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Buddha in the Bhumisparsha Mudra

CHF113
Includes any tariffs and taxes
Specifications
ZO96
Copper Sculpture gilded with 24 Karat Gold
Height: 5.3 inch
Width: 3.5 inch
Depth: 2.5 inch
Weight 2 kg
Delivery and Return Policies
Returns and Exchanges accepted within 7 days
Free Delivery
Easy Returns
Easy Returns
Return within 7 days of
order delivery.See T&Cs
Fully Insured
Fully Insured
All orders are fully insured
to ensure peace of mind.
100% Handmade
100% Handmade
All products are
MADE IN INDIA.

An Invitation to Stillness

This meticulously crafted sculpture invites a sense of serenity and mindfulness into any space. Originating from Nepal, a land steeped in Buddhist tradition and artistry, this piece serves as a powerful reminder of the Buddha's enlightenment and the unwavering strength found within oneself. The statue embodies a legacy of spiritual practice and artistic mastery. The detailed ornamentation, the peaceful expression, and the radiant 24 Karat gold gilding combine to create an object of enduring beauty and spiritual significance.

The Bhumisparsha Mudra: Calling the Earth to Witness

The defining characteristic of this exquisite statue is the *Bhumisparsha Mudra*, often translated as the "earth-touching gesture." This mudra holds profound significance, representing the pivotal moment in Siddhartha Gautama's journey to enlightenment. As the story goes, while meditating under the Bodhi tree, Siddhartha was tempted by Mara, a demon who sought to dissuade him from attaining enlightenment. Mara unleashed his armies and temptations upon Siddhartha, but he remained steadfast in his resolve. In the face of these challenges, Siddhartha reached his right hand down to touch the earth. This simple yet powerful gesture invoked the Earth Goddess, Sthavara, to bear witness to his past lives of virtue and spiritual practice. The Earth trembled, and Sthavara testified to Siddhartha's worthiness, causing Mara and his forces to flee in disarray. The *Bhumisparsha Mudra* thus symbolizes unwavering determination, overcoming obstacles, and the ultimate triumph of truth over illusion. It's a potent reminder that enlightenment is achievable through perseverance and grounding oneself in reality.

Craftsmanship of Nepal: A Legacy of Art

Crafted in Nepal, this sculpture exemplifies the renowned artistry of the region. Nepalese artisans have long been celebrated for their skill in creating sacred objects, employing techniques passed down through generations. This piece showcases the meticulous detail and profound understanding of Buddhist iconography that characterizes Nepalese craftsmanship. The copper base provides a strong foundation, while the application of 24 Karat gold leaf lends an ethereal glow, symbolizing purity and transcendence. The dimensions of 5.3 x 3.5 x 2.5 inches make it a perfect addition to a meditation space, altar, or any area where a touch of mindful contemplation is desired.

How are Nepalese copper statues made?

Nepalese statues and sculptures are best known for their unique small religious figures and ritual paraphernalia for over two thousand years. These are mainly cast in copper alloy. Nepal draws influences from the artistic styles of Buddhism and Hinduism, and therefore the sculptors of the country specialize in making the icons of both these religions. Over the years, Nepalese sculptures evolved into their own distinctive iconography. Some characteristic features of these sculptures that differ from other pieces are exaggerated physical postures, youthful and sensual features, languid eyes, wider faces having serene expressions, and ornate flourishes. The Buddhist deity icons of Nepal have tremendous demand in countries such as China and Tibet for ritual purposes in their temples and monasteries.

Nepalese statues and sculptures have a high copper content and therefore develop a slightly reddish patina on the surface as they age. However, the most unique feature of Nepalese copper statues is their decorative detailing. The pieces are heavily gilded and sometimes inlaid with semi-precious stones. This embellishment protects them from getting tarnished. The traditional lost-wax method for casting Nepalese copper statues remains the most practiced technique in Nepal for many centuries. This process involves many steps and requires skilled artists.

The first step in lost-wax sculpting is to make a wax replica of the desired Buddhist deity to be cast in copper. This replica is created by hand and therefore needs excellent artistic skills otherwise fine features will be lacking.

Once the wax replica is made, it is then coated with a special mixture of clay with a brush. This layer of clay is hardened when left to dry. A small hole is made on the base of the wax mould so that the wax flows away when it is heated.
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At this stage, a hollow mould in the shape of the deity is obtained.

This is the time to pour liquid copper into the hollow mould which is then allowed to cool and harden inside a container of cold water. When the liquid metal has hardened, the mould is removed and the statue within is revealed.
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The artist works on the details of the statue using various tools. It is then polished to get a shiny and lustrous surface.

Now comes the most important part of Nepalese art which is gold gilding. This is done by the traditional fire gilding method. A mixture of mercury and 18K gold is applied on the surface of the statue and heat is applied using a flame torch. The result is that mercury evaporates along with impurities, leaving a pure 24K gold finish.
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The lost-wax method of sculpting is the most preferred technique

for artists to cast a metallic statue having intricate details. Since Nepalese copper sculptures require extraneous effort for giving a majestic look by adding special embellishments, it takes several weeks to complete one masterpiece. A 24K gold gilded copper sculpture retains its brilliant luster for many years and appears as like before. Nepalese sculptures continue to remain one of the finest specimens of the art of the East that have a strong aesthetic appeal that other sculptures cannot match.
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