[old Stock], Buddhist Statue Of Vajravarahi - Dorje Phagmo Yogini, [rare Find]

Old Stock, Buddhist Statue of Vajravarahi - Dorje Phagmo Yogini, Rare Find

Name: Old Stock
Brand: Handmade Statue
SKU: HCS23563
Price: 900.00 USD
Availability: InStock

Also known as

Dorje Phagmo

Jingangamuzhu

kongomobutsu

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USD720 USD900 | Enjoy a price drop of USD180 (20%)

Available SKU: HMS23563

Size: Height: 34cm (13") | Width: 29cm (11") | Depth: 12cm (5") |
Weight: 2.173 Kg / 4.79 lbs
Material: Bronze

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The shipping weight for 1 piece of the product is 4 kg, and shipping cost is USD67.00.

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Vajravarahi :

Vajravarahi, also known as Dorje Phagmo, is a prominent deity in Tibetan Buddhism. She is revered as a fierce and powerful manifestation of enlightened wisdom and compassion. Vajravarahi is often depicted as a wrathful deity, symbolizing the transformative energy needed to overcome obstacles and delusions on the path to enlightenment. She holds a skull cup filled with blood, representing the transformation of negative emotions into wisdom nectar, and a curved knife, symbolizing the cutting through of ignorance and dualistic thinking. With her fierce appearance, Vajravarahi represents the intensity and determination required to face and transcend the challenges of existence. Devotees turn to Vajravarahi for protection, healing, and spiritual transformation.

Rare Find : what is a Rare find?
This Vajravarahi is a rare find product, The Rare Find product is an uncommon and elusive product that is difficult to find and likely the only one available for sale. Once sold, Vajravarahi will be removed from the listings or marked as sold. This rarity and exclusivity make it highly sought-after by collectors and enthusiasts, offering a unique and irreplaceable addition to any collection.

About Sacred Serenity Collection
This is a beautiful old Buddhist statue that carries a deep sense of spirituality and craftsmanship. These statues were made around 15 to 20 years ago and are crafted from pure copper. If the statue has gold, it has a thick layer of gold plating, unlike modern statues where using a lot of gold is expensive.
Skilled artisans, who were well-versed in religious teachings, made these statues. They followed traditional guidelines and sacred texts to create each statue with precise expressions and postures. The artisans believed they were creating representations of gods rather than just ordinary figures. This unique perspective is reflected in the statues themselves. Read More . . .

Lost-Wax System
This Collection of Vajravarahi 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 Collection.
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 (120Â°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.

Read More . . .

Iconography:
Vajravarahi is typically depicted as a red or dark blue deity with one face and two or four arms. She has a wrathful expression with fangs, a crown of skulls, and a third eye symbolizing her wisdom. Vajravarahi's primary hands hold a skull cup filled with blood, and a curved knife, while her secondary hands may hold various symbolic objects such as a vajra (thunderbolt), trident, or lotus. She stands on a prostrate figure representing ignorance and ego, and often has a garland of severed heads adorning her body.

History:
Vajravarahi has a rich history within Tibetan Buddhism. Her origins can be traced back to ancient Indian goddesses like Chinnamasta and Vajrayogini. Vajravarahi's practice was integrated into the Tibetan Buddhist tradition through the teachings of Indian masters like Naropa and Marpa, and later transmitted by Tibetan masters such as Milarepa and Tsongkhapa. Her practice became particularly prevalent in the Kagyu, Sakya, and Nyingma traditions of Tibetan Buddhism, where she is considered a key deity within the inner tantric practices.

Temples and Monasteries:
Vajravarahi is highly venerated in numerous temples and monasteries throughout the world. While there may not be a specific temple dedicated solely to Vajravarahi in Nepal, she is worshipped in several Tibetan Buddhist monasteries and retreat centers within the country. Some notable temples and monasteries associated with Vajravarahi can be found in other parts of the world, such as the Nalanda Temple in France, Samye Ling Monastery in Scotland, and Kopan Monastery in Nepal.

Benefits of Practicing Vajravarahi:
The practice of Vajravarahi offers various benefits to its practitioners. By connecting with her fierce energy, devotees can transform negative emotions into wisdom and compassion. Vajravarahi's practice is believed to purify negative karma, protect against obstacles, and grant spiritual realization. Devotees seek her blessings for healing physical ailments, overcoming fear and obstacles, and attaining spiritual liberation. Through her practice, practitioners aim to develop clarity of mind, inner strength, and the ability to skillfully navigate the challenges of life.

How to Practice:
The practice of Vajravarahi is typically taught as an advanced tantric practice within the Tibetan Buddhist tradition. It requires receiving empowerment (initiation) from a qualified teacher and engaging in specific rituals, visualizations, and mantra recitations. The practice often involves meditation on Vajravarahi's form, reciting her mantra, and engaging in deity yoga, which involves visualizing oneself as the deity. To embark on this practice, it is essential to seek guidance from an experienced teacher who can provide proper instructions and support.

Mantras of Vajravarahi:
The mantra associated with Vajravarahi is:
"OM BENZAR VAJRA KILI KILIYA SARVA BIGHANEN BAM HUM PHAT"
Reciting this mantra with devotion and understanding is believed to invoke the blessings and protection of Vajravarahi. The mantra can be chanted as part of the deity's practice or recited individually for specific purposes such as purification, removing obstacles, and cultivating inner strength. It is recommended to receive proper guidance from a qualified teacher to ensure accurate pronunciation and understanding of the mantra's meaning.

Meditation of Vajravarahi

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