Maya Devi, 20 cm, made by Copper, Buddhist Statue, Maya Devi

Date Added : 2010-08-22 07:09:25 (3033)Views


Maya Devi
Code	HME4755
Size	Height 20cm (8") 20
Weight	800 800 gm - 1.76 lbs
Material	Copper
Availability	Subject to Avilability

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US$ 90.00

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weight of 1 Pcs of the product is 1 kg and will cost USD $ 32.21

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Item location: kathmandu, Nepal
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Maya Devi
Queen Maya of Sakya (Mayadevi) was the birth mother of the historical Gautama Buddha, Siddhartha of the Gautama gotra, and sister of Mahāpajāpatī Gotamī the first Buddhist nun ordained by the Buddha. "Maya" means "illusion" or "enchantment" in Sanskrit and Pāli. Māyā is also called Mahāmāyā ("Great Māyā") and Māyādevī ("Queen, literally a female-deva, 'goddess,' Māyā"). In Tibetan she is called Gyutrulma. Queen Mayadevi was born in Devadaha kingdom of Nepal.Māyā married king Śuddhodana (Pāli: Suddhodana), the ruler of the Śākya clan of Kapilvastu. She was the daughter of King Śuddhodhana's uncle and therefore his cousin; her father was king of Devadaha. Read More

Iconography
Queen Maya devi is often seen standing in front of a tree holding its branch, this is the posture how she gave brith to Buddha. some also believe that Buddha took birth from the armpits of Queen Mayadevi. also when she is presented in the description of Buddha life story, She is seen sleep in her royal bed Dreaming of a white elephant(transportation lord Indra, King of Heaven).Some also believe that Queen Maya had this dream prior to conception, some versions of the life story of the Buddha say that he was conceived without sexual activity. This interpretation has led to parallels being drawn with the birth story of Jesus.

Birth of Buddha
Queen Māyā and King Suddhodhana did not have children for twenty years into their marriage. According to legend, One full moon night, sleeping in the palace, the queen had a vivid dream. She felt herself being carried away by four devas (spirits) to Lake Anotatta in the Himalayas. After bathing her in the lake, the devas clothed her in heavenly cloths, anointed her with perfumes, and bedecked her with divine flowers. Soon after a white elephant, holding a white lotus flower in its trunk, appeared and went round her three times, entering her womb through her right side. Finally the elephant disappeared and the queen awoke, knowing she had been delivered an important message, as the elephant is a symbol of greatness in Nepal[1]. According to Buddhist tradition, the Buddha-to-be was residing as a Bodhisattva, in the Tuṣita heaven, and decided to take the shape of a white elephant to be reborn on Earth for the last time. Māyā gave birth to Siddharta c. 563 BCE. The pregnancy lasted ten lunar months. Following custom, the Queen returned to her own home for the birth. On the way, she stepped down from her palanquin to have a walk under the Sal tree (Shorea robusta), often confused with the Ashoka tree (Saraca asoca), in the beautiful flower garden of Lumbini Park, Lumbini Zone, Nepal. Maya Devi was delighted by the park and gave birth standing while holding onto a sal branch. Legend has it that Prince Siddhārtha emerged from her right side. It was the eighth day of April. Some accounts say she gave him his first bath in the Puskarini pond in Lumbini Zone. But legend has it that devas caused it to rain to wash the newborn babe. He was later named Siddhārtha, "He who has accomplished his goals" or "The accomplished goal".

Research in Wisdom Quarterly: American Buddhist Journal[citation needed] shows that the details of the legendary account coincide exactly with the existing Indian mythology of fertility goddesses, Salabhanjikas, "breaking a branch of a Sala tree"), often depicted standing against trees with one leg bent up and one hand holding a branch. They are believed to be virginal and capable of making a tree bear flowers. Parallels to this myth may survive in early Christianity: according to the Dead Sea Scrolls, the chaste or "virgin" Mary was a much older woman who miraculously conceived of a child by the intervention of the Holy Spirit of Jehovah (See Luke 1:35).

Queen Māyā died seven days after the birth of the Buddha-to-be Bodhisatta and was reborn in the Tavatimsa Heaven, where the Buddha later preached the Abhidharma to her. Her sister Prajāpatī (Pāli: Pajāpatī or Mahāpajāpatī Gotamī) became the child's foster mother.

After Prince Siddhartha had attained perfection and become the Buddha, he visited his mother in heaven for three months to pay respects and to teach the Dharma.

About Chocolate Oxidized
This Maya Devi 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 Maya Devi. 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 Maya Devi 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.