Bagh Bhairav statue Waiting for Patina Finishing, Big Statue, 90 by 50 cm, made by Copper, Statue Large, Protectors

Date Added : 2018-09-03 13:26:35 (796)Views


Bagh Bhairav Statue Waiting For Patina Finishing, Big Statue
Code	HME15667
Size	Height 90cm (35") Width 50cm (20") Depth 29cm (11") 90 x 50 x 29
Weight	30000 30 kg - 66.14 lbs
Material	Copper
Availability	Available

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PCS

US$ 3,750.00

$ 5,000.00 -25% off

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weight of 1 Pcs of the product is 32 kg and will cost USD $ 304
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Item location: kathmandu, Nepal
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Loss Wax System
This is the Nepali handmade statue, Made by the process of los wax system with the skillful hands of Nepali crafts man from Patan a famous city inside Kathmandu valley popular for metal crafts.

Finishing
The statue has not gone through any finishing hence you can buy the statue as it is or change the patina of the statue from the finishing options provided above.

Bagh Bhairav
One of the most popular temples in Nepal dedicated to this god is the Baghrab Temple. Located in the town of Kirtipur, this temple is regarded as the guardian of the locals. This temple is dedicated to the god Bhairab, which is regarded as the guardian of the Kirtipur. The locals call him Ajudeu. The rituals related to this god are performed by the Munsi Newars. Read More

The three-storyed temple of Baghrab, which dates back to the 16th century, is situated in a brick-paved courtyard with rest houses nearby. Its roof is made of tiles and the other two are covered with copper. The carved deities of various Hindu gods and goddesses are placed on wooden posts that support its roof.

There are eighteen minarets: the first, six in the middle, and eleven at the top. Under the eaves of the first ceiling is a very old but faded mural depicting the story of Ramayan. Various performances of Maha Bharat and the mighty goddess Durga. These paintings are red murals on a white plaster background. On the right side of the main entrance of the temple is Hifa Dyo. The blood god is allowed to directly sacrifice to Bagh Bhairab. All animal sacrifices here are sacrificed to this god, just like the stone statue Kumari. , The second gate placed on the left side of Chandeswori in Banepah and Chhetrapal, this is the beginning of the last series of steps leading to the Khadga Jogini Temple in Sankhu.

There are two torans on Hifa Dyo. They carry very fine tailoring of Asta-Matriks, Asta-Bhairabs and other gods. On the west wall of the temple, there is a hollow space considered by the locals to be Nasa Dyo, the god of music and dance. Bagh Bhairab made of clay is enshrined in the left hand corner of the temple. The three-eyed colored glaze tiger god has no tongue and teeth, and the whole body is covered with silver and copper plates, with numerous decorations. As mentioned in the stone carvings, this god is called Bagheswor (Tiger God), Bhimsen Bhattarak (Bhimsen, Ruling God), Gudei Sthanadhipati (Tiger Shape Lord) and Ajudyo (Ancestral God).

The locals believe that this god is the embodiment of prudence, knowledge, productivity and resistance to all evil forces. Therefore, auspicious ceremonies such as Kirtipur's wedding, Bratabandha (initiation ceremony for adolescent boys), Pasni (feeding rice) and other ceremonial performances can only be carried out after the ritual worship of this god.

Natural Finish
The Bagh Bhairav 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 Bagh Bhairav 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.