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Deities an Murties

Deities an Murties Products

Nepal deities
Nepal deities
South Indian Bronze
South Indian Bronze

Deities an Murties

Process of casting Forms of God in Metal

One important reason for Asia’s mystic appearance is its mastery in temple architecture, and everything involved along with that. This knowledge is given in different parts of the Vedas (ancient holy books) and called as Vastu- or Silpa-sastras handed down by the Silpis (Sculptors and Artisans).

One branch of this science is casting the Form of God made with material products (earth, metal mixtures, precious stones and stone) for the worship in temples and private home. Gold was brought from the Himalayas and gold mines in the area to be turned into Vigrahas (Images) and jewellery by this Silpis, and they were also exported to other areas (some asian handwork ship like Buddha’s, jewellery etc. where even found in Viking burial grounds) by the 3th century AD. The method of metal casting practised in the ancient Indian subcontinent is called the lost wax casting method.

Unique in approach, the style involved creating a wax image of final product intended, casting the image in clay and then heating the image so that the wax melts away and leaves a hollow that allows sculptures to pour in molten metal to acquire the wanted shape. Images are created using simple procedures that yield complex and quality results. In south India very complex method of Pancaloham (five metal copper, tin, gold, sliver, brass) in different mixture quantity are described in the Agama and Vastu Sastras and gives the Vigraha (Image) a special look and appearance. Where in North India simple brass mixture are used, and in Nepal and Tibet the Vigrahas getting gold polished with affixed precious stones on each model.

The lost wax metal casting process is described here shortly: A wax image in exact size and details of the desired product is created. The wax images, now with a thick clay covering, are dried. Once hard, they are placed in an oven. The handmade ovens, either inside the earth (used mainly in south India metal casting) or as normal one (used in Nepal and Tibet) though it looks primitive, can achieve temperatures that can melt even gold if required. The wax image within the clay melts away. However, in place of the image remains a hollow space where molten metal can be poured in within the clay structure.

The image is now ready for the next phase of the metal casting process. It needs to cool down. Many of the artisans involved in the process are young. Their work is supervised by a master craftsman. The same oven is again prepared, this time to melt the five metals, or only copper and brass metal the popular metals in use in the North India / Nepal today. The molten different metals are poured into the hollow terra cotta structure along with Vedic mantras to bring out the figure of the God they wish to model. Than the metal is allowed to cool and harden. After this the terra cotta layering is tapped away and the rough image is seen. Now they will bring the appearance in perfection with all described details in the Sastras. Visible cracks and faults are corrected with the expert hand of the stapathy (master craftsman).

Vegetable dyes and agents are used to bring out the colour in some cases. While some small statues are created whole, larger images require the joining of many pieces. The different chisel enhances the details, the statue has to be smooth and perfect before its face and other details can be carved. The statue made in Tibet and Nepal goes to the painters who add expressions with colour or silver and gold layers. Done well, this process doubles the value of the statue in the world wide market.

Otherwise the Vigrahas (Images) are now being brought to the priests who do the final invocation and calling of the Lord to appear in this wonderful Form to be present to bless the worshipper. Only then the full manifest splendour of the Supreme Deity is recognized and worshiped with respect, awe and reference par excellence.