Name: KARMAPA, Buddhist Handmade Statue, Silver and Chocolate Oxidized, Face Painted – 20 × 17 cm | Copper by Karmapa Chenno, Jiamaba, Karumapa – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME36769
Price: 1008.0 USD
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KARMAPA, Buddhist Handmade Statue, Silver and Chocolate Oxidized, Face Painted , Head of the Karma Kagyu Lineage, Embodiment of Compassion in Action Karmapa Chenno Jiamaba Karumapa
Product Specification
Code	HME36769
Size	Height 20cm (8") Width 17cm (7") Depth 15cm (6")
Weight	1700 1.7 kg - 3.75 lbs
Material	Copper
Availability	Available

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Karmapa

The Karmapa (honorific title His Holiness the Gyalwa (རྒྱལ་བ་, Victorious One) Karmapa, more formally as Gyalwang (རྒྱལ་དབང་ཀརྨ་པ་, King of Victorious Ones) Karmapa, and informally as the Karmapa Lama) is the head of the Karma Kagyu, the largest sub-school of the Kagyu (བཀའ་བརྒྱུད, Wylie: bka' brgyud), itself one of the four major schools of Tibetan Buddhism.
The historical seat of the Karmapas is Tsurphu Monastery in the Tolung valley of Tibet. The Karmapa's principal seat in exile is the Dharma Chakra Centre at Rumtek Monastery in Sikkim, India. His regional monastic seats are Karma Triyana Dharmachakra in New York and Dhagpo Kagyu Ling in Dordogne, France.
Due to a controversy within the Karma Kagyu school over the recognition process, the identity of the current 17th Karmapa is disputed by some. Read More

Origin of the lineage

Dusum Khyenpa, 1st Karmapa Lama (Wylie: Dus gsum Mkhyen pa, 1110-1193), was a disciple of the Tibetan master Gampopa. A talented child who studied Buddhism with his father from an early age and who sought out great teachers in his twenties and thirties, he is said to have attained enlightenment at the age of fifty while practicing dream yoga. He was henceforth regarded by the contemporary highly respected masters Shakya Śri and Lama Shang as the Karmapa, a manifestation of Avalokiteśvara, whose coming was predicted in the Samadhiraja Sutra and the Laṅkāvatāra Sūtra.

The source of the oral lineage, traditionally traced back to the Buddha Vajradhara, was transmitted to the Indian master of mahamudra and tantra called Tilopa (989-1069), through Naropa (1016-1100) to Marpa Lotsawa and Milarepa. These forefathers of the Kagyu (Bka' brGyud) lineage are collectively called the "Golden Rosary".

Karma Pakshi, 2nd Karmapa Lama (1204-1283), is often said to be the first person ever recognized and empowered as a tulku (Wylie: sprul sku), a reincarnated lama (bla ma)

Black Crown

The Karmapas are the holders of the Black Crown (Wylie: Zhwa-nag) and are thus sometimes known as "the Black Hat Lamas". This crown (Wylie: rang 'byung cod pan "self-arisen crown"), is traditionally said to have been woven by the dakinis from their hair and given to the Karmapa in recognition of his spiritual realization. The physical crown displayed by the Karmapas was offered to Deshin Shekpa, 5th Karmapa Lama by the Yongle Emperor of China as a material representation of the spiritual one.

The crown was last known to be located at Rumtek Monastery in Sikkim, the last home of the 16th Karmapa, although that location has been subject to some upheaval since 1993 causing some to worry as to whether or not it is still there. An inventory of items remaining at Rumtek is purported to be something the Indian government is going to undertake in the near future.

List of Karmapas

Dusum Khyenpa (དུས་གསུམ་མཁྱེན་པ་) (1110-1193)
Karma Pakshi (ཀརྨ་པཀྵི་) (1204-1283)
Rangjung Dorje (རང་འབྱུང་རྡོ་རྗེ་) (1284-1339)
Rolpe Dorje (རོལ་པའི་རྡོ་རྗེ་) (1340-1383)
Deshin Shekpa (དེ་བཞིན་གཤེགས་པ་)(1384-1415)
Thongwa Donden (མཐོང་བ་དོན་ལྡན་) (1416-1453)
Chodrak Gyatso (ཆོས་གྲགས་རྒྱ་མཚོ་) (1454-1506)
Mikyo Dorje (མི་བསྐྱོད་རྡོ་རྗེ་) (1507-1554)
Wangchuk Dorje (དབང་ཕྱུག་རྡོ་རྗེ་) (1556-1603)
Choying Dorje (ཆོས་དབྱིངས་རྡོ་རྗེ་) (1604-1674)
Yeshe Dorje (ཡེ་ཤེས་རྡོ་རྗེ་) (1676-1702)
Changchub Dorje (བྱང་ཆུབ་རྡོ་རྗེ་) (1703-1732)
Dudul Dorje (བདུད་འདུལ་རྡོ་རྗེ་) (1733-1797)
Thekchok Dorje (ཐེག་མཆོག་རྡོ་རྗེ་) (1798-1868)
Khakyab Dorje (མཁའ་ཁྱབ་རྡོ་རྗེ་) (1871-1922)
Rangjung Rigpe Dorje (རང་འབྱུང་རིག་པའི་རྡོ་རྗེ་) (1924-1981)
Ogyen Trinley Dorje (ཨོ་རྒྱན་འཕྲིན་ལས་རྡོ་རྗེ།) (b. 1985) or Trinley Thaye Dorje (ཕྲིན་ལས་མཐའ་ཡས་རྡོ་རྗེ།)(b. 1983),

Gold Painted Face

The face of Karmapa is painted with gold to enhance its significant features, particularly the eyes, and lips. This detailed painting is essential as it brings forth the crucial attributes of the expression of eyes and lips that metal carving alone cannot capture.
Moreover, the painted face serves as a symbolic and sacred ritual in Buddhism, preparing the statue for consecration and practice. The act of painting the face with gold in Buddhism holds deep meaning. It represents the intention to bring life and expression to the statue, imbuing it with a sense of vitality and presence. The application of gold on the face showcases the devotion and craftsmanship of the artisans, ensuring that every detail is carefully attended to honor the sacred essence of the Karmapa. Read More

Silver and Chocolate Oxidized

The Karmapa features a captivating combination of partly silver plating and dark oxidation. This unique finishing technique combines the lustrous shine of silver with the rich, deep tones achieved through oxidation. In the process of creating this finish, selected areas of the Karmapa are expertly silver-plated, creating a radiant and reflective surface that catches the light. The remaining areas are intentionally oxidized, resulting in a darkened patina that adds depth and character to the piece. Read More

Lost-Wax System

This Karmapa 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.