One of the earliest Boddhisattvas of Mahayana Buddhism, Vajrapani is the indestructible hand of Buddha, by being his protector and a power of mind to overcome obstacles of pride, anger, hate and jealousy; Vajra means ‘thunderbolt’ or ‘diamond’ and Pani means ‘hand’, he is the one who holds Thunderbolt Sceptor, symbolizing the power of compassion. He is always depicted in a taut posture representing the active warrior pose with the outstretched right hand brandishing a Vajra and left deftly holds a lasso to bind the demons.
Apart from his usual iconography, what strikes most is the unique color combination of chocolaty brown and metallic silver to highlight his key features; Sculpted in a wrathful expression symbolizing yaksha to generate fear in the individual to loosen up his dogmatism. He wears a skull crown with the red hairs standing on end; dense bushy eyebrows, third eye on forehead, serpent coiled around his neck and the loin cloth made of tiger skin are some of the major attributes to justify his wrathfulness. The sculptor has depicted all the features and elements in extreme realism.
Vajrapani Buddha stands here on a supremely carved lotus pedestal with a flamboyant prabhavali at the back having a complimenting gesture of rigorous and fiery carving such that of the Buddha himself. He is often depicted in front of Buddha temples justifying his nature of being Shakyamuni’s protector.
Embodiment of Power and Wisdom
This exquisite copper statue, meticulously crafted in Nepal, depicts Vajrapani, one of the primary enlightened beings in Tibetan Buddhism. Vajrapani, meaning "Vajra in Hand," is revered as the embodiment of the power of all Buddhas, symbolizing their ability to overcome obstacles and negative forces. In Tibetan tradition, he is often considered the wrathful manifestation of the Buddha's power, much like how thunderbolts, or vajras, are seen as potent forces of nature. His fierce form is not one of anger, but of compassionate intensity, dedicated to protecting the Dharma and its followers from spiritual and worldly harm.A Protector and Guide
Vajrapani's iconography is rich with symbolic meaning. His formidable countenance, with a terrifying yet benevolent expression, is designed to inspire awe and dispel fear. The flaming aureole behind him represents the blazing wisdom that burns away ignorance and delusion. His wild, flowing hair signifies his untamed energy and his role in subduing negative influences. Often depicted with a vajra scepter in his right hand, he wields this thunderbolt of enlightenment to shatter spiritual misconceptions and the veils of illusion. His left hand may be in a gesture of reprimand or threatening, emphasizing his protective stance. The flowing scarves and intricate adornments speak to his divine nature and celestial power. Legends tell of Vajrapani's role in protecting the Buddha himself, and his continued vigilance in safeguarding spiritual seekers on their path to liberation.Artistry from the Himalayas
Each detail of this statue reflects the skilled artistry of Nepalese craftspeople. The use of copper, a precious metal associated with purity and auspiciousness, lends a tangible weight and reverence to the piece. The intricate detailing, from the musculature of Vajrapani's form to the delicate patterns on his adornments and the dynamic depiction of the flame halo, showcases a deep understanding of iconographic tradition and masterful metalworking techniques passed down through generations. This statue is not merely an object of art, but a sacred representation, imbued with the spiritual significance and cultural heritage of the Himalayan region. Its compact size makes it an ideal addition to a personal altar, meditation space, or as a unique and meaningful gift for those drawn to the profound wisdom and protective energy of Tibetan Buddhism.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.
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.
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.
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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