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Merging Into Eternity (Mahaparinirvana Buddha)

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The Buddha’s figure reclining on bare land with head supported on his right hand palm, the face glowing with ananda and a divine quiescence enshrining it, more composed than ever before, eyes closed as in eternal sleep, old but no wrinkles revealing age and the forehead not betraying any sign of anxiety or concern, vigorous and fresh as ever, turned to north, perhaps Himalayas where he was born, and the ultimate home of the ‘Dhamma’ – Buddhist Law, an indication of future, represents what is known in the Buddhist iconographic tradition ‘Buddha’s Mahaparinirvana’ – final extinction. This image cast in brass, excelling all descriptions in regard to grace, elegance, finish and sculptural quality, is the most accomplished model of the Buddha’s image manifesting Mahaparinirvana.

The Mahaparinirvana Buddha is considered more sacred than any of his other images, not even one representing him engaged in penance or meditation, or setting the wheel of Law in motion, perhaps for representing extinction: ascent to the plane where release is final with no birth or death beyond.

Mahaparinirvana is also the most celebrated image of the Buddha in all art traditions, Gandhara, Vakatakas or Pala, and enshrines many major Buddhist sites including Ajanta, a massive sculpture representing his Mahaparinirvana, datable to the sixth century, enshrining Cave 26. It is also one of the main five classes of the Buddha’s images identified in the Buddhist iconography, the other four being meditating Buddha – the Sakya-muni as also emaciated Buddha, Buddha in earth-touching posture, Buddha delivering first sermon, and Buddha, the universal teacher.

The most sublime the moment was as much emotional, not merely for those left behind but also to him who knew he was never to come back. The Buddha was now quite old and feeble but after Ajatashatru, who had great aversion for him, assassinated his father king Bimbasara and occupied the throne of Rajagriha, Buddha shifted to Shravasti; however, his attachment to Rajagriha was ever the same. Though beyond bonds, the incidence had broken his heart. He realised that his material frame was failing. Before he bade farewell to this world he desired to visit all places he had reminiscences of. As it happened, Ajatashatru before long realised his sin and made a public confession of it. He apologized to Buddha and joined Buddhist congregation. On his prayer Buddha came to Rajagriha. After some time when he left and was on the point of crossing the river Ganga, he stood on a stone block and turning his eyes back to Rajagriha said, full of emotion, ‘This is the last time that I shall see that city.’

Thereafter Buddha visited Vaishali. His farewell to Vaishali was as emotional. Then he headed towards Kushinagar. When almost close to the town, his vital strength began failing. Realising his end close, he halted in a forest-part and in the centre of two Sal trees made his bed on the bare land with a stone-piece, his cushion, under his head. He straightened his figure with his head on the north. He lied on his right supporting his head on his right hand. He saw the pain of losing their Master on the faces of his disciples accompanying him, Ananda in particular. He called him close and besides consoling commanded that the end of his material body is not the end of his words, his message. Let the Rule of Dhamma prevail and let the truth be everyone’s torch and guide and in its light let everyone seek one’s means of attaining knowledge.

The end had approached. He was surrounded by disciples with tears in eyes. They served him his last meal that he ate. Then lying on his right, he addressed his disciples for the last time: ‘Behold now, brethren, I exhort you, saying, Decay is inherent in all component things. Work out your salvation with diligence.’ And, then, the Great Master breathed his last. Hearing the news the Kushinagar king made appropriate arrangement for his funeral. Kings of neighbouring states and thousands of disciples assembled in Kushinagar. As the Buddhist mythology has it, his body lay for six days and it was only on the seventh that it could be laid on the great pyre prepared for him. Again, the pyre did not ignite for some time but did when the appointed moment came. Thus, the Buddha himself set his bed for the last journey, ascended the pyre when chose and fixed the hour when his body transformed into ashes. After the pyre extinguished, there emerged from ashes a heap of what looked like shining pearls.

The highlight of this statue is the Buddha’s clinging drape, casually conforming to his body’s contours, and worked all over with an arabesque pattern, its folds falling over each other and enfolding the Buddha like a second skin.

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Item Code:	WSB192
Specifications:	Brass Statue
Height:	19 inch
Width:	48 inch
Depth:	12 inch
Weight:	59.30 kg

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100% Made in India

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How to keep a Brass statue well-maintained?

Brass statues are known and appreciated for their exquisite beauty and luster. The brilliant bright gold appearance of Brass makes it appropriate for casting aesthetic statues and sculptures. Brass is a metal alloy composed mainly of copper and zinc. This chemical composition makes brass a highly durable and corrosion-resistant material. Due to these properties, Brass statues and sculptures can be kept both indoors as well as outdoors. They also last for many decades without losing all their natural shine.

Brass statues can withstand even harsh weather conditions very well due to their corrosion-resistance properties. However, maintaining the luster and natural beauty of brass statues is essential if you want to prolong their life and appearance.

The best and simplest way to maintain a brass statue is to clean it at least twice a week using a soft cloth or cotton rag. This will prevent dust from accumulating on the surface. Dusting is especially important for outdoor statues since it is prone to dust accumulation much more than indoors.

To give a natural shine and luster to the statue, you may apply coconut or olive oil using cotton on every portion. You can use a toothbrush to get to the small crevices but do not be too harsh. This will make the brass statue appear fresh and new with a polished look.

In case you have a colored brass statue, you may apply mustard oil using a soft brush or clean cloth on the brass portion while for the colored portion of the statue, you may use coconut oil with a cotton cloth.

Brass idols of Hindu Gods and Goddesses are especially known for their intricate and detailed work of art. Nepalese sculptures are famous for small brass idols portraying Buddhist deities. These sculptures are beautified with gold gilding and inlay of precious or semi-precious stones. Religious brass statues can be kept at home altars. You can keep a decorative brass statue in your garden or roof to embellish the area and fill it with divinity.

Frequently Asked Questions

Q. Is the statue hollow or solid ?

A. Brass statues are made through a process of clay casting, hence are hollow. Whereas, panchaloha bronze statues are made through a process of lost wax casting, hence they are solid.
Q. Can I see the original photo of the product ?

A. For original pictures of the statue, kindly email us at [email protected].
Q. Can I return the statue ?

A. All returns must be postmarked within seven (7) days of the delivery date. All returned items must be in new and unused condition, with all original tags and labels attached. To know more please view our return policy.
Q. Can you customise the statue for me ?

A. For any customisation, kindly email us at [email protected].