[aparimita] Handmade Nepali Buddhist Statue, [silver Plated Oxidized Finish], [hand Painted Face]

Aparimita Handmade Nepali Buddhist Statue, Silver Plated Oxidized Finish, Hand Painted Face

Also known as

Amitayus

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USD2085 USD2450 | Enjoy a price drop of USD370 (15%)

Available SKU: HMS37417

Size: Height: 51cm (20") | Width: 38cm (15") | Depth: 27.5cm (11") |
Weight: 9.915 Kg / 21.86 lbs
Material: Copper

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The shipping weight for 1 piece of the product is 14 kg, and shipping cost is USD201.00.

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Aparimita :

Buddha Aparimita is very popular in bestowing long life upon the devotees. It is red in color. His two hands are in dhyana mudra and holds an ambrosia vase. He usually wears all the ornaments of different kinds peculiar to a Sambhogakaya Buddha. He is never depicted with any consort. He wears a crown and has Ushnisha and Urnakosh on his body.

Gold Painted Face

The face of Aparimita 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 Aparimita. Read More . . .

Silver and Chocolate Oxidized

The Aparimita 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 Aparimita 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 Buddha of Aparimita is made by the process of the Lost Wax system. This is a very complicated, time consuming and historic process of making metal sculptures.Which is why it is sometimes called Precision Casting as well. Hence the sculptures made by this process are comparatively expensive. There are many new, advanced and less time consuming methods of casting metal sculptures available as well. But due to the benefits provided by the traditional lost wax system in quality control and customization, we prefer the Loss wax system over Ceramic molding, or sand casting to make our Buddha.
Below we have tried to illustrate the process of making a loss wax system statue:

The method of metal casting in which a 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 few important steps in 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 Spruing.
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 which can then be regenerated and is 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.

1. Head Ornaments (Ushnisha & Urna)

Visual Appearance: The top of the head features a prominent cranial bump (ushnisha), crowned with a flaming or jewel-like finial. Between the eyebrows rests a small, circular dot or inlaid gem (urna).
Symbolic Meaning: The ushnisha represents absolute spiritual enlightenment and cosmic wisdom. The urna symbolizes the "third eye" of spiritual vision, capable of seeing past the illusions of duality.
Significance in Tibetan Buddhism: These features distinguish a fully awakened being. In longevity rituals (tse-dup), meditators visualize light radiating from Aparimitaâs urna to purify the practitioner's lifeforce obstacles.
Nepalese Artisan Technique: In Patan (Lalitpur), Newar masters use fine chasing chisels to define the subtle curve of the urna. On high-end gilt-bronze pieces, the urna is precisely drilled to accept a true turquoise or coral cabochon inlay.

2. The Five-Pointed Crown (Mukuta)

Visual Appearance: An ornate, five-lobed crown sits atop the brow, often featuring intricate filigree work and embedded gemstones.
Symbolic Meaning: The five leaves symbolize the transmutation of the five primary human delusions (ignorance, attachment, anger, pride, and jealousy) into the Five Transcendent Wisdoms of the Buddha families.
Significance in Tibetan Buddhism: The crown signifies that Aparimita manifests in the Sambhogakaya (the subtle body of bliss), allowing him to communicate directly with highly realized bodhisattvas.
Nepalese Artisan Technique: Crafted using the lost-wax casting method (cire perdue). Artisans carve the tiny, interconnected leaves out of pure beeswax mixed with resin, ensuring the spaces between the filigree remain perfectly open after the molten bronze is poured.

3. Hair Style (Jata-Mukuta)

Visual Appearance: Aparimita's long, dark hair is divided. Part of it is bound up into an elegant topknot behind the crown, while loose tresses cascade gracefully over his shoulders and upper arms.
Symbolic Meaning: The bound topknot signifies yogic mastery, self-discipline, and the containment of spiritual energy, while the flowing tresses represent his active, compassionate engagement with the worldly realm.
Significance in Tibetan Buddhism: Unlike historical Buddhas who cut their hair to denote renunciation, the prince-like hairstyle highlights that enlightenment can coexist with rich, cosmic activity.
Nepalese Artisan Technique: Master sculptors paint the hair with a traditional blue pigment made from pulverized lapis lazuli mixed with yak-hide glue, contrasting sharply against the gold-gilded skin.

4. Eyes

Visual Appearance: Half-closed, elongated, and almond-shaped. The upper lids trace a gentle, fluid curve down toward a serene gaze.
Symbolic Meaning: The half-open eyes reflect a state of perfect balanceâlooking simultaneously inward toward absolute meditative emptiness (shunyata) and outward with active compassion toward suffering beings.
Significance in Tibetan Buddhism: This expression avoids the extremes of worldly distraction (wide open) and complete withdrawal (completely closed), a visual reminder of the Middle Way.
Nepalese Artisan Technique: The "Opening of the Eyes" (Mekha Jyoti) is a sacred ritual. Artisans paint the whites and pupils using an incredibly fine bamboo brush and cold-gold paint mixed with organic minerals, bringing the statue to life.

5. Ears and Ear Ornaments

Visual Appearance: Elongated earlobes stretched by heavy, circular or wheel-shaped earrings (kundala), often touching the shoulders.
Symbolic Meaning: Stretched lobes recall Siddhartha Gautama's renunciation of royal wealth (discarding heavy gold jewelry). The earrings represent the pristine capacity to hear the cries of suffering throughout the universe.
Significance in Tibetan Buddhism: In Vajrayana, long ears signify a lineage holder who accurately receives and preserves the whispered oral transmissions (nyen-gyud) from master to disciple.
Nepalese Artisan Technique: Ear ornaments are cast as a single piece with the head or separately attached using hidden mortise-and-tenon joints. Artisans polish the inner curves with fine files to create a reflective, flawless finish.

6. Royal Jewelry (The 8 Silken & 13 Jewel Ornaments)

Visual Appearance: Aparimita is adorned with necklaces, armlets, bracelets, and anklets patterned with floral filigree and teardrop gems.
Symbolic Meaning: The jewelry maps to the Six Paramitas (Generosity, Ethics, Patience, Effort, Concentration, and Wisdom). They indicate that spiritual realization is the true, ultimate wealth.
Significance in Tibetan Buddhism: This imagery acts as a visual template for "Deity Yoga," where practitioners visualize themselves wearing these same ornaments to internalize the qualities they represent.
Nepalese Artisan Technique: Using a technique called repoussÃ© or fine chasing, craftsmen use tiny iron stamps to repeatedly strike the cold metal from the front and back, raising microscopic beads of metal that mimic real pearls and diamonds.

7. Silken Robes (Dhoti)

Visual Appearance: A fine, sheer silk garment drapes around his lower body, flowing out into soft folds around the lap. Sashes wrap around his waist and float elegantly behind his shoulders like ethereal ribbons.
Symbolic Meaning: The lightness and flexibility of the silks represent the unhindered, fluid nature of an enlightened mindâunbound by rigid concepts.
Significance in Tibetan Buddhism: The beautiful, flowing sashes emphasize the dynamic nature of compassion, illustrating that nirvana is not static or cold, but warm and actively expressive.
Nepalese Artisan Technique: To create the illusion of weightless silk on heavy bronze, Newar masters engrave intricate, repeating floral and geometric patterns directly onto the cast metal using ultra-fine engraving needles.

8. The Vase of Immortality (Tshe-Bum)

Visual Appearance: Aparimita's defining attribute. He holds an ornate, long-necked vase (amrita-kalasha) resting in his palms. The top of the vase is stopped with a sprig of a sacred ashoka tree or a cluster of three flaming jewels.
Symbolic Meaning: The vase contains amrita, the nectar of deathless primordial wisdom. The ashoka leaves represent freedom from grief and the eradication of premature death.
Significance in Tibetan Buddhism: The central focus of longevity practices. Practitioners mentally visualize drinking the streaming nectar from this vase to replenish diminished life-force (la), health, and merit.
Nepalese Artisan Technique: The vase is typically cast as a separate, detachable piece. This allows the artisan to cleanly apply 24-karat gold plating to the vessel's body and delicately paint the flame finial with pure pigments.

9. Hand Gesture (Dhyana Mudra)

Visual Appearance: Both hands rest flat in his lap, palms facing upward, with the right hand placed gently over the left. The tips of the thumbs lightly touch to form a soft triangle.
Symbolic Meaning: The mudra of meditative absorption and inner equilibrium. It signifies the perfect union of method (right hand) and wisdom (left hand).
Significance in Tibetan Buddhism: This specific mudra anchors the chaotic energies of the body's subtle channels, allowing the practitioner to rest the mind in the natural, spacious state of clarity.
Nepalese Artisan Technique: Casting hands with perfectly soft, realistic fingers requires incredible skill. Artisans hand-carve the wax model with minute detail, ensuring that the spacing between the fingers allows for natural light transmission once cast.

10. Lotus Seat (Padmasana)

Visual Appearance: Aparimita sits atop a stylized, circular base composed of overlapping, double-layered lotus petals pointing both upward and downward.
Symbolic Meaning: The lotus grows from the dark, murky mud of samsara but blooms pristine and unstained above the water. It represents spontaneous spiritual birth and absolute purity.
Significance in Tibetan Buddhism: Sitting on a lotus platform proves that the deity functions directly within our flawed world without ever being corrupted or compromised by worldly afflictions.
Nepalese Artisan Technique: Newar craftsmen treat every single petal as an individual sculpture. They cut, file, and polish each petal tip uniformly, a process that can take days of concentrated hand-chasing for a single medium-sized statue.

11. Body Posture (Vajrasana)

Visual Appearance: Seated in the full-lotus or adamantine posture (vajrasana), with both legs tightly crossed and the soles of both feet facing squarely upward toward the sky.
Symbolic Meaning: Represents unshakeable stability, immutability, and absolute grounding. It is the posture of ultimate victory over the forces of delusion.
Significance in Tibetan Buddhism: This physical posture aligns the body's internal wind systems (lung), facilitating a direct, stable entryway into deep, transformative meditation states.
Nepalese Artisan Technique: Achieving a balanced, symmetrical posture is critical. Artisans use classical grid lines (iconometry) derived from ancient Sanskrit texts (Sadhanamala) to ensure the head, spine, and crossed legs align with geometric precision.

12. Color Symbolism (Red)

Visual Appearance: In traditional thangka paintings and colored sculptures, Aparimita's skin is rendered in a deep, radiant ruby-red.
Symbolic Meaning: Red belongs to the Padma (Lotus) family, representing the element of fire and the transformation of passionate desire or attachment into the Wisdom of Discriminating Awareness.
Significance in Tibetan Buddhism: Red is the color of magnetism, warmth, and vitality. It draws in long life, abundant health, and spiritual merit, magnetizing positive external conditions for practice.
Nepalese Artisan Technique: For metallic statues, this deep warmth is achieved either by fire-gilding with mercury and 24K gold (which gives a rich, deep hue) or by applying a specialized copper patina using traditional organic acid baths.

13. Sacred Attributes (Aura and Halo)

Visual Appearance: Statues are often framed by an elaborate, detachable backrest ringed with flames (prabhamandala) or an oval halo surrounding the head.
Symbolic Meaning: The ring of fire represents the intense heat of spiritual discipline (tapas) that burns away the structural impurities of ignorance.
Significance in Tibetan Buddhism: The halo represents the non-physical radiance of an enlightened mind, showing that a Buddha's active influence extends far beyond the physical boundaries of their body.
Nepalese Artisan Technique: These backrests are often created using master-level repoussÃ© work. Flat sheets of copper are hammered iteratively over pitch bowls, resulting in high-relief depictions of makaras, garudas, and curling flames.

What is the difference between Amitabha and Aparimita (Amitayus)?

While they are fundamentally the same enlightened mind, Amitabha is depicted as a simple monk with no jewelry, hands empty in meditation mudra, representing the Dharmakaya (the formless truth body). Aparimita (Amitayus) is depicted in royal Sambhogakaya robes, wearing a crown and jewelry, and holding the longevity vase, representing the active, blissful enjoyment of enlightened qualities.

Why is Aparimita practiced for long life?

In Vajrayana Buddhism, a long life is not pursued out of worldly attachment or fear of death. Instead, it is valued because a longer life gives a practitioner more time to study, practice the Dharma, and accumulate the merit necessary to benefit sentient beings.

How can you tell a high-quality Nepalese Aparimita statue?

Look closely at the chasing details on the reverse side of the crown, the symmetry of the fingers holding the longevity vase, and the crisp definition of the lotus petals. High-quality pieces use the traditional lost-wax method and genuine 24-karat gold gilding, which has a soft, velvety luster rather than a harsh, brassy shine.

Element	Visual Form	Core Symbolic Meaning
*Crown (Mukuta)*	Five-pointed ornamental tiara	Transformation of 5 delusions into 5 Wisdoms
*Vase (Tshe-Bum)*	Long-necked jar with ashoka leaves	Amrita (nectar) of infinite life and merit
*Gesture (Mudra)*	Double palms up, thumbs touching	Deep meditative absorption and inner balance
Skin Color	Radiant ruby-red	Discriminating wisdom; magnetizing energy
*Seat (Padmasana)*	Double-layered lotus pedestal	Rising pure and untouched out of samsaric mud

Mantra of Amitayus

ཨོཾ༌ཨཱ༌མ༌ར༌ནི༌ཛི༌ཝན༌ཏེ༌ཡེ༌སྭཱ༌ཧཱ། Om A Ma Ra Ni Dzi Wan Ti Ye Soha ओं अमरणि जीवन्तये स्वाहा

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