[simhamukha Yogini], Buddhist Handmade Statue With Oil Lamp, [antique Finishing]

Simhamukha Yogini, Buddhist Handmade Statue with Oil Lamp, Antique Finishing

Also known as

Sengdongma

Shizimian Fo Mu

Shishimenzu Nyorai

More Simhamukha Yogini >>

USD330

Available SKU: HMS37037

Size: Height: 26cm (10") | Width: 17cm (7") | Depth: 10cm (4") |
Weight: 1.27 Kg / 2.8 lbs
Material: Copper

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The shipping weight for 1 piece of the product is 2 kg, and shipping cost is USD47.00.

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Simhamukha Yogini :

Simhamukha or Senge Dongma can be translated into English as Lion-Faced Dakini. According to the Indian traditions followed by the Sarma schools, the dakini Simhamukha is a tutelary deity arising out of the Chakrasamvara cycle of Tantras and belongs to the Anuttarayoga 'wisdom' classification. The Sarma schools' Simhamukha is unrelated to the deity of the same name and appearance which arose in the later indigenous Tibetan Nyingma 'terma' (treasure) traditions, where she is regarded as the secret form of Guru Rinpoche (Padmasambhava). According to the Nyingma school, this dakini and female tantric Buddha is the principal dakini teacher and one of the principal fierce manifestations of Padmasambhava, the 8th Century mahasiddha, claimed to be the founder of the same school. As such, she is connected with many ceremonies of the Dzogchen tradition. A fierce dakini, she is also one of the Phramenma, a group of female deities from the Bardo ThÃ¶dol, or 'Tibetan Book of the Dead'. The female lama Jetsun Lochen (1865- 1951) founded a Simhamukha practice lineage.

Antique Finishing
This is an antique patina-finished Simhamukha Yogini. This is not an antique statue. It is just an antique patina finish. This Simhamukha Yogini 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 Simhamukha Yogini undergoes a transformation that captures the essence of time and history. Read More . . .

Lost-Wax System
This Panas And Sukunda of Simhamukha Yogini 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 . . .

RIGPA SHEDRA names him Senge Dradok describing him to be one of the eight principal forms assumed by Guru Rinpoche at different points in his life, Senge Dradok's activity being "the subjugation of non-buddhists".dred upholders of wrong views in debate at Bodhgaya. He reversed their magic with the aid of a wrathful mantra given him by the lion-faced dakini Marajita. ,

Simhamukha is iconographically represented as a wrathful deity who is usually depicted as a dark blue, or maroon, coloured lion-faced female and is associated with the direction East. As Simhavaktra, an alternate form of Simhamukha, she is also an attendant of the Dharmapala Palden Lhamo, in which case she is depicted as carrying both a kapala, or skullcup, and a kartika, or ritual knife.

According to Sengdongma (lion-faced dakini) is a wrathful manifestation of Padmasambhava [Guru Rinpoche] who eliminates obstacles, whereas Sinhavaktra is a dark blue Lion-head Dakini who dispels obstacles to enlightenment. She holds a broad-bladed knife and skull cup.

In Hinduism :

Every Hindu temple has the face of lion at the apex entrance carved artistically. This lion-face appears at the top of the door, niche, and windows as well. The countenances of man and lion are fused and it is also known as Simhamuka or Simhalalata. It is supposed to lead worshippers to Supreme Reality.

Simhamukha usually indicates Rahu (eclipse). One of the nine planets, Rahu stands for a devourer. There is a Puranic story. During the fight between gods and demons for nectar or Amrita, the demon Rahu tried to get a sip of drink of immortality, stealthily. But he was caught in the nick of time by the Surya (the Sun God) and Chandra (the Moon God) and Lord Vishnu was informed instantly. He cut off Rahu's head. But the head became immortal, having tasted a drop of nectar. Rahu now tried to swallow Sun and Moon when they passed near him. During eclipses (grahana), this scene is repeated according to believers.

Rahu is the son of Simhika or the lioness, who symbolizes destruction. The incarnation of Narasimha has this concept behind it. The earliest carving of Kirtimuka or Simhamukha is seen in the stupa at Amaravati (2nd century C.E.). Dancers of Cambodia use Kirtimuka as a headdress. Artifacts and any worship-worthy idols or mandaps carry this symbol.

==Tibet == Within the Nyingma School, of the two divisions of Kama (Oral Teachings) and Terma (Revealed Treasures), Simhamukha belongs to the Terma. From the three general divisions of Terma: Root, Branch and Essence, Simhamukha belongs to the Dakini Cycle within the Root Terma class. Only in the Nyingma tradition she is regarded as the secret form of Guru Rinpoche Padmasambhava. Otherwise, in the Sarma Traditions coming from India, the deity Simhamukha is found in the Chakrasamvara Cycle of Tantras. Although both forms are similar in name and appearance, they are unrelated.

The dakini Simhamukha is a tutelary deity arising out of the Chakrasamvara cycle of Tantras and belongs to the Anuttarayoga 'wisdom' classification. The Sarma tradition Simhamukha is unrelated to the deity of the same name and appearance in the Nyingma 'terma' (treasure) traditions. In that tradition, of the many forms of Padmasambhava, Simhamukha is a secret form of Guru Rinpoche.

Gelugpa lineage: Vajradhara, Dakini Simhamukha, Vajrasana, Bari Lotsawa Rinchen Drag, Sachen Kunga Nyingpo (1092-1158) and the five Holy Superiors of Sakya, Rongpa Dorje Gyaltsen, Sanggye Yeshe, Yak De Panchen, Gyalwa Tsongkapa (1357-1419), etc.

There is reference to this protector's emanations in the Shurangama Mantra found in the Tibetan Chandragomin's Shurangama Mantra Sadhana translated from the original Buddhist Hybrid Sanskrit into Tibetan (Tibetan canon Tengyur Karchag Phangthangma Toh 3096, Toh 593/2/1), and also Padmankusha's Text Toh 3106, and the Vajrasana's Text Toh 3110 - Sarvatathāgataoṣṇīṣaśitātapatrā-nāmāparājitā-mahāpratyangirā-mahāvidyārājÃ±ī-nāma-dhāraṇī; Tibetan name is ['phags pa] De bshin gshegs pa'i gtsug tor nas byung ba'i gdugs dkar po can gshan gyi mi thub pa phir bzlog pa chen mo mchog tu grub pa shes bya ba'i gzungs.

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