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Yamantaka :
Yama represents the end of one cycle & beginning of another. The deity Yama is wrathful to try to encourage you not to return to a previous cycle or habit. He is there to help you break the cyclical nature of existence [Skt. Samsara so that you can access the higher realm of human consciousness. He is fed up with the attachment of mankind to the Five negative afflictions [Skt. Kleashas] if pushed he has the authority to send you at your physical death to a place of ice & fire.
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 : Brief Introduction
Ganesha is one of the deities best-known and most widely worshiped in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known for many other attributes, Ganesha's elephant head makes him particularly easy to identify. Ganesha is widely revered as the Remover of Obstacles and more generally as Lord of Beginnings and Lord of Obstacles, patron of arts and sciences, and the deva of intellect and wisdom. He is honored at the beginning of rituals and ceremonies and invoked as Patron of Letters during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Iconography Representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century.[38] Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a noose in the other upper arm.
Associations Obstacles
Ganesha is Vighneshvara or Vighnaraja, the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakart? (obstacle-creator) to vighnahart? (obstacle-averter). However, both functions continue to be vital to his character, as Robert Brown explains, "even after the Pur??ic Ga?e?a is well-defined, in art Ga?e?a remained predominantly important for his dual role as creator and remover of obstacles, thus having both a negative and a positive aspect
Buddhi (Knowledge)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word Priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband"
Frist Chakra
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (m?l?dh?ra). Mula means "original, main " adhara means "base, foundation". The Muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests.[95] This association is also attested to in the Ganapati Atharvashirsa. You continually dwell in the sacral plexus at the base of the spine. Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life"
Youtube Mantra Link
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Antique Finishing
This is an antique patina-finished Yamantaka. This is not an antique statue. It is just an antique patina finish. This Yamantaka 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 Yamantaka 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 Yamantaka 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 Yamantaka a unique identity, imbued with the charm and beauty of time. With every carefully applied treatment and artistic touch, the Yamantaka 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 Yamantaka of Yamantaka 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 Yamantaka.
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 :
The five skulls on Yama's diadem represent the Five Negative Affliction Or poisonous Buddhsit_Art_Yamaobstacles [Skt. Kleshas] to spiritual development which are greed, hatred, delusion, jealousy & pride & the transmutation of the five afflictions into the five wisdoms. His special power to change the five troubles is indicated by the tongues of crimson flame that arise from the cranium of each skull. He is painted with a bull's head, and he straddles a blue boar which crushes a human form. In his left hand in the threatening hand position [Skt. Tarjani Mudra] Yama brandishes a skull club [Skt. Kapala Danda] also carried by Kali [Shiva] & Bhairav that symbolises "smashing the veil of ignorance" and the ultimate emptiness of all phenomena which we need to realise the highest Buddhist ideal of Great Bliss [Skt. Mahasukha], pure consciousness and love. The energy is so powerful that it is sealed with a half vajra at the top. The white silk ribbons represents his ability adapt his energy to destroy ignorance in all its forms. In his right hand he holds a rope noose [Skt. Pasha] . One end has a hook and the other a ring which representing the catching & binding of the ego, the possibility of strangulation.
His sister Yami holds a skullcap [Skt. Kapala] held at his heart in his right hand hold red rejuvenating blood of Great Bliss called Raktavarna[skt.] representing 'wisdom'. The white breast ornament represents the wheel of life [Skt. Jivan Chakra] Jivan is a Sanskrit word meaning soul. Chakra means wheel. The wheel of Life is often called the Bhavacakra. Bhava means container or receptacle in the sense of body or form. The degree of wrath & and tantric power a deity has is often measured by the quantity of flame in the aureole of flame surrounding body. Yama is surrounded by a Fire Wheel [Tib. Me-Khor] which represents his ability to annihilate anything or anyone that crosses his path, but especially the obscuration to pure conscious enlightenment of which ignorance is considered the chief poison. The fire wheel radiate as pure psychic energy whose potency is alluded to in Yama's erect penis. Nothing can withstand Yama's fire wheel. In the foreground there are the Three Skull Offerings which represent the items necessary for rebirth. The left & right skulls are traditionally mounted on three smaller skulls. The left blue blood represents semen & the right red blood fertile uterine blood with the central skull contains the offering of the five senses representing the consciousness. The five senses are 1. the heart representing touch, 2. the eyes - sight, 3. tongue - taste, 4. nose - smell & 5. ears - sound. The attached hair indicates its freshness. The offering of the five senses is key to Yama's purpose; the offering is about rebirth the beginning of something new life.
Commentary :
Yama is an ancient Vedic deity. His name comes from the root Ya meaning 'twin' in the sense of to restrain or bound. In Tibet Yama is usually Dam Can Chos rGyal, 'The Pledge Bound Dharma-King'. The later alludes to his conversion to Buddhism by Manjusri, the Bodhisattva of Wisdom in his wrathful manifestation as Yamantaka 'the Destroyer of Yama". There are three common forms of Yama that occur in Tibetan Buddhism which are called respectively the External, Internal, and Secrete Yama. This painting depicts the External or Outer form of Yama who is a Dharma protector invoked to protect devotees from mundane difficulties such as physical illness and hunger. He is the colour blue and is shown in the characteristic fierce standing pose of a protective deity with a pot belly and erect penis. He has the head of a fierce bull with sharply pointed horns and protruding blood shot eyeballs. The bull is an ancient symbol in Indic religions that is associated with Yama and death, but also can symbolize procreation. This ambivalent symbolism is understood in the Buddhist context as the overcoming of death to create eternal life. Yama is personified as a bull as a metaphor of the uncontrolled mind that one must learn to control to overcome death. In his role as lord of hell, Yama should not be confused with Western religious notions of the Devil as the embodiment of evil but as a deity given a task within the greater Buddhist cause of the salvation of all living beings. In Buddhist symbolic terms the overcoming of death by terminating the cycle of rebirth is the ultimate goal and it is Yama who serves as a transformer in that process by embodying impermanence.
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