Hi Friends ,Thanks for coming back Again. So You are Curious about how they make statue after you have read privious post for make statue (click if you have miss last post)in last post they have Placing the crucibles in the bed of coke filled with metal . and The entire furnace temperature goes up to about 1800 -1900 degrees. so here we go to see later work...

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.

Statue almost in shape. but this not final job then anthor specialist doing finishing process .
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.

That 's still not final for making statues. After finishing the statue there is gilt (cover statues with gold.) statues again .lets see ...
Tools and materials for fire gilding. ie:mercury,gold powder, brushes etc..
Tools for fire gilding: the blow torch and a brick, oil etc...
Anthor specialist applies the mercury and gold amalgam to the surface of the copper image.

Continuing to cover the image with the amalgam.
Every detail must be perfectly covered.The spreading of the amalgam is a painstaking and detailed job.
The artist finishes applying the amalgam to the figural portion of the Buddha image.
The lotus base is also covered with the amalgam, and the image is placed on a brick to dry prior to the heating process. A final touch-up of the amalgam coating.
The image is placed in a basin of water to cool prior to the final process of blending the amalgam.

The image is placed on the brick and the final blending of the amalgam is done. The image is then rubbed with cotton to spread the amalgam evenly.
When the heat from the blowtorch is applied, the mercury begins to vaporize leaving a very thin layer of gold on the surface.
As the heat spreads through the copper image, the change in color happens very quickly. The aura is then heated with the blowtorch.
Both the image and the aura are cooled in a bath of plain water.
The image has a mat appearance and looks as if it had been spray painted, rather than gilded. Note that several areas on the base did not have sufficient gold to turn color. These areas must be touched up.

Another coat of amalgam is applied to the image, but it is done much more quickly this time.
Soon the image becomes yellow and silver. Quickly, the whole image is recovered with amalgam.
As the image is heated with the torch, the gold color begins to show almost immediately.
A view of the image midway through the heating process.
During the final stages of the heating process, one can see the second coat covered all of the lacunae.

A brass bristle brush is scrubbed against a "soap-nut" to create an oily lather which will act as a lubricant.
Vigorously brushing the aura with the brass bristle brush and the lather from the "soap-nut" to polish the details of the swirls around the perimeter. The soap wash is done very intensely and with considerable pressure.
The image is, again, cooled in a water bath.
The final condition of the image and the aura prior to polishing.
The image is polished in an entirely different manner than the aura. It is rubbed with an agate burnishing tool.

In this view the back of the image has been given a preliminary polish. Polishing the entire image will take most of the day. so for the one statue it's take take about two weeks to 1 year to finished
Finished, the polished gold surface of the aura has completely lost its "spray-painted" appearance. So statue making process is finish but if you want to decorate statue with gold face or anthor job you have to find different specialist for further job.

So friends thank you very much for keep coming back on this blog.

pictures and story from website . You can also find in this web site http://kaladarshan.arts.ohio-state.edu/ .

Plz also Read my anthor Blogs http://mydzi.blogspot.com/
thanks

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Dear Friends!
Thanks for visit my blog. I have post many statues before .don't you think They are very beautiful? Yes they are beautiful .. May be many of you want to know how they make statues in Nepal. In nepal they still use Traditional Lost Wax Casting Method. Which Is today i am going to share with you . Hope you enjoy it .if you have any question plz write in comments
Thanks .
Prepare making statues

Before Making statue :At work room making the wax models. PLz Go INSIDE to See More PiCtures

Softening a piece of wax over a brazier.

Relaxing after softning 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. ,

This is first part of making statues After model is ready cover it in a mixture of special clay and cow's dung.

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.

This Cover with dungand clay is second part after dry this pcs have to put them in burnig coal. lets see.

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.

This is Third part of making statue still there are many things to do..

I guess it's quite long post so i will post anthor pictures about how they Pour the molten metal into the base of a mold.how they gilt statue. so plz wait for anthor blog post plz come back again and if you have any question plz feel free to write in comments.

Note : pictures and story from website . You can also find in this web site http://kaladarshan.arts.ohio-state.edu/ .

thanks

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โอม.บุด.ดา.ไม.ตรี.มิน.โซ.ฮา.
ธิเบตเรียก จัม.ปา.โกน.โป จีนเรียก มีเล็กฮุก
ด้วยพุทธทำนายที่ว่าพุทธศาสนาในยุดปัจจุบันคือยุคพระศากยะมุนีพุทธเจ้ามีอายุ5000ปี เมื่อถึงปลายยุดสรรพสัตว์ตกอยู่ในห้วงทุกข์มหาศาลด้วยว่าได้หลงระเริงในวัฏฏะสงสาร พระธรรมคำสั่งสอนถูกลืมเลือนไปจนหมดสิ้น เมื่อเวลานั้นมาถึง พระศรีอริยเมตไตย ซึ่งขณะนี้ประทับอยู่ณ สวรรค์ชั้นดุสิต ก็จะลงมาบังเกิดเพื่อกระตุ้นเตือนสรรพสัตว์อย่าได้ละเลยในการปฏิบัติธรรมดังเช่นพระพุทธเจ้าทั้งหลายที่ได้ปฏิบัติมาแล้ว
ภาพพุทธลักษณะมีทั้งในปางพุทธเจ้าและในปางพระโพธิสัตว์ ในภาพทังกานี้เป็นปางพระโพธิสัตว์พระวรกายสีทอง บนเศียรมีเจดีย์ มืออยู่ในท่ามุทราหมุนธรรมจักร นั่งบนสิงหอาสน์พระบาทห้อยใต้พระบาทมีแท่นบัวรัศมีจันทร์ มีดอกไม้อยู่ด้านหลัง ดอกขวามีธรรมจักร บนดอกซ้ายมีกาน้ำอมฤตในวัดในประเทศธิเบตและจีนที่มีการสร้างพระประธานเป็นพระพุทธรูปสามองค์ ด้วยหมายถึงพระพุทธเจ้าแห่งอดีต ปัจจุบันและอนาคต ซึ่งองค์ทางขวามือคือองค์อมิตาภะพุทธเจ้ามีดอกบัวเป็นสัญลักษณ์คือพระพุทธเจ้าในอดีต องค์กลางก็คือองค์ศากยะมุนีพุทธเจ้ามีบาตรเป็นสัญลักษณ์ คือพระพุทธเจ้าในปัจจุบัน และองค์ทางซ้ายมือองค์พระศรีอริยะเมตไตยมีเจดีย์เป็นสัญลักษณ์ คือพระพุทธเจ้าในอนาคต

Maitreya
[The future and fifth human-Buddha], The Compassionate One
Posture of hands [Mudra]: dharmacakra [turning the wheel of law]
Symbol: kalasa [vase], cakra [wheel],
Body color: yellow or white
Emblem: naga pushpa [white flower with yellow center]

Buddhist tradition divides the period between the death of Buddha and the manifestation of Maitreya in the actual universe into three divisions of time:
I) Period of 500 years, 'the turning of the Wheel of the first Law'.
II) Period of 1,000 years, period of deterioration of 'the law of images' [Sadharma pratirupaka].
III) Period of 3000 years, 'the turning of the Wheel of the second Law', after which Maitreya will leave the Tushita heaven and come upon earth to 'establish the lost truths in all their purity.'

Maitreya is the only Bodhisattva, who is popular among all the Buddhism sects, i.e., the Hinayana, Mahayana, and the Vajrayana, and often his statues and paintings are found in all Buddhist shrines of northern and southern Buddhist.
Sakya-muni is supposed to have visited Maitreya in the Tushita heaven when he appointed him his successor, and many Buddhist sages [arhats] are believed to have had communion with him, transporting themselves by supernatural means to the Tushita heaven to seek enlightenment on various religious points. The great Asanga, one thousand years after the birth of Buddha Sakya-muni, ascended to the Tushita heaven, where Maitreya, initiated him, into the mystic doctrine of Tantra, which he grafted on to the Mahayana school in the beginning of the sixth century. Certain sects therefore look upon, Maitreya, as the founder of the Tantra school.

Although the cult of Maitreya was evolved before Indian King Asoka's time, his worship was not at its height until the fifth century AD, and there are many statues of him in the famous Gandhara sculptures of that period. He is represented either as Buddha or Boddhisattva. As Buddha he often with long hair drawn up in a knot on his head forming the ushnisha, his hands in dharmacakra mudra [turning the Wheel of the Law]; and as Boddhisattva he may be standing with his long hair hanging over his shoulders and his hands form 'argument' and 'charity' mudra [posture]
Tibetan Schools of Buddhism also worship Maitreya both as Buddha and Boddhisattva. As Buddha, he has short curly hairs, the ushnisha, urna, and long lobed ears. He wears monastic garment with crown and ornaments, and his hands are in dharmacakra mudra both holding lotuses stems with cakra [Wheel] in right and kalasa vase in left. He is seated with legs locked or sometime the legs, instead of locked, are pendent, and the feet may be unsupported.

We may find some minor difference in his iconographic representation among the various sects of Buddhism. The early Mongolian images of Maitreya are also generally standing, and hold in their hands forming 'argument' and 'charity' mudra, the stems of flowers called 'campa', which, however, in the bronzes often resembles the lotus flower.

In the bas-reliefs of the temple of Boro Boedoer, there are many representations of Maitreya, which date from the ninth century.
In Java Indonesia, he is also found in statuary form, as for instance in the temple of Tjandi Mendut, where he is figured seated the leg pendent and the hands in the dharmacakra mudra. see left picture

In the ancient Gandhara sculptures, Maitreya was represented much larger than his assistants were. According to the Chinese traveler Hsuan Tsang, there is a statue of Maitreya at Dardu, north of the Punjab, in wood, which is one hundred feet high. It is said to have been created by artist whom Lohan Madhyantika caused, by magic, to mount three times to the Tushita heaven to contemplate the form of Maitreya before carving the statue.

The group of five Manushi Buddha, corresponding with Panca-Dhyani-Buddha and five meditative Bodhisattvas are mentioned as below.

1:KRAKUCHANDRA is a first Manushi Buddha, who is emanated from the first Dhyani Buddha Vairocana.
2: KANAKMUNI is considered as second Manushi Buddha, emanated from second Dhyani Buddha Akshobhya.
3:KASYAPA is considered as the third Manushi Buddha being emanated from third Dhyani Buddha Ratnasambhava.
4:SAKYA-MUNI is a forth Manushi Buddha, who is emanated from fourth Dhyani Buddha Amitabha.
5:MAITREYA is the fifth Manushi Buddha, emanated from fifth Dhyani Buddha Amogasiddhi.

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Visit This links For Read more About H.H. Karmapa
หินทิเบต(ดี ซี ไอ) TIBET DZI BEADS: Karmapa Introduction

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โอม.จัม.บา.ลา.จา.เลน.ตรา.เย.โซ.ฮา.

ธิเบตเรียก จัม.บา.ลา. จีนเรียก อึ้งไช้ซิ้ง ในธิเบตองค์จัมบาลาเป็นธรรมบาลผู้ประทานทรัพย์ซึ่งสำคัญที่สุด ท่านมีหน้าที่ปกป้องดูแลผู้ปฏิบัติธรรมในพุทธวัชรให้มีความเป็นอยู่ที่ดีมิให้เป็นอุปสรรคในการปฏิบัติธรรม วรกายสีเหลืองทอง มือขวาถือหอยสังข์ มุกมณีหรือทองคำ มือซ้ายถือหนูซึ่งพ่นทองคำออกมาได้ สวมมงกุฎห้าพุทธ สวมอาภรณ์สัมโภคกาย สวมประคำ นั่งบนดอกบัว

Read In English JAMBALA GOD OF WEALTH

JAMBALA (Dzambhala or Kuber) is the God of wealth and appropriately a member of the Jewel family.
In hindu Mythology Jambala known as Kuber. His fat belly shows his prosperity and has a mongoose on his left thigh that vomits jewels as he squeezes it. In his right hand he holds a flaming wish-fulfilling jewel, which is symbolic for the riches one attains with the wealth of all.

Jambala (Dzambhala) in addition is also the Guardian deity of the north direction. Thus his image is often placed on the outer walls of monasteries and temples along with the guardians of the other three directions. This is believed to be a safeguard against harmful influences which violate the sanctity of the sanctum inside.

There are Five Jambala (Dzambhala) and each Dzambala has there own Mantra (click the link) and also visit JAMBALA GOD OF WEALTH.

Black Jambala

Some Other Jambala Statue and Thanka Paintings click image for inlarge the picture.

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โอม.ตา.รา.ตู.ตา.เร.ตู.เร.เบญจา.อา.ยุ.เค.โซ.ฮา./

ธิเบตเรียก ดอล.มา.คาร.โม. จีนเรียกแปะโต๋วบ้อพระโพธิสัตว์ดาราขาว ถือกำเนิดพร้อมกับพระอวโลติเกศวรโพธิสัตว์ ด้วยความเศร้าที่พระอมิตาภะพุทธเจ้าทรงเห็นสรรพสัตว์ลุ่มหลงอยู่แต่ในห้วงทุกข์ น้ำตาที่ไหลออกมาข้างขวาเป็นพระอวโลติเกศวรโพธิสัตว์ ข้างซ้ายเป็นดาราขาวโพธิสัตว์ เมื่อโพธิสัตว์ทั้ง 2 องค์บรรลุธรรมแล้วได้เป็นกำลังสำคัญในการโปรดสรรพสัตว์ พระองค์ทรงเป็นหนึ่งในพระโพธิสัตว์ผู้ประทานอายุวัฒนะพระแม่ดาราขาวมีดวงตาเจ็ดดวง ฝ่ามือสองดวง ฝ่าเท้าสองดวง กลางหน้าผากหนึ่งดวง ดวงตาปกติสองดวง พระแม่ดาราขาวได้ชื่อเรียกอีกชื่อว่า พระแม่เจ็ดตาอนิสงฆ์ในการปฏิบัติธรรมในองค์พระแม่ดาราขาว คือความมีอายุวัฒนะ สุขภาพที่ดี หายป่วยจากโรคภัย

WHITE TARA

Sanskrit: Sitatara[Tib.] Sgrol-dkar [dol-kar], the white saviors Mudra: vitarka [argument]Vara [charity]Symbol: padma [full-blown lotus]

The White Tara symbolizes perfect purity, and is believed to represent Transcendent Wisdom, which secures everlasting bliss to its possessor or worshipper.Tara is believed to protect human beings while they are crossing the ocean of existence.
Tara Mantra by Ani Choying (You Tube)
OM represents Tara's sacred body, speech and mind.
TARE means liberating from all discontent.
TUTTARE means liberating from the eight fears, the external dangers, but mainly from the internal dangers, the delusions.
TURE means liberating from duality; it shows the true cessation of confusion.
SOHA means "may the meaning of the mantra take root in my mind."
The White Tara is represented seated, with legs locked, the soles of the feet turned upward [lotus posture]. She wears the same garments and ornaments as a Bodhisattva, and her hair is abundant and wavy. Her right hand is in 'charity' mudra, and left holding the stem of the full-blown lotus, is in 'argument' mudra. She generally has third eye of foreknowledge, and eyes on the palms of her hands and soles of her feet, symbolizes sensitivity. where as her another manifestation; the Green Tara has two full open(human) eyes

Also Visit White Tara Thanka to read more Detail.

Below is some very well hand made Tara Statues

Green Tara Mantra

Some Silver Bangle With TARA MANTRA (*NEW arrived)

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PADMASHAMBHAVA [the lotus-born]
Padmasambhava, Lotus born Guru, is very prominent historical figure worshiped as deity in Tibetan Buddhism. In the middle of the eighth century AD, the Tibetan king Thi-Sron Detsan sent to India inviting the learned guru Padma shambhava to come to Tibet. Padma sambhava was renowned for his knowledge of dharani [mystical sentences] and of their efficacious application, and was warmly welcomed. He remained fifty years in the country, founding monasteries, and teaching the Tantra-Yogacarya doctrine. He is said to have subdued all the malignant gods in Tibet, sparing only those that became converted to Buddhism and that promised to enroll them in the Mahayana Pantheon and to see that they were properly worshiped. He claimed to have received from the dakini the books from which he acquired his miraculous power.

At the end of fifty years, Padma shambhava disappeared miraculously, and is said to have entered the body of Yaksha king, where he has reined supreme 'over all the Yakshas up till the present day, and in perpetual youth is preaching doctrine of Lamaism in a paradise which rivals that of Amitabha's western heaven of Sukhavati'.

Padmashmbhava is still worshiped by people of Lamaist pantheon as divine guru [teacher]. He is represented seated on a lotus asana [posture] with the legs locked, the right hand holding the vajra, and the left, lying his lap, the patra [bowl]. He holds his special symbol, the khatvanga [which is believed to have invented], pressed against his breast with the left arm. Padma shambhava, who used it in casting spells and exorcising devils, made the ritual object of vajra, symbol of indestructible wisdom, popular among the Lamaistic Buddhist pantheon.
His garment is flowing, and, if painted is red, as well as his peaked cap, which ends in a half vajra. The lappets over the ears are divided and turned back, thus resembling a lotus-flower, for Padma shambhava is said to have born out of a red lotus-flower. Padma shmbhava is credited for his capability of constructing the first Buddhist monastery called Samye in Tibet and establish esoteric Buddhism in the country. Later the school that he established was known as Nying-ma-pa


Padam Sambhava Mantra

"Om Ah Hum Vajra Guru Padame Siddhi Hum"


Padam Sambhava Mantra by Ani choying Drolma

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We, Everybody wants to be happy. Everything works better when people are happy.
We all need to find happiness. But what really makes us happy? Not just happy for a moment but really happy, a happiness that is meaningful and valuable. Om Mani Padme Hum....

Heart touching Music And Voice by Tibetan Singer And Song writer: Yungchen Lhamo...run time 05.02 minute . After listen Plz write your Feelings ....
If you Like this Music YOU may Like This MANTRA OF AVLOKITESHWOR

Happiness Is..

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