Copper Statue of Marici or Marichi Oxidized, 27 by 17 cm, made by Copper, Buddhist Statue, Marici

Date Added : 2018-06-22 15:50:53 (604)Views


Copper Statue of Marici Or Marichi Oxidized
Code	HME15369
Size	Height 27cm (11") Width 17cm (7") Depth 10cm (4") 27 x 17 x 10
Weight	2312 2.31 kg - 5.1 lbs
Material	Copper
Availability	Available

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weight of 1 Pcs of the product is 2.5 kg and will cost USD $ 46.02

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Marici
Marici, in Mahayana and Vajrayana Buddhism, is a deva or bodhisattva associated with light and the sun. She is known as Molizhitian (摩利支天) or Molizhitian Pusa (摩利支天菩萨) in China, Marishi-ten (摩利支天) in Japan, and ozer Chenma (Wylie: od zer can ma) in Tibet. She is one of the 20 (or 24) Celestials (二十/二十四諸天). In Taoism and Chinese folk religion, Marici is known under the epithet Doumu (Chinese: 斗母元君; pinyin: Dǒumǔ Yuanjūn), a name sometimes used by Buddhists.
Marici is usually depicted in one of the following ways:
As a beautiful woman on an open lotus, the lotus itself sometimes perched on the back of seven sows.
As a ferocious wrathful deity perched on the back of a boar.
Riding a fiery chariot pulled by seven savage boars or sows.
As a multi-armed woman with a different weapon in each hand standing or sitting on the back of a boar.
She has been depicted with one, three, five or six faces and two, six, eight, ten or twelve arms; three eyes; in her many-faced manifestations one of her faces is that of a sow. Read More

Origin of Marichi
Marici in China is worshiped as both a Buddhist and Taoist deity. She is highly revered in Esoteric Buddhism. Most often, she is depicted with three eyes in each of her four faces; with four arms on each side of her body. Two of her hands are held together, and the other six hold a sun, moon, bell, golden seal, bow, and halberd. She is either standing/sitting on top of a lotus or pig, or on a Lotus on top of seven pigs. She is celebrated on the 9th day of the 9th lunar month.

Due to similar iconography, she is often confused with the Bodhisattva Cundī. Among Chinese Buddhists, she is worshiped as the goddess of light and as the guardian of all nations, whom she protects from the fury of war.
In Taoism, Doumu remains a popular deity and is often referred to as Queen of Heaven (Chinese: 天后; pinyin: Tiān Hòu) and is widely worshiped as the Goddess of Beidou (the Chinese equivalent of Ursa Major except that it also includes 2 "attendant" stars). She is also revered as the mother of the Nine Emperor Gods who are represented by the nine stars in the Beidou constellation. Legend has it that one spring day a queen went to bath in a pond. Upon entering she suddenly felt "moved" and nine lotus buds rose from the pond. Each of these lotus buds opened to reveal a star which then became the Beidou constellation.

She is worshiped today in Taoist temples like the White Cloud Temple and the Tou Mu Kung Temple which has both Taoist and Buddhist influences.


Marici	Marichi painted 1600-1699, Central Tibet. Ground mineral pigment on silk. "The Fifth Dalai Lama instructed Choying Dorje to go to Drak, a remote region south of Lhasa. There at Ngakdrak Monastery he produced some of his last works of art, a sculpture of Vajrapani and a drawing of the goddess Marichi	Marici with eight-arms & four faces riding on a boar - Hongfashan Temple, Hong Kong	Multi-armed Marici on one boar.

Doumu is chronicled in three scriptural Daozang texts, from which the above stories have been extracted. The three texts in Daoist Canon were compiled during the Song Yuan, according to the each entry’s preface in the Zhengtong daozang (Numbered according to Schipper, 1975). They are Dz 45: 'Yuqing wushang lingbao ziran bei dou ben sheng jing' 玉清無上靈寶自然北斗本生經, True and Unsurpassed Lingbao Scripture from the Yuqing Heaven on the Spontaneous Origin of the Northern Dipper; Dz 621: Taishang xuanling doumu da sheng yuanchun benming yansheng xinjing 太上玄靈斗姆大聖元君本命延生心經, Heart Scripture of Original Destiny and Extending Life of the Great Sagely Goddess Dipper Mother; and Dz 1452: Xiantian doumu qingao xuanke 先天斗姆秦告玄科, Mysterious Rite for Petitioning the Dipper Mother of Former Heavens.

About Chocolate Oxidized
This Marici 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 Marici. 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 Marici 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.