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Tibetan Buddhist Maitreya Buddha- The Friendly Bodhisattva (Made in Nepal)

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Item Code:	EN26
Specifications:	Copper Sculpture
Height:	11.2 inch
Width:	5.7 inch
Depth:	4.2 inch
Weight:	2.80 kg

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According to some traditions, the period of the Buddhist Law is divided into three stages: a first period of 500 years is of the turning of the Wheel of the Law; a second period of 1,000 years is of its deterioration, and the third period of 3,000 years is the one during which no one practices the Law. After this, Buddhism having disappeared, a new Buddha will appear who will again turn the Wheel. This future Buddha is known as Maitreya. It is believed that Gautama himself enthroned him as his successor.

The word 'maitreya' is derived from the Sanskrit word for friendliness. Thus this bodhisattva is fundamentally said to embody the qualities of amiability and an attitude of well-meaning sympathy.

Maitreya may be considered either as a bodhisattva, according to the sutras, or as a Buddha, according to the tantras. In his iconographic representations, he is shown seated, but the legs, instead of being locked, are pendent. He is the only divinity in the Northern Buddhist pantheon represented seated in this European fashion. He has the signs of a Buddha such as long earlobes, the urna (the auspicious mark between the eyebrows, signifying superhuman qualities), and the ushnisha (cranial bump on the head, symbolizing wisdom), and he wears the robes of a monk.

Maitreya, also known as the future Buddha, who has still to come, is now thought to be waiting in Tushita Heaven for the right time to come down to earth. Tushita heaven is one of the thirty-three heavens over Mount Meru and is considered the special field of Maitreya. Tibetans believe that if someone chants the mantra "The Promise of Maitreya Buddha" in front of his image, that person will be reborn in Tushita Heaven after death.

The two distinctive marks of Maitreya are the stupa in his crown and the scarf wound and tied around his waist.

Shown with an extremely sweet and gentle countenance, he holds in his right hand, between the thumb and forefinger, the stem of a lotus flower. The bloom of this blossom supports the Buddhist wheel of spiritual instruction. His left hand similarly bears a vase at the shoulder level, signifying immortality.

The halo framing Maitreya's slim, perfectly proportioned body is deftly carved with the eight auspicious symbols of Buddhism (Ashtamangala). The throne is tapering and edged; his feet resting on a lotus base. The folds of the dhoti clinging to his legs are rendered realistically, in fact, the whole composition, from the flowing vegetative forms down to the expressive fingers, is a tribute to the masterly skill of the anonymous Newari sculptor whose creation this is.

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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.