Standing
against inflaming aureole that brings a dramatic aesthetics to the composition,
this handmade
copper statue from Nepal belongs to Kajupa Mahakala, a protector deity of
the Karma Kagyu school of Vajrayana Buddhism. Mahakala holds a chopper in his hand,
symbolizing the severing of negative thoughts, and carries a skull while
standing on bodies, depicting his victory over death. A brilliant use of colors
on the whole icon lends it with a sense of animation, which amplifies the aura
of the mighty Buddhist protector.
The Ferocious Protector: Mahakala's Vigilant Presence
This awe-inspiring copper statue embodies the wrathful aspect of Avalokiteshvara, the Bodhisattva of Compassion, revered in Tibetan Buddhism as Mahakala. Known as the "Great Black One," Mahakala is a powerful protector deity, a manifestation of compassion that confronts and vanquishes the obstacles and negativities that hinder spiritual progress. This two-armed rendition, skillfully crafted in Nepal, captures the dynamic energy and fearsome visage that defines this revered figure.
The statue is meticulously sculpted from copper and then lavishly gilded with 24-karat gold, lending it a radiant and divine aura. Mahakala's fierce expression, with bared fangs and a formidable third eye signifying profound insight, is a testament to his role in overcoming ignorance and delusion. His dynamic posture, with one leg raised and the other firmly planted, conveys a sense of unstoppable momentum, symbolizing his relentless pursuit of dispelling negativity. The swirling nimbus of flames that surrounds him represents the purification fire that consumes all impurities and obscurations.Iconography and Symbolism: Unveiling Deeper Meanings
The iconography of Mahakala is rich with symbolic meaning. In his hands, he often holds attributes that signify his power and purpose. Here, he clutches a skull cup, representing the emptiness of all phenomena and the transcendence of ego. The symbolic representations on the base, often depicting subjugated demons or beings, highlight Mahakala's dominion over the forces that impede enlightenment. His wrathful form is not one of anger or malice, but rather an expression of his fierce dedication to protecting practitioners on their spiritual path, clearing the way for liberation. This deity is often invoked in rituals to remove obstacles, avert misfortune, and safeguard against spiritual and material harm.
The artistry of this statue, originating from Nepal, reflects a deep understanding of Buddhist iconography and centuries-old craftsmanship. The intricate details, from the adornments and ornaments Mahakala wears to the expressive features of his face, are executed with remarkable precision. The vibrant colors adorning the flames and the base further enhance the visual impact, drawing the viewer into the powerful presence of this protector deity. This piece serves not only as a devotional object but also as a remarkable work of art, a tangible representation of profound spiritual concepts.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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