Name: Statue of Black Mahakala Full Fire Gold Plated, and Antique finishing – 33 × 24 cm | Copper by Gonpo Nagpo, Da Hei Tian, Daikokuten – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME16080
Price: 900.0 USD
Availability: InStock

Please wait...

Statue of Black Mahakala Full Fire Gold Plated, and Antique Finishing , Fierce protector, destroys obstacles, guards the Dharma Gonpo Nagpo Da Hei Tian Daikokuten
Product Specification
Code	HME16080
Size	Height 33cm (13") Width 24cm (9") Depth 12cm (5")
Weight	3000 3 kg - 6.61 lbs
Material	Copper
Availability	Available

Order configuration (Optional)

Filling & Blessing

HIDE

Select Option

Click Here to View All Option and Prices

$69 Filling and Blessing

Select

$63 Filling Only

Select

$14 Blessing Only

Select

$85 Monastary of Choice

Select

Statue Finishing

HIDE

Select Option

Click Here to View All Option and Prices

$84 Partly Gold Plated

Select

$100 Partly Gold Plated with extra gold

Select

$163 HQ, Partly Gold Plated

Select

$84 Electro gold Plated

Select

$107 Electro Gold with painted Face

Select

$107 Electro Gold with Antique finish

Select

$123 Electro Gold Plated with Painted face an

Select

$203 Full Gold with face paint

Select

$187 Full Fire Gold Plated

Select

$282 HQ, Full Fire Gold with face paint

Select

$203 Full Fire Gold Anique Finishing

Select

$290 HQ, Full Fire Gold With Matt Finishing

Select

$305 HQ, Full Fire Gold with Antique Finihsin

Select

$337 HQ Full Gold with Gold Painted Skin

Select

$84 Colors only Basic

Select

$203 Color and Gold Good

Select

$282 Good Quality Color and gold Good Quality

Select

$203 Color Gold and Sivler

Select

$282 HQ, Color and Stond Setting

Select

$401 HQ Gold Empahised Color support

Select

$638 HQ, Cremamic wasable Color, with Gold

Select

$28 Chocolate Oxidized

Select

$28 Dark Chocolate oxidized

Select

$44 Chocolate oxidized with Silver plating

Select

$36 Double Color Oxidation

Select

$36 Chocolate Oxidized with Painted Face

Select

$36 Silver Plated Oxidized

Select

$44 Extra Silver Plated Oxidized with Painte

Select

$52 Silver Plated Double Color Oxidized wit

Select

$100 Silver Plated, Gold ornament, with Doub

Select

$100 Silver Skin and Gold ornaments Plated D

Select

$28 Antique With red Powder

Select

$52 Antique finishing with face paint

Select

$100 Green antique finishing

Select

$147 Painted Antique Finishing

Select

$123 Super Antique

Select

$12 Glossy Finished

Select

$28 Copper Plated

Select

$68 Stone Setting

Select

$76 Stone Setting & Antique Finishing

Select

Quantity	(Minimum Order Quantity: 1) PCS	US$ 680.00 $ 900.00 -25% off Shipping Cost
Price Adjustment [ Discount Ends in : 40 days ]

5 Seconds

Add To Order Quick Inquiry

Shipping Calculation

weight of 1 Pcs of the product is 3 kg and will cost USD $ 58.00

Select
Shipping Mode Shipping Mode
Item location: kathmandu, Nepal
Worldwide shipping

Dispatch

We normally dispatch the product in 2-5 business days. Else Buyer will be infromed personally about the dispatch Date.

Payment

Paypal | Credit - Debit Card | Bank Transfer | See More

Return

7 days money back, buyer pays return shipping

Welcome to Handmade Handicraft

At Handmade Handicraft, we prioritize simplicity, reflected in our user-friendly website design. We have streamlined the process so everything you need is just a click away.

While our website does not support online shopping, we've incorporated a convenient shopping cart system to assist you in sending us your inquiries. Please note, we do not process payments on our site. All transactions will be handled via email, respecting the inquiries you submit.

Should you encounter any issues while submitting your inquiries, please contact us via mobile app, email, or follow the procedure outlined below. We've provided documentation to guide you through the selection process.

selecting Procedure

In every product you will find Order Now and Quick Inquiry buttons, they are the two process of sending us your enquiry.

If you have any questions or need assistance, please don't hesitate to reach out to us. We are here to help you with your inquiries and ensure a smooth experience.

For Business ordering standard quantity

This website has been designed to incorporate retail and wholesale pricing in one place. You can increase or decrease the quantity based on which you will be provided with suitable prices instantly.

For Business ordering Bluk quantity [Above 100 pcs]

This is not a direct shopping website. So no payments are needed for placing an order. Please feel free to send us an order for the product you are interested in, mentioning the approximate quantity. Based on which we will send you a wholesale price quotation.

Mahakala Black

Black Mahakala is a prominent deity in Tibetan Buddhism, known for his fierce and wrathful form. Also called Bernakchen, he is revered as a protector and remover of obstacles. Black Mahakala is often depicted with a dark blue or black complexion, standing on a corpse, and wearing a crown of five skulls. He holds a trident, a skullcup, and a curved knife, symbolizing his power to destroy ignorance and negativity. Devotees believe that practicing Black Mahakala can help overcome obstacles, dispel negative energies, and cultivate inner strength and wisdom. Read More

Iconography:
Black Mahakala is typically depicted with a fierce expression, dark blue or black, symbolizing his wrathful nature. He stands on a corpse, representing his triumph over death and impermanence. He has four arms, each holding a symbolic object. His main right hand wields a trident, representing his power over the three poisons of ignorance, attachment, and aversion. In his main left hand, he holds a skull cup filled with blood, symbolizing the transmutation of negative emotions. His remaining two hands hold a curved knife, representing the severance of ignorance, and a lasso, symbolizing the binding of negative forces.

History:
The origin of Black Mahakala can be traced back to ancient Indian Buddhism. In Tibet, he is considered to be an emanation of the Bodhisattva Avalokiteshvara, who embodies compassion. Black Mahakala became particularly popular during the time of the great Indian teacher Padmasambhava, who introduced tantric Buddhism to Tibet. Over the centuries, he gained significance as a protector deity in the Tibetan Buddhist tradition, and his practice spread widely throughout the region.

Temples:
Black Mahakala is widely revered in Nepal, and there are several temples dedicated to him. One notable temple is the Mahakala Temple in Patan, Nepal. Situated in the Patan Durbar Square, it is a sacred place where devotees gather to offer prayers and perform rituals to Black Mahakala. Another important temple is the Mahakala Temple in Kathmandu, located near the popular pilgrimage site of Swayambhunath Stupa. Both of these temples are significant pilgrimage sites for followers of Tibetan Buddhism.

Benefits of Practicing Black Mahakala:
The practice of Black Mahakala offers numerous benefits to practitioners. By connecting with this deity, individuals can overcome obstacles, both external and internal. Black Mahakala's wrathful form represents the transformative power to annihilate ignorance and destructive forces within oneself. Through devotion and practice, one can cultivate courage, inner strength, and wisdom. Additionally, practicing Black Mahakala is believed to purify negative karma, protect against harm, and promote spiritual growth on the path to enlightenment.

How to Practice:
The practice of Black Mahakala involves various aspects, including visualization, mantra recitation, and ritual offerings. Devotees often begin by visualizing Black Mahakala in front of them, vividly imagining his fierce form and the surrounding environment. Mantra recitation is an integral part of the practice, with the primary mantra being "OM BENZA MAHAKALA HUM PHAT," chanted repeatedly. Ritual offerings such as incense, flowers, and food can be made to Black Mahakala, expressing devotion and generating positive merit. Engaging in this practice regularly with sincerity and dedication deepens the connection with the deity.

Mantras of Black Mahakala:
The primary mantra associated with Black Mahakala is "OM BENZA MAHAKALA HUM PHAT." This mantra is recited to invoke the blessings and protection of the Black Mahakala. By chanting this mantra, devotees seek the removal of obstacles, the dispelling of negativity, and the cultivation of inner strength and wisdom. Along with the main mantra, there are other mantras and prayers specific to Black Mahakala's practice that can be found in Tibetan Buddhist texts and teachings. These mantras are considered potent tools for connecting with the deity and cultivating a deeper spiritual relationship.

The Five Skull Crown	He is adorned with the following symbolic attributes: 1). A crown of five skulls: This is worn by all manifestations of Mahakala and represents the transmutation of the five negative afflictions of human nature into positive virtues. Thus: a). Ignorance transforms into the wisdom of reality. b). Pride becomes the wisdom of sameness. c). Attachment becomes the wisdom of discernment. d). Jealousy becomes the wisdom of accomplishment. e). Anger becomes mirror like wisdom.
	2). The Six Arms signify the successful completion of the six perfections (shad-paramita), which are practiced and brought to perfection by bodhisattvas during the course of their training. These are: a). The perfection of generosity (dana-paramita) b). Morality (shila-paramita) c). Peace (shanti-paramita) d). Vigor (virya-paramita) e). Meditation (dhyana-paramita) f). Insightful Wisdom (prajna-paramita)
The Skull Cup and Chopper	3). The arms hold various implements each of which has a symbolic significance: a). The first right hand holds a curved knife. In Mahakala's symbolism the curved knife cuts through the life veins of enemies such as oath-breakers and hindering spirits. b). The skull cup in his primary left hand is filled with the heart-blood of these enemies. The crescent shaped chopper of the right hand corresponds in shape to the cavity of the skull cup and functions to make 'mincemeat' of the hearts, intestines, lungs, and life-veins of enemies hostile to the Dharma, which are then collected in the skull cup. A similar crescent shaped hand cleaver is used in oriental cuisine to chop meat and dice vegetables.
Ritual Damaru	The next right hand holds a damaru - the hourglass-shaped drum, signifying the primordial sound from which is said to have originated all manifested existence. Its rattle is also said to emanate the sound that arouses us from our ignorant state, coaxing us on to the path of Dharma.
The Rosasry of Skulls	d). The uppermost right hand holds a rosary of skulls. The continuous counting of the rosary is a symbol of perpetual activity, which Mahakala achieves on a cosmic scale.
The Trident	e). Another left hand holds a trident which represents the Three Jewels of Buddhism, the Buddha, the Dharma, and the Sangha.
The Lasso	f). Finally there is the noose for lassoing those of us who have strayed away from the path of the Dharma.
One Elephant Under Mahakala's Feet	The Six-armed Mahakala's left leg is outstretched while the right is bent at the knee. The former symbolizes his accomplishments for the benefit of others and the latter those for himself. An elephant-headed entity lying crushed under his legs represents our instinctive, primary animal force and urge, which when unleashed can prove to be extremely destructive. These cravings however, can also be extremely useful to our self-development and -realization when we master them and bring them under our moderation. Indeed, it is warned that dreaming about a herd of elephants is a sign that instinctive and irrepressible forces that may have been suppressed for too long are about to be unleashed.
The Three Wide Open Eyes	The sun-disc on which Mahakala stands denotes his illumination of the darkness of ignorance, and the lotus on which this disc rests signifies his undefiled purity. The blazing fire surrounding him demonstrates his powerful energy out to consume all neurotic states of minds. Further, his three organs of vision express his ability to see the past, present and future. That he stares at the world with wide eyes signifies that he is incensed at the current state of affairs. Snakes slither across his body as ornaments and also as the scared thread of Brahmins. The writhing serpent is a metaphor for the stirring of our psychic instinctive and primordial energy and Mahakala's wearing them as adornments expresses the fact that rather than impede our spiritual progress, such emotions have been tamed and harnessed, becoming in the process, crowning glories of our spiritual achievements.

Full Gold Gilded with Antique Patina.

The Mahakala Black 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 Mahakala Black 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 Mahakala Black 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 Mahakala Black 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 Mahakala Black 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 Mahakala Black 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.