings and protection of White Mahakala. Additional mantras and prayers specific to particular lineages or practices may also be used.

The Chintamani Jewel in White Mahakala's Hand	This is the wealth aspect of Mahakala which specifically supports the comfort and economic well-being of tantric practitioners. The following description is according to his sadhana: "His body is white. His face is wrathful and he has three eyes. He has six arms. His main right hand holds a wish- fulfilling jewel (chintamani) mounted on a jewel-tipped handle, in front of his chest."
White Mahakala's Bowl of Jewels	The White Mahakala is known as mGon po yid bzhin nor bu in Tibetan with the last four meaning 'Wish-Granting Gem,' and he is the special protector of Mongolian Buddhists. His iconography is rich in symbols delineating his 'wealth-deity' status. For example his skull bowl, rather than contain the mortal remains of his victims, is full of various jewels,
White Mahakala's Crown of Jewels	and his crown is made up of five jewels instead of the trademark five skulls.
The Elephant Goad	The other notable departure from the normal Mahakala iconography is the elephant goad held in the center left hand, the sharp point of which symbolizes penetrating awareness.
Two Elephants Under His Feet	Also, in contrast to other Mahakalas, he stands on two elephants rather than one.
White Mahakala in Tribhanga Central Tibet 7th century	The elephant skin stretched at the back refers to the deity having torn asunder the pachyderm of ignorance. Another interesting aspect of White Mahakala is that he is occasionally shown in the tribhanga posture. In this typical stance of the body, the head, torso, and legs slant in contrary directions. The legs and hips jutt to the right, the trunk to the left, and the neck and head then again gently to the right. It is a lyrical, dreamy, very graceful pose. The three curves formed by the body symbolize the three worlds, upper, lower and middle, better known in Sanskrit as triloka. This is also popularly known as the posture of three bends. White Mahakala is popular for both mundane as well as spiritual reasons, ranging from the basic desire for wealth and prosperity to the ultimate attainment of the precious jewel, which is none other than the Buddhist Dharma.

About Chocolate Oxidized

This White Mahakala has been meticulously treated with a chocolate color antique patina. The intention behind this patina is to replicate the appearance of a copper statue that has gracefully aged over a century. Unlike a simple coat of paint, this patina is not applied superficially and is designed to endure. It undergoes an artificial oxidation process that adds depth and character, while also serving as a protective layer against natural oxidation.
By imitating the natural aging process, the chocolate color antique patina lends an air of authenticity and vintage charm to the White Mahakala. This carefully crafted finish ensures that the patina remains intact for an extended period, offering longevity and resistance to wear. The result is a unique piece that captures the essence of a time-worn copper statue, evoking a sense of history and artistic heritage.

Lost-Wax System

This White Mahakala 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.