[saraswati], Buddhist Handmade Statue With Oil Lamp, [antique Finishing]

Saraswati, Buddhist Handmade Statue with Oil Lamp, Antique Finishing

Also known as

Yangchenma

Biancaitian

Benzaiten

More Saraswati >>

USD330

Available SKU: HMS37030

Size: Height: 25cm (10") | Width: 16cm (6") | Depth: 11cm (4") |
Weight: 1.38 Kg / 3.04 lbs
Material: Copper

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The shipping weight for 1 piece of the product is 1.50 kg, and shipping cost is USD42.00.

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Saraswati :

In Hinduism, Saraswati is the goddess of knowledge, music, arts, science, and technology. She is the consort of Brahma, also revered as His Shakti.
The name Saraswati came from "saras" (meaning "flow") and "wati" (meaning "a woman"). So, Saraswati is a symbol of knowledge; its flow (or growth) is like a river and knowledge is supremely alluring, like a beautiful woman. She is depicted as a beautiful fair Goddess with Four arms, wearing a spotless white saree and seated on a white lotus. She is also known as "Sharada", "Vani" and "Vagdevi" (both meaning "speech").

Antique Finishing
This is an antique patina-finished Saraswati. This is not an antique statue. It is just an antique patina finish. This Saraswati is a testament to the artisan's mastery of the art of aging. Its antique patina has been meticulously crafted to give the appearance of an aged statue, showcasing the artist's unique techniques and skills. Through undisclosed processes and careful aging treatments, the Saraswati undergoes a transformation that captures the essence of time and history. Read More . . .

Lost-Wax System
This Panas And Sukunda of Saraswati 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 Panas And Sukunda.
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 :

he goddess Saraswati is often depicted as a beautiful woman dressed in pure white often seated on a white lotus, which symbolizes that she is founded in the experience of the Absolute Truth. Thus, she not only has the knowledge but also the experience of the Highest Reality. She is mainly associated with the color white, which signifies the purity of true knowledge. Occasionally, however, she is also associated with the colour yellow, the colour of the flowers of the mustard plant that bloom at the time of her festival in the spring. She is adorned with simple jewels and gold, unlike the goddess Lakshmi; representing her preference of knowledge over worldly material things.

She is generally shown to have four arms, which represent the four aspects of human personality in learning: mind, intellect, alertness, and ego. Alternatively, these four arms also represent the 4 Vedas, the primary sacred books for Hindus. The Vedas, in turn, represent the 3 forms of literature:

Poetry â the Rigveda contains hymns, representing poetry

Prose â Yajurveda contains prose

Music â Samaveda represents music.

The four hands also depict this thus â prose is represented by the book in one hand, poetry by the garland of crystal, music by the veena. The pot of sacred water represents purity in all of these three, or their power to purify human thought.

She is shown to hold the following in her hands:

A book, which is the sacred Vedas, representing the universal, divine, eternal, and true knowledge as well as her perfection of the sciences and the scriptures.

A mala (rosary) of crystals, representing the power of meditation and spirituality.

A pot of sacred water, representing creative and purification powers.

The vina, a musical instrument that represents her perfection of all arts and sciences. Saraswati is also associated with anurāga, the love for and rhythm of music which represents all emotions and feelings expressed in speech or music.

The beautiful human form of Saraswati comes to the fore in this English translation of the Saraswati hymn:

"May Goddess Saraswati, who is fair like the jasmine-colored moon, and whose pure white garland is like frosty dew drops, who is adorned in radiant white attire, on whose beautiful arm rests the veena, and whose throne is a white lotus,who is surrounded and respected by the Gods, protect me.May you fully remove my lethargy, sluggishness, and ignorance."

A hamsa or swan is often located next to her feet. The sacred bird, if offered a mixture of milk and water, is said to be able to drink the milk alone. It thus symbolizes discrimination between the good and the bad or the eternal and the evanescent. Due to her association with the bird, Saraswati is also referred to as Hamsavahini, which means "she who has a hamsa as her vehicle".

She is usually depicted near a flowing river, which may be related to her early history as a river goddess.

Sometimes a peacock is shown beside the goddess. The peacock represents arrogance and pride over its beauty, and by having a peacock as her mount, the Goddess teaches not to be concerned with external appearance and to be wise regarding the eternal truth.

Mythology :

In the Rigveda, Saraswati is a river as well as its personification as a goddess. In the post-Vedic age, she began to lose her status as a river goddess and became increasingly associated with literature, arts, music, etc. In Hinduism, Saraswati represents intelligence, consciousness, cosmic knowledge, creativity, education, enlightenment, music, the arts, eloquence and power. Hindus worship her not only for "academic knowledge", but for "divine knowledge" essential to achieve moksha.

In some Puranas (like Skanda Purana) she is daughter of Shiva (Shivaanujaa) and in some Tantras with Ganesha. However across India she is worshipped as the wife of Lord Brahma. In the Devi Mahatyam it mentions her as Brahmapatni. According to some sects Saraswati was born from the left body part of Vishnu when Vishnu was in his eternal sleep.

The original (spiritual) forms of devas including Saraswati are present in the spiritual world:

In the center reside the deities of fire, sun and moon, Kurma-avatara, Ananta Sesha, and Garuda, the master of the three Vedas. The Vedic hymns and all sacred mantras also stay in that holy place, which is made of all the Vedas, and which is known in the Smriti-sastra [Scriptures of Remembrance] as the yoga-pitha [Sanctuary of Union]. (Padma Purana Uttara-khanda 256.23)

Accompanied by Lakshmi and other associates, the chatur-vyuha [Four Expansions] headed by Lord Vasudeva are manifest in the eight directions, beginning with the east. In the directions beginning with the southeast, the palaces of Lakshmi, Saraswati, Rati, and Kanti respectively are situated.[clarification needed]

According to Vedanta she is considered to be the feminine energy and knowledge aspect (Shakti) of Brahma, as one of many aspects of Adi Shakti.

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