Name: Buddhist Statue of Virupakkha Set, Chatur Maharaj, Chocolate Oxidized, Antique Finishing – 23 × 16 cm | Copper by Chatur Maharaj, – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME37051
Price: 2304.0 USD
Availability: InStock

Buddhist Statue Of Virupakkha Set, Chatur Maharaj, Chocolate Oxidized, Antique Finishing

Date Added : 2026-03-06 00:50:55 (75)Views

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Buddhist Statue of Virupakkha Set, Chatur Maharaj, Chocolate Oxidized, Antique Finishing , Four Heavenly Kings of Tibet, Guardians of the Direction and Dharma Chatur Maharaj
Product Specification
Code	HME37051
Size	Height 23cm (9") Width 16cm (6") Depth 13cm (5")
Weight	9410 9.41 kg - 20.75 lbs
Material	Copper
Availability	Available

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$56 Monastary of Choice

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Statue Finishing

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$41 Partly Gold Plated

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$49 Partly Gold Plated with extra gold

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$78 HQ, Partly Gold Plated

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$52 Electro Gold with painted Face

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$52 Electro Gold with Antique finish

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$60 Electro Gold Plated with Painted face an

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$97 Full Gold with face paint

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$89 Full Fire Gold Plated

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$133 HQ, Full Fire Gold with face paint

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$97 Full Fire Gold Anique Finishing

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$137 HQ, Full Fire Gold With Matt Finishing

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$144 HQ, Full Fire Gold with Antique Finihsin

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$159 HQ Full Gold with Gold Painted Skin

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$41 Colors only Basic

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$97 Color and Gold Good

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$133 Good Quality Color and gold Good Quality

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$97 Color Gold and Sivler

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$133 HQ, Color and Stond Setting

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$189 HQ Gold Empahised Color support

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$299 HQ, Cremamic wasable Color, with Gold

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$16 Chocolate Oxidized

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$16 Dark Chocolate oxidized

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$23 Chocolate oxidized with Silver plating

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$19 Double Color Oxidation

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$19 Chocolate Oxidized with Painted Face

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$27 Silver Plated Double Color Oxidized wit

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$49 Silver Plated, Gold ornament, with Doub

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$49 Silver Skin and Gold ornaments Plated D

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$16 Antique With red Powder

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$27 Antique finishing with face paint

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$49 Green antique finishing

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$71 Painted Antique Finishing

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$60 Super Antique

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$8 Glossy Finished

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$16 Copper Plated

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$34 Stone Setting

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$38 Stone Setting & Antique Finishing

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 1,840.00 $ 2,304.00 -20% off Shipping Cost
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weight of 1 Pcs of the product is 9.5 kg and will cost USD $ 133.00

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Four Heavenly Kings

The Four Heavenly Kings are four Buddhist gods, each of whom is believed to watch over one cardinal direction of the world. In Chinese mythology, they are known collectively as the "Fēng Tiáo Yǔ Shùn". In the ancient language Sanskrit, they are called the "Chaturmahārāja" (चतुर्महाराज) or "Chaturmahārājikādeva": "Four Great Heavenly Kings". The Hall of Four Heavenly Kings is a standard component of Chinese Buddhist temples. Read More

Dhatarattha
King of the east and god of music. His symbolic weapon is the pipa (stringed instrument). He is harmonious and compassionate and protects all beings. Uses his music to convert others to Buddhism. Associated with the color white.

Vessarana [Jambhala]
This is the chief of the four kings and protector of the north. He is the ruler of rain. His symbolic weapons are the umbrella or pagoda. Wearing heavy armor and carrying the umbrella in his right hand, he is often associated with the ancient Indian god of wealth, Kubera. Associated with the color yellow or green.

Virūlhaka
King of the south and one who causes good growth of roots. He is the ruler of the wind. His symbolic weapon is the sword which he carries in his right hand to protect the Dharma and the southern continent. Associated with the color blue.

Virūpakkha
King of the west and one who sees all. His symbolic weapon is a snake or red cord that is representative of a dragon. As the eye in the sky, he sees people who do not believe in Buddhism and converts them. His ancient name means "he who has broad objectives". Associated with the color red.

Antique Finishing

This is an antique patina-finished Four Heavenly Kings. This is not an antique statue. It is just an antique patina finish. This Four Heavenly Kings is a testament to the artisan's mastery of the art of aging. Its antique patina has been meticulously crafted to give the appearance of an aged statue, showcasing the artist's unique techniques and skills. Through undisclosed processes and careful aging treatments, the Four Heavenly Kings undergoes a transformation that captures the essence of time and history. Read More

About Chocolate Oxidized

This Four Heavenly Kings 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 Four Heavenly Kings. 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 Four Heavenly Kings 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.