Achala Yamaraj statue, Chocolate Oxidize, 15 cm, made by Copper, Buddhist Statue, Yamaraj Achala

Date Added : 2011-01-31 12:23:03 (1477)Views

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Achala Yamaraj Statue, Chocolate Oxidize
Code	HME6007
Size	Height 15cm (6") 15
Weight	800 800 gm - 1.76 lbs
Material	Copper
Availability	Sold

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US$ 80.00

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Achala
Acala or Achala (Sanskrit: अचल "Immovable") is a Dharmapala (protector of the Dharma), prominent in Vajrayana Buddhism and East Asian Buddhism. He is classed among the Wisdom Kings and is preeminent among the Five Wisdom Kings of the Womb Realm. Accordingly, his figure occupies an important hierarchical position in the Mandala of the Two Realms. Read More

In China, he is known through esoteric Tangmi traditions as Budong Mingwang ("The Immovable Wisdom King"). In Japan, he is known as Fud? My??, which is the on'yomi reading of his Chinese name.He is also highly revered among some Yakuza members, who often draw on his intense facial expression and demeanor

Wooden sculpture of Acala. Japan, late Heian Period, 12th century

Acala at Buddha Tooth Relic Temple and Museum, Singapore

Statue of Acala, from 12th century Japan. Currently in Rietberg Museum (Zürich,Switzerland)

History
Originally the Mahayana deity Acalanātha, whose name means "immovable protector", Acala was incorporated into Vajrayana Buddhism as a servant of the Buddha. In Tangmi (Tang-era Chinese Vajrayana), his name was translated as Budong "immovable" (Chinese: 不動; pinyin: Búdòng, Middle Chinese: /pǝw dungx/). In turn, the deity was imported into Japan as "Immovable" (不動, Fudō) by the priest Kūkai (died 835) who was studying in China as a member of the Kentoshi mission and founded Shingon Buddhism. Scholars such as Miyeko Murase state that the origins of this Buddhist deity are in the Hindu god Shiva, particularly his attributes of destruction and reincarnation.

The deity has been popular throughout the Middle Ages and into modern times in Nepal, Tibet, and Japan, where sculptural and pictorial representations of him are most often found. Much of the iconography comes from Japan.

In Tibetan Buddhism and art, the Buddha Akshobhya, whose name also means "the immovable one", presides over the clan of deities to which Ācala belongs. Other sources refer to the Acala and Caṇḍaroṣaṇa as an "emanation" of Akshobhya

He evolves into a deity invoked in Buddhist rituals to "frighten gods, titans, men and destroy the strength of demons", and he slays all ghosts and evil spirits. In some Buddhist texts such as the Sādhanamālā, the Hindu gods Vishnu, Shiva, Brahma, and Kandarpa (god of love) are said to be "wicked" because they cause endless rebirth, and these gods are terrified of Acala because he carries a rope to bind them. In other texts, such as the Mahāvairocana Sūtra, one dedicated to the Buddha is instructed to visualize the left foot of Acala on his head during meditation, to prevent obstacles in his reaching Prajñā .

In the Nepalese and Tibetan Buddhist traditions, Viśvavajrī becomes Acala's consort.

About Chocolate Oxidized
This Achala 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 Achala. 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 Achala 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.