A majorly revered deity in
traditions of Mahayana and Vajrayana Buddhism - this is a gold-plated copper
statue of Vajrasattva. Seated in a padmasana, his soles face the sky in his
positioning on the Padma. The energy of this form of bodhisattva
has been a crucial part of Tantric and Yogic initiations in Tibetan Buddhism
historically and contemporarily. With his face reading heightened enrichments -
he holds a Dril-bu (bell) and Dorje (specter) in each of his hands.
An Embodiment of Purity and Purification
This exquisite statue depicts Vajrasattva, a central figure in Vajrayana Buddhism, renowned as the deity of purification. Revered for his ability to cleanse negative karma and obscurations, Vajrasattva embodies the unwavering clarity and potent force of the enlightened mind. The masterful craftsmanship evident in this piece, originating from Nepal, reflects the profound spiritual heritage and artistic traditions of the region. Rendered in rich copper with a gleaming gold finish, the statue emanates a divine radiance that draws the viewer into contemplation.
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Symbolism and Iconography
Vajrasattva is typically depicted in a seated posture, symbolizing his steadiness and groundedness in wisdom. In this representation, he is adorned with a crown and jewels, signifying his regal status as a Buddha. His serene countenance, with eyes cast in a peaceful gaze, conveys profound compassion and spiritual authority. The right hand, held near the heart, clutches a vajra (a ritualistic scepter), representing the indestructibility of enlightened awareness and the skillful means used to cut through ignorance. The left hand, resting on his lap, holds a bell (ghanta), symbolizing wisdom and the blissful emptiness that underlies all phenomena. The fusion of these two implements—the vajra and the bell—represents the inseparability of wisdom and compassion, a core tenet of Buddhist philosophy. The intricate detailing of his robes, the flowing strands of hair, and the delicate ornamentation all speak to the meticulous skill of the artisans.
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The Vajrasattva Practice
In Buddhist practice, the mantra of Vajrasattva, "Om Vajrasattva Hum," is widely recited for purification. This practice is believed to cleanse the practitioner of disturbing emotions, negative actions, and broken vows, paving the way for spiritual progress and the realization of one's innate Buddha-nature. The presence of such a statue can serve as a powerful reminder of this transformative practice, encouraging mindfulness and ethical conduct. The deity's association with purity also links him to the concept of the "primordial state" or the original, untainted awareness that exists within all beings, waiting to be uncovered. In some traditions, Vajrasattva is also seen as the essence of all Buddhas, embodying their Vajra nature – the diamond-like, unshakeable clarity of their awakened minds. This statue, therefore, is not merely an object of veneration but a tangible representation of the profound path to spiritual liberation.
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.
