Name: Statue of Ushnisha Vijaya aka Namgyalma Gold Plated and Traditional Color Finishing – 38 × 28 cm | Copper by Namgyalma, Shengfo Mu, Shobutsu Mo – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME16262
Price: 700.0 USD
Availability: InStock

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Statue of Ushnisha Vijaya Aka. Namgyalma Gold Plated and Traditional Color Finishing , Goddess of victory, bringing healing, longevity, and triumph Namgyalma Shengfo Mu Shobutsu Mo
Product Specification
Code	HME16262
Size	Height 38cm (15") Width 28cm (11") Depth 15cm (6")
Weight	4750 4.75 kg - 10.47 lbs
Material	Copper
Availability	Available

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$111 Partly Gold Plated

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 530.00 $ 700.00 -25% off Shipping Cost
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Namgyalma

Namgyalma is a deity for long life and purification. Her mantra has infinite benefits. It is said to be so powerful that anybody who hears it will never again be born from the womb. Therefore, if animals hear it, they will never again be reborn in the lower realms. Read More

Full Description

There is a story from the time Guru Shakyamuni Buddha was on earth concerning a deva called Paripu Denpa. Due to karma, when devas start experiencing the signs of death, they spontaneously remember their previous lives and see their future lives; they perceive that they are about to be reborn in the lower realms and so forth. Since their realm has unbelievable enjoyments thousands of times better than those of the richest country on earth, when they realize that they are about to leave a life of such pleasure and be reborn where there is incredible suffering, their minds suffer greatly.

Thus, as he was dying, the deva Denpa saw that he was about to be reborn as six types of animal'dog, monkey and so forth. Very worried, he asked King Indra what to do. King Indra suggested that he see the Buddha, which he did. Buddha manifested as the deity Namgyalma and gave him the mantra. Denpa recited it six times daily and in seven days completely changed his karma so that he did not have to be reborn as those six types of animal. The Namgyalma mantra is unbelievably powerful for purification. I have translated its benefits and explained how to recite it for people who have cancer and other diseases.

The kind, compassionate Guru Shakyamuni Buddha taught the benefits of reciting the Namgyalma mantra to the Four Guardian Kings. Even if you are in danger of dying because the karma that determines your life-span is running out, if you wash your body, wear clean clothes and, abiding in the eight precepts, recite the Namgyalma mantra one thousand times, you can increase your life-span, purify your obscurations and free yourself from disease.

If you recite the Namgyalma mantra into the ear of an animal, you ensure that this is its last animal rebirth. If somebody suffering from a heavy disease that doctors cannot diagnose does the practice Lord Buddha taught to the deva Denpa, he or she will be liberated from that disease, bring to an end all future rebirths in the lower realms, and after death be reborn in a blissful pure land. For humans, the present life will be their last rebirth from the womb.

If you recite this mantra twenty-one times, blow upon mustard seeds and throw them onto the bones of even extremely evil beings who have created many heavy negative karmas, those beings will immediately be liberated from the lower realms and be reborn in a higher realm, such as that of a deva. Throwing seeds blessed by the Namgyalma mantra onto the bones or body of a dead being purifies that being's consciousness, and even though that being may have been reborn in hell or any other lower realm, that being can be reborn in a deva realm.

If you put this mantra in a stupa or on a banner inside your house or above the roof, whoever is touched by even the shadow of that stupa or banner will not be reborn in the lower realms. Also, any being touched by a breeze that has first touched a stupa, banner or statue containing this mantra is purified of the karma to be reborn in the lower realms. What need is there to mention, therefore, how great the purification experienced by those who recite this mantra or keep it on their body.

Namgyalma Matra Full

OM NAMO BHAGAVATE SARVA TRAILOKYA PRATIVISHISHTAYA BUDDHAYA TE NAMA TA YA THA OM BHRUM BHRUM BHRUM SHODHAYA SHODHAYA VISHODHAYA VISHODHAYA ASAMA SAMANTA AVABHA SPHARANA GATI GAGANA SVABHAVA VISHUDDHE ABHISHINTSANTU MAM SARVA TATHAGATA SUGATA VARA VACANA AMRITA ABHISHEKERA MAHAMUDRA MANTRA PADAIH AHARA AHARA MAMA AYUS SANDHARANI SHODHAYA SHODHAYA VISHODHAYA VISHODHAYA GAGANA SVABHAVA VISHUDDHE USNISHA VIJAYA PARISHUDDHE SAHASRA RASMI SANYTSODITE SARVA TATHAGATA AVALOKINI SAT PARAMITA PARIPURANI SARVA TATHAGATA MATE DASHA BHUMI PRATISHTHITE SARVA TATHAGATA HRIDAYA ADHISHTHANA ADHISHTHITE MUDRE MUDRE MAHA MUDRE VAJRA KAYA SAMHATANA PARISHUDDHE SARVA KARMA AVARANA VISHUDDHE PRATINI VARTAYA MAMA AYUR VISHUDDHE SARVA TATHAGATA SAMAYA ADHISHTHANA ADHISHTHITE OM MUNI MUNI MAHA MUNI VIMUNI VIMUNI MAHA VIMUNI MATI MATI MAHA MATI MAMATI SUMATI TATHATA BHUTAKOTI PARISHUDDHE VISPHUTA BUDDHI SHUDDHE HE HE JAYA JAYA VIJAYA VIJAYA SMARA SMARA SPHARA SPHARA SPHARAYA SPHARAYA SARVA BUDDHA ADHISHTHANA ADHISHTHITE SHUDDHE SHUDDHE BUDDHE BUDDHE VAJRE VAJRE MAHA VAJRE SUVAJRE VAJRA GARBHE JAYA GARBHE VIJAYA GARBHE VAJRA DZOLA GARBHE VAJRODBHAVE VAJRA SAMBHAVE VAJRE VAJRINI VAJRAM BHAVATU MAMA SHARIRAM SARVA SATTVANANYTSA KAYA PARISHUDDHIR BHAVATU ME SADA SARVA GATI PARISHUDDHISHTSA SARVA TATHAGATASHTSA MAM SAMASVASAYANTU BUDDHYA BUDDHYA SIDDHYA SIDDHYA BODHAYA BODHAYA VIBODHAYA VIBODHAYA MOTSAYA MOTSAYA VIMOTSAYA VIMOTSAYA SHODHAYA SHODHAYA VISHODHAYA VISHODHAYA SAMANTENA MOTSAYA MOTSAYA SAMANTA RASMI PARISHUDDHE SARVA TATHAGATA HRIDAYA ADHISHTHANA ADHISHTHITE MUDRE MUDRE MAHA MUDRE MAHAMUDRA MANTRA PADAIH SOHA

About Color Finishing

The Namgyalma is adorned with traditional colors, creating a captivating aesthetic through a combination of gold and various hues. This painting technique follows a time-honored process that aims to faithfully represent the Namgyalma in accordance with traditional color descriptions. In the context of Buddhist statues, this approach holds great significance. Each statue has its own primary color, and it is crucial to depict the statue in its authentic shade. Read More

Lost-Wax System

This Namgyalma 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.