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Vajrayogini :
Vajrayogini, literally 'the diamond female yogi'. She is a Highest Yoga Tantra Yidam , and her practice includes methods for preventing ordinary death, intermediate state and rebirth (by transforming them into paths to enlightenment), and for transforming all mundane daily experiences into higher spiritual paths. Vajrayoginī is a generic female yidam and although she is sometimes visualized as simply Vajrayoginī, in a collection of her sādhanas she is visualized in an alternate form in over two thirds of the practices. Her other forms include Vajravārāhī and Krodikali. Vajrayoginī is a ḍākiṇī and a Vajrayāna Buddhist meditation deity. As such she is considered to be a female Buddha.
Lakshmi
: Brief Introduction Lakshmi is the Hindu goddess of wealth, prosperity (both material and spiritual), light, wisdom, fortune, fertility, generosity and courage; and the embodiment of beauty, grace and charm. Representations of Lakshmi are also found in Jain monuments. Also called Mahalakshmi, she is said to bring good luck, and is believed to protect her devotees from all kinds of misery and money-related sorrows.
Lakshmi in Sanskrit is derived from its elemental form lakS, meaning "to perceive or observe". This is synonymous with lakṣya, meaning "aim" or "objective". The Hindu sacred texts, the Vedas call Mahalakshmi as Lakshyayidhi Lakshmihi which means she is the one who has the object and aim of uplifting mankind.
Iconography
Lakshmi is described as bestowing coins of prosperity and flanked by elephants signifying her royal power. However, in some texts, she has an owl as her vahana. Her expression is always calm and loving. The lotus also symbolizes the fertile growth of organic life, as the world is continually reborn on a lotus growing out of Vishnu's navel.
Lakshmi is worshipped daily, but special focus is given in the month of October. Her worship ceremonies include people offering food and sweets, chanting her 108 names, prayers repeated, and devotional songs being sung.
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Ganesh
: Introduction
In the vast and vibrant pantheon of Hinduism, few deities command as much universal love, devotion, and instant recognition as Lord Ganesh. With his distinct elephant head, magnificent belly, and gentle yet majestic demeanor, the Hindu elephant-headed god transcends regional, sectarian, and even religious boundaries. He is a fixture not just in grand temples, but on the dashboards of cars, the entryways of homes, the first pages of accounting ledgers, and the altars of students and spiritual seekers globally.
Far beyond his unique physical appearance lies a profound layer of metaphysical truth. Lord Ganesh is not merely a mythological figure; he is an archetypal force representing supreme wisdom, cosmic order, and the psychological tools needed to navigate human life. Understanding Lord Ganesh's meaning, symbolism, iconography, and spiritual significance unlocks a timeless blueprint for personal growth, intellectual clarity, and spiritual enlightenment.
Who is Lord Ganesh?
Lord Ganesh is one of the five primary deities in the Panchayatana puja tradition of Hinduism, occupying a central place of reverence across all major traditions. He is universally hailed as the remover of obstacles (Vighnaharta) and the patron of arts, sciences, letters, and wisdom.
Origins of Ganesh
Scripturally, Ganesh is the son of Lord Shiva (the destroyer and transformer within the Hindu trinity) and Goddess Parvati (the divine mother and embodiment of Shakti). Born from the divine play of the cosmos, his emergence bridges the unmanifest, absolute reality of Shiva with the manifest, material energy of Parvati.
His Role in Hinduism
Ganesh serves as the Pratham Pujya, meaning the deity who must be invoked before any other. Whether a ritual is dedicated to Vishnu, Shiva, or Durga, it invariably begins with an invocation to Ganesh. He guards the threshold between the mundane and the sacred, acting as the celestial gatekeeper.
Why Devotees Worship Ganesh First
The cosmic protocol of worshipping Ganesh first is rooted in both divine decree and practical psychology. According to Vedic lore, Lord Shiva granted his son the boon of primordial worship. Psychologically, before launching any new endeavor, one must clear the mental landscape of doubts, fears, and obstacles. Worshipping Ganesh first ensures that the mind is grounded, aligned, and ready for success.
His Importance in Daily Life and Religious Ceremonies
From purchasing a new house (Griha Pravesh) and starting a business to sitting for an exam or getting married, Ganesh worship is the foundational bedrock of Hindu life. He brings Riddhi (prosperity) and Siddhi (spiritual intellect), making him an indispensable companion in both material pursuits and spiritual evolution.
Meaning of the Name Ganesh
The names attributed to this beloved deity are rich in linguistic and philosophical depth. Analyzing his primary nomenclature reveals his cosmic governance.
Gana and Isha
The word Ganesha is a Sanskrit compound composed of two words:
Gana: Refers to a group, multitude, or collection of categories. In cosmic terms, the Ganas are the assembly of celestial attendants of Lord Shiva, representing all existing particles, life forms, and elemental forces in the universe.
Isha / Pati: Means lord, master, or ruler.
Meaning of Ganesha
Therefore, Ganesha or Ganapati literally translates to "Lord of the Multitudes" or "Master of the Cosmic Elements." He is the supreme intelligence that organizes the chaotic energies of the universe into an ordered, harmonious creation.
Other Prominent Names
Vinayaka: Meaning "the supreme leader" or "one who has no master above him."
Vighnaharta: "The destroyer of obstacles," reflecting his power to clear paths.
Ekadanta: "The single-tusked one," symbolizing focused determination and non-duality.
Lambodara: "The large-bellied lord," signifying the capacity to contain the entire universe within oneself.
Origin and Birth Story of Lord Ganesh
The Puranic accounts of Lord Ganeshâs birth are highly symbolic narratives packed with profound allegorical meanings.
Birth from Goddess Parvati
The most celebrated account from the Shiva Purana narrates that Goddess Parvati created Ganesh out of pure turmeric paste mixed with her own divine essence. Desiring a loyal guardian while she bathed, she breathed life into the form. When Lord Shiva returned to his abode on Mount Kailash, the young boy, strictly adhering to his mother's commands, barred the supreme deity from entering.
Why Lord Shiva Replaced His Head with an Elephant's Head
An intense confrontation ensued between the celestial armies and the unyielding boy. In a flash of divine fury, Shiva severed the boy's head with his trident (Trishula). Upon realizing that this was Parvati's beloved creation, and witnessing her immense grief and destructive rage, Shiva sought to restore the boy to life. He instructed his attendants to bring the head of the first living creature they encountered facing north. They returned with the head of a powerful, wise elephant. Shiva attached it to the boyâs body, breathing new life into him and ordaining him as the leader of his Ganas.
Spiritual Symbolism of the Story
This story is a profound allegory of spiritual transformation:
The original head represents the human ego (Ahamkara), which is rigid, territorial, and ignorant of ultimate reality.
Shiva represents the Guru or Supreme Consciousness that must dissolve the individual ego.
The elephant head represents cosmic wisdom, supreme intellect, and the boundless consciousness that replaces personal identity during spiritual awakening.
Youtube Mantra Link
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Antique Finishing
This is an antique patina-finished Vajrayogini. This is not an antique statue. It is just an antique patina finish. This Vajrayogini 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 Vajrayogini undergoes a transformation that captures the essence of time and history.
This art form is shrouded in secrecy, as each artisan holds their own closely guarded formulas and methods. With deep knowledge of materials and an artistic sensibility, they skillfully replicate the natural aging process, infusing the Vajrayogini with a sense of authenticity and character. The result is a captivating piece that tells a visual story, evoking a bygone era and adding a touch of allure to any space.
The artist's dedication to creating an aged aesthetic goes beyond mere appearance. It is a deliberate and intentional effort to give the Vajrayogini a unique identity, imbued with the charm and beauty of time. With every carefully applied treatment and artistic touch, the Vajrayogini becomes a work of art that not only stands as a testament to the artisan's skill but also carries a sense of history and narrative, making it truly exceptional.
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Lost-Wax System
This Panas And Sukunda of Vajrayogini 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 (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.
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Iconography :
Vajrayoginī is often described with the epithet sarva-buddha-dakinī, meaning 'the ḍākiṇī who is the Essence of all Buddhas'.Vajrayogini's sādhana, or practice, originated in India between the tenth and twelfth centuries. It evolved from the Chakrasaṃvara sādhana, where Vajrayoginī appears as his yab-yum consort, to become a stand-alone practice of anuttarayoga tantra in its own right. The practice of Vajrayoginī belongs to the Mother Tantra (Tibetan: ma-rgyud) class of anuttarayoga tantra, along with other tantras such as Heruka Chakrasaṃvara and Hevajra.
According to scholar Miranda Shaw, Vajrayoginī is "inarguably the supreme deity of the Tantric pantheon. No male Buddha, including her divine consort, Heruka Chakrasaṃvara, approaches her in metaphysical or practical import."A number of lamas and other contemporary scholars do in fact argue otherwise, as Vajradhāra is widely considered the supreme deity of the Tantric pantheon, but the importance of Vajrayoginī is agreed upon.
Vajrayoginī is visualized as the translucent, deep red form of a 16 year old female with the third eye of wisdom set vertically on her forehead. Vajrayoginī is generally depicted with the traditional accoutrements of a ḍākiṇī including a cleaver (Tib. drigug, Skt. kartṛī) marked with a vajra in her right hand and a kapala (skull cup) in her left hand which is filled with blood that she partakes of with her upturned mouth. Her consort Chakrasaṃvara is often symbolically depicted as a khaṭvāṇga on Vajrayoginī's left shoulder, when she is in 'solitary hero' form. Vajrayoginī's khatvanga is marked with a vajra and from it hang a damaru drum, a bell, and a triple banner. Her extended right leg treads on the chest of red Kālarātri, while her bent left leg treads on the forehead of black Bhairava, bending his head backward and pressing it into his back at the level of his heart. Her head is adorned with a crown of five human skulls and she wears a necklace of fifty human skulls. She is depicted as standing in the center of a blazing fire of exalted wisdom.
Each aspect of Vajrayoginī's form and mandala is designed to convey a spiritual meaning. For example, her brilliant red-colored body symbolizes the blazing of her inner fire (Tib. tummo). Her single face symbolizes that she has realized that all phenomena are of one nature in emptiness. Her two arms symbolize her realization of the two truths. Her three eyes symbolize her ability to see everything in the past, present and future. She looks upward toward the Pure Dākiṇī Land (Skt. Kechara), demonstrating her attainment of outer and inner Pure Dākiṇī Land, and indicating that she leads her followers to these attainments. The curved drigug knife in her right hand shows her power to cut the continuum of the delusions and obstacles of her followers and of all living beings. Drinking the nectar of blood from the kapala in her left hand symbolizes her experience of the clear light of bliss.
In her form as Vajravārāhī, when she is known as 'the Vajra Sow' she is often pictured with a sow's head on the side of her own as an ornament and in one form has the head of a sow herself. Vajrayoginī is often associated with triumph over ignorance, the pig being associated with ignorance in Buddhism. This sow head relates to the origins of Vajravārāhī from the Hindu sow-faced goddess Vārāhī.
The severed-headed form of Vajrayoginī is similar to the Indian goddess Chinnamasta who is recognized by both Hindus and Buddhists
Mantra of Vajrajogni
oṃ oṃ oṃ sa rva bu ddha
ḍā ki ṇī ye va jra va
rṇa nī ye va jra vai ro
ca nī ye hūṃ hūṃ hūṃ pha
ṭ pha ṭ pha ṭ svā hā
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