The Citipati are two skeletons, one of a man and the other of a woman, represented with arms and legs interlaced, dancing the Tsam dance. They are considered to be masters of the cemetery. The Citipati are one of the seventy-five forms of Mahakala and are visible reminders of the impermanence of everything worldly. Their mouths are parted in a large grin, showing all their teeth. Each wears a long scarf. According to a Northern Buddhist legend, the Citipati were, in a former existence, two ascetics who were once lost in such deep meditation that they did not notice that a thief had cut off their heads and thrown them in the dust. Since that time they have been ferocious enemies of thieves, having vowed eternal vengeance. This legend is somewhat similar to that of Yama. In the cemetery, the Citipati are supposed to perform a skeleton ritual dance during which they blow the Tibetan long horns. In most monasteries the dance, symbolic of the cycle of life and death, is performed in the monastery cemetery once in summer and once in winter by monks wearing masks.

In Hinduism, Durga meaning ("the inaccessible"or "the invincible") or Maa Durga one who can redeem in situations of utmost distress" is a form of Devi, the supremely radiant goddess, depicted as having eighteen arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practicing mudras, or symbolic hand gestures.[citation needed] The name is made of Sanskrit dur "with difficulty" and gā ("come", "go").

Youtube Mantra Link

Representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century.[38] Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a noose in the other upper arm.

Obstacles
Ganesha is Vighneshvara or Vighnaraja, the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakart? (obstacle-creator) to vighnahart? (obstacle-averter). However, both functions continue to be vital to his character, as Robert Brown explains, "even after the Pur??ic Ga?e?a is well-defined, in art Ga?e?a remained predominantly important for his dual role as creator and remover of obstacles, thus having both a negative and a positive aspect

Buddhi (Knowledge)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word Priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband"

Frist Chakra
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (m?l?dh?ra). Mula means "original, main " adhara means "base, foundation". The Muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests.[95] This association is also attested to in the Ganapati Atharvashirsa. You continually dwell in the sacral plexus at the base of the spine. Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life"

Mantra of Amitayus

Buddha Aparimita is invoked or worshipped for lengthening the life span or fast relief from dreadful diseases or from mortal danger. In Nepalese Mahayana tradition the dharani of Buddha Aparimita is often recited by the devotees in the presence of dying patients. the recitation of this dharani is said to be efficacious when carried out in utter sincerity. It is said that the famous Madhayamika Buddhist philosopher Arya Nagarjuna had escaped his early death after recitation of this dharani for one complete day and night.

In September of 2007 Nepal's state-run airline confirmed that it had sacrificed two goats to appease Akash Bhairab, whose symbol is seen on the company's planes, following technical problems with one of its aircraft. Nepal Airlines said the animals were slaughtered in front of the plane - a Boeing 757 - at Kathmandu airport. . The airline said that after the ceremony the plane successfully completed a flight to Hong Kong. "The snag in the plane has now been fixed and the aircraft has resumed its flights," senior airline official Raju KC was quoted as saying. The company did not say what the problem was, but reports in local media had blamed an electrical fault.

The right hand raised to shoulder height, the arm crooked, the palm of the hand facing outward, and the fingers upright and joined. The left hand hangs down at the side of the body. In Thailand, and especially in Laos, this mudra is associated with the movement of the walking Buddha (also called 'the Buddha placing his footprint'). It is nearly always used in images showing the Buddha upright, either immobile with the feet joined, or walking.



This mudra, which initially appears to be a natural gesture, was probably used from prehistoric times as a sign of good intentions - the hand raised and unarmed proposes friendship, or at least peace; since antiquity, it was a plain way of showing that you meant no harm since you did not carry any weapon.
Buddhist tradition has an interesting legend behind this mudra:

Devadatta, a cousin of the Buddha, through jealousy caused a schism to be caused among the disciples of Buddha. As Devadatta's pride increased, he attempted to murder the Buddha. One of his schemes involved loosing a rampaging elephant into the Buddha's path. But as the elephant approached him, Buddha displayed the Abhaya mudra, which immediately calmed the animal. Accordingly, it indicates not only the appeasement of the senses, but also the absence of fear.

In Gandhara art, this mudra was sometimes used to indicate the action of preaching. This is also the case in China where it is very commonly found in images of the Buddha, mainly in the Wei and Sui eras (fourth to seventh centuries).

The Abhaya mudra is displayed by the fifth Dhyani Buddha, Amoghasiddhi. He is also the Lord of Karma in the Buddhist pantheon. Amoghasiddhi helps in overcoming the delusion of jealousy. By meditating on him, the delusion of jealousy is transformed into the wisdom of accomplishment. This transformation is hence the primary function of the Abhaya mudra.

But it is not just the divine Buddha who is credited with making mudras. Every position assumed and every gesture performed by our mortal body may be said to imprint its seal on the Ether, and sent forth a continuous stream of vibrations that impress the atmosphere. But to be really effective there must be a deliberate and intended arrangement of the body or parts of the body. Such an arrangement is nothing but the yoga of mudra. It is interpreted as being able to bring the physiological system in harmony with the cosmic forces and so form a magical microcosm through which the macrocosm can be represented, channeled, and utilized. The mudra in all its variations is, therefore, a traditional body pattern; an archetypal posture of performed occult significance.

We perform mudras in every action, every moment of the day. Each action is a symbol of our underlying mental and physical condition and results because of the various energy patterns forming within our being. These patterns determine our personality character and mannerism and expressions. Thus our every moment is an expression of our inner-nature. Consciously performing mudras allow us to become more aware of inner energy and to control it so that we make the most of each moment. The effect is total, at once subtle but powerful. In this way, we learn to integrate our dissipated thoughts and actions, so that life becomes a graceful flow of energy and understanding. Our whole being can then become a mudra, a gesture of life within, reflecting into our external life.

In this mudra the thumb and index finger of both hands touch at their tips to form a circle. This circle represents the Wheel of Dharma, or in metaphysical terms, the union of method and wisdom.



The three remaining fingers of the two hands remain extended. These fingers are themselves rich in symbolic s

ignificance:

The three extended fingers of the right hand represent the three vehicles of the Buddha's teachings, namely:



The middle finger represents the 'hearers' of the teachings

The ring finger represents the 'solitary realizers'

The Little finger represents the Mahayana or 'Great Vehicle'.





The three extended fingers of the left hand symbolize the Three Jewels of Buddhism, namely, the Buddha, the Dharma, and the Sangha.



Significantly, in this mudra, the hands are held in front of the heart, symbolizing that these teachings are straight from the Buddha's heart.



This mudra is displayed by the first Dhyani Buddha Vairochana. Each of the five Dhyani Buddhas is associated with a specific human delusion, and it is believed that they help mortal beings in overcoming them. Thus, Vairochana is believed to transform the delusion of ignorance into the wisdom of reality. By displaying the Dharmachakra mudra, he thus helps adepts in bringing about this transition.

When made with both hands, the hands are generally held at the level of the stomach or on the thighs. The right hand is placed above the left, with the palms facing upwards, and the fingers extended. In some cases the thumbs of the two hands may touch at the tips, thus forming a mystic triangle. The esoteric sects obviously attribute to this triangle a multitude of meanings, the most important being the identification with the mystic fire that consumes all impurities. This triangle is also said to represent the Three Jewels of Buddhism, mentioned above, namely the Buddha himself, the Good Law and the Sangha.



The Dhyana mudra is the mudra of meditation, of concentration on the Good law, and of the attainment of spiritual perfection. According to tradition, this mudra derives from the one assumed by the Buddha when meditating under the pipal tree before his Enlightenment. This gesture was also adopted since time immemorial, by yogis during their meditation and concentration exercises. It indicates the perfect balance of thought, rest of the senses, and tranquility.



This mudra is displayed by the fourth Dhyani Buddha Amitabha, also known as Amitayus. By meditating on him, the delusion of attachment becomes the wisdom of discernment. The Dhyana mudra helps mortals achieve this transformation.

The five extended fingers in this mudra symbolize the following five perfections:

Generosity
Morality
Patience
Effort
Meditative Concentration

This mudra is rarely used alone, but usually in combination with another made with the right hand, often the Abhaya mudra (described below). This combination of Abhaya and Varada mudras is called Segan Semui-in or Yogan Semui-in in Japan.

Mantra of Vajrajogni

Vajrayoginī is often described with the epithet sarva-buddha-dakinī, meaning 'the ḍākiṇī who is the Essence of all Buddhas'.Vajrayogini's sādhana, or practice, originated in India between the tenth and twelfth centuries. It evolved from the Chakrasaṃvara sādhana, where Vajrayoginī appears as his yab-yum consort, to become a stand-alone practice of anuttarayoga tantra in its own right. The practice of Vajrayoginī belongs to the Mother Tantra (Tibetan: ma-rgyud) class of anuttarayoga tantra, along with other tantras such as Heruka Chakrasaṃvara and Hevajra.



According to scholar Miranda Shaw, Vajrayoginī is "inarguably the supreme deity of the Tantric pantheon. No male Buddha, including her divine consort, Heruka Chakrasaṃvara, approaches her in metaphysical or practical import."A number of lamas and other contemporary scholars do in fact argue otherwise, as Vajradhāra is widely considered the supreme deity of the Tantric pantheon, but the importance of Vajrayoginī is agreed upon.


Vajrayoginī is visualized as the translucent, deep red form of a 16 year old female with the third eye of wisdom set vertically on her forehead. Vajrayoginī is generally depicted with the traditional accoutrements of a ḍākiṇī including a cleaver (Tib. drigug, Skt. kartṛī) marked with a vajra in her right hand and a kapala (skull cup) in her left hand which is filled with blood that she partakes of with her upturned mouth. Her consort Chakrasaṃvara is often symbolically depicted as a khaṭvāṇga on Vajrayoginī's left shoulder, when she is in 'solitary hero' form. Vajrayoginī's khatvanga is marked with a vajra and from it hang a damaru drum, a bell, and a triple banner. Her extended right leg treads on the chest of red Kālarātri, while her bent left leg treads on the forehead of black Bhairava, bending his head backward and pressing it into his back at the level of his heart. Her head is adorned with a crown of five human skulls and she wears a necklace of fifty human skulls. She is depicted as standing in the center of a blazing fire of exalted wisdom.



Each aspect of Vajrayoginī's form and mandala is designed to convey a spiritual meaning. For example, her brilliant red-colored body symbolizes the blazing of her inner fire (Tib. tummo). Her single face symbolizes that she has realized that all phenomena are of one nature in emptiness. Her two arms symbolize her realization of the two truths. Her three eyes symbolize her ability to see everything in the past, present and future. She looks upward toward the Pure Dākiṇī Land (Skt. Kechara), demonstrating her attainment of outer and inner Pure Dākiṇī Land, and indicating that she leads her followers to these attainments. The curved drigug knife in her right hand shows her power to cut the continuum of the delusions and obstacles of her followers and of all living beings. Drinking the nectar of blood from the kapala in her left hand symbolizes her experience of the clear light of bliss.



In her form as Vajravārāhī, when she is known as 'the Vajra Sow' she is often pictured with a sow's head on the side of her own as an ornament and in one form has the head of a sow herself. Vajrayoginī is often associated with triumph over ignorance, the pig being associated with ignorance in Buddhism. This sow head relates to the origins of Vajravārāhī from the Hindu sow-faced goddess Vārāhī.



The severed-headed form of Vajrayoginī is similar to the Indian goddess Chinnamasta who is recognized by both Hindus and Buddhists

In the hub of the wheel are three animals: a pig, a snake, and a bird. They represent the three poisons of ignorance, attachment, and aversion. The pig stands for ignorance; this comparison is based on the Indian concept of a pig being the most foolish of animals, since it sleeps in the dirtiest places and eats whatever comes to its mouth. The snake represents aversion or anger; this is because it will be aroused and strike at the slightest touch. The bird represents attachment (also translated as desire or clinging). The particular bird used in this diagram represents an Indian bird that is very attached to its partner. These three animals represent the three poisons, which are the core of the Wheel of Life. From these three poisons, the whole cycle of existence evolves.

Second Layer Karma
The second layer of the wheel shows two-half circles:
One half-circle (usually light) shows contented people moving upwards to higher states, possibly to the higher realms.
The other half-circle (usually dark) shows people in a miserable state being led downwards to lower states, possibly to the lower realms.
These images represent karma, the law of cause and effect. The light half-circle indicates people experiencing the results of positive actions. The dark half-circle indicates people experiencing the results of negative actions.

Third layer: the six realms of samsara
God realm:the gods lead long and enjoyable lives full of pleasure and abundance, but they spend their lives pursuing meaningless distractions and never think to practice the dharma. When death comes to them, they are completely unprepared; without realizing it, they have completely exhausted their good karma (which was the cause for being reborn in the god realm) and they suffer through being reborn in the lower realms

Demi-god realm:the demi-gods have pleasure and abundance almost as much as the gods, but they spend their time fighting among themselves or making war on the gods. When they make war on the gods, they always lose, since the gods are much more powerful. The demi-gods suffer from constant fighting and jealousy, and from being killed and wounded in their wars with each other and with the gods.

Human realm: humans suffer from hunger, thirst, heat, cold, separation from friends, being attacked by enemies, not getting what they want, and getting what they don't want. They also suffer from the general sufferings of birth, old age, sickness and death. Yet the human realm is considered to be the most suitable realm for practicing the dharma, because humans are not completely distracted by pleasure (like the gods or demi-gods) or by pain and suffering (like the beings in the lower realms).

The three lower realms are:

Animal realm: wild animals suffer from being attacked and eaten by other animals; they generally lead lives of constant fear. Domestic animals suffer from being exploited by humans; for example, they are slaughtered for food, overworked, and so on.

Hungry ghost realm: hungry ghosts suffer from extreme hunger and thirst. They wander constantly in search of food and drink, only to be miserably frustrated any time them come close to actually getting what they want. For example, they see a stream of pure, clear water in the distance, but by the time the get there the stream has dried up. Hungry ghosts have huge bellies and long thin necks. On the rare occasions that they do manage to find something to eat or drink, the food or water burns their neck as it goes down to their belly, causing them intense agony.

Hell realm: hell beings endure unimaginable suffering for eons of time. There are actually eighteen different types of hells, each inflicting a different kind of torment. In the hot hells, beings suffer from unbearable heat and continual torments of various kinds. In the cold hells, beings suffer from unbearable cold and other torments.

Generally speaking, each realm is said to be the result of one of the six main negative emotions: pride, jealousy, desire, ignorance, greed, and anger. Dzongsar Khyentse states:
So we have six realms. Loosely, you can say when the perception comes more from aggression, you experience things in a hellish way. When your perception is filtered through attachment, grasping or miserliness, you experience the hungry ghost realm. When your perception is filtered through ignorance, then you experience the animal realm. When you have a lot of pride, you are reborn in the god realm. When you have jealousy, you are reborn in the asura (demi-god) realm. When you have a lot of passion, you are reborn in the human realm. Among the six realms, the human realm is considered to offer the best opportunity to practice the dharma. Dzongsar Khyentse states:

If we need to judge the value of these six realms, the Buddhists would say the best realm is the human realm. Why is this the best realm? Because you have a choice... The gods don't have a choice. Why? They're too happy. When you are too happy you have no choice. You become arrogant. The hell realm: no choice, too painful. The human realm: not too happy and also not too painful. When you are not so happy and not in so much pain, what does that mean? A step closer to the normality of mind, remember? When you are really, really excited and in ecstasy, there is no normality of mind. And when you are totally in pain, you don't experience normality of mind either. So someone in the human realm has the best chance of acquiring that normality of mind. And this is why in Buddhist prayers you will always read: ideally may we get out of this place, but if we can't do it within this life, may we be reborn in the human realm, not the others.

Sometimes, the wheel is represented as only having five realms because the God realm and the Demi-god realm are combined into a single realm.
In some representations of the wheel, there is a buddha or bodhisattva depicted within each realm, trying to help sentient beings find their way to nirvana.

According to ancient tradition, Queen Maya, his mother, first had a dream of a beautiful white elephant coming down into her womb, and this was interpreted as a sign that the Buddha, or a universal emperor, was about to be born. When her time came, Queen Maya went into the garden and gave painless birth to the bodhisattva. He immediately walked, spoke, and was received by Brahma.

Five days after his birth, the young prince received the name of Siddhartha. When his parents took him to the temple, the statues of the gods prostrated themselves before him, great were the rejoicings of the people over the birth of this illustrious prince. Also at this time a devout old man named Asita came down from the Himalayas to meet the newborn prince. An ascetic of high spiritual attainments, Asita was particularly pleased to hear this happy news. Having been a tutor to the King, he visited the palace to see the royal baby. The king, who felt honoured by his unexpected visit, carried the child up to him in order to make the child pay him due reverence. To the surprise of all, the child's legs turned and rested on the matted locks of the ascetic.

Instantly, the ascetic rose from his seat and recognizing in the young child the 80 signs that are pledges to a highly religious vocation, and foreseeing with his supernormal vision the child's future greatness, saluted him with clasped hands. The Royal father did likewise. The great ascetic smiled at first and then was sad. Questioned regarding his mingled feelings, he answered that he smiled because the prince would eventually become a Buddha, an Enlightened One, and he was sad because he would not be able to benefit from the superior wisdom of the Enlightened One owing to his prior death and rebirth in a Formless Plane.

After seven days Queen Maya died, and her place as mother was taken by her sister, whose devotion and love became legendary.

When the young prince was in his twelfth year, the king called the wise Brahmans in council. They revealed that Siddhartha would devote himself to asceticism if he cast his eyes on age, sickness, or death ~ and, if he were to meet a hermit.

Wanting his son to be a universal monarch instead, the king surrounded the palace with a triple enclosure and guard and proclaimed that the use of the words death and grief were forbidden. The most beautiful princess in the land, Yasodhara, was found for his bride, and after Siddhartha proved himself in many tournaments calling for strength and prowess, when he was 16, the two were wed.

Siddhartha was kept amused and entertained for some time by this privileged life behind the palace walls until one day his divine vocation awoke in him, and he decided to visit the nearby town. The king called for everything to be swept and decorated, and any ugly or sad sight to be removed. But these precautions were in vain for while Siddhartha was travelling through the streets, an old wrinkled man appeared before him. In astonishment the young prince learned that decrepitude is the fate of those who live life through. Still later he met an incurable invalid and then a funeral procession. Finally heaven placed in his path an ascetic, a beggar, who told Siddhartha that he had left the world to pass beyond suffering and joy, to attain peace at heart.

Confirmed in his meditation, all these experiences awakened in Siddhartha the idea of abandoning his present life and embracing asceticism. He opened his heart to his father and said, "Everything in the world is changing and transitory. Let me go off alone like the religious beggar."

Grief-stricken at the idea of losing his son, the king doubled the guard around the walls and increased the pleasures and distractions within. And at this point, Yasodhara bore him a son whom he called Rahula (meaning "chain" or "fetter"), a name that indicated Gautama's sense of dissatisfaction with his life of luxury, while the birth of his son evoked in him much tenderness. His apparent sense of dissatisfaction turned to disillusion when he saw three things from the window of his palace, each of which represented different forms human suffering: a decrepit old man, a diseased man, and a corpse.Yet even this could not stop the troubling thoughts in his heart or close his eyes to the realizations of the impermanence of all life, and of the vanity and instability of all objects of desire.

His mind made up, he awoke one night and, casting one last look at his wife and child, mounted his horse Kataka and rode off accompanied by his equerry Chandaka. At the city gates Siddhartha turned over his horse to Chandaka, then he cut off his hair, gave up his sumptuous robes, and entered a hermitage where the Brahmans accepted him as a disciple. Siddhartha had now and forever disappeared. He became the monk Gautama, or as he is still called, Sakyamuni, the ascetic of the Sakyas.

For many years Gautama studied the doctrines until, having felt the need to learn more elsewhere, he traveled and fasted. His two teachers had showed him how to reach very deep states of meditation (samadhi). This did not, however, lead to a sense of true knowledge or peace, and the practice of deep meditation was abandoned in favour of a life of extreme asceticism which he shared with five companions. But again, after five or six years of self-mortification, Siddhartha felt he had failed to achieve true insight and rejected such practices as dangerous and useless.

Resolved to continue his quest, Siddharta made his way to a deer park at Isipatana, near present day Benares. Here he sat beneath a tree meditating on death and rebirth. Discovering that excessive fasts destroy strength, he learned that as he had transcended earthly life, so must he next transcend asceticism. Alone and weak, he sat beneath the sacred Bodhi tree of wisdom, and swore to die before arising without the wisdom he sought.

Mara, the demon, fearful of Gautama's power, sent his three beautiful daughters to distract him. When that failed, Mara sent an army of devils to destroy him. Finally Mara attacked Gautama with a terrible weapon capable of cleaving a mountain. But all this was useless, and the motionless monk sat in meditation.

It was here that Siddharta attained a knowledge of the way things really are; it was through this knowledge that he acquired the title Buddha (meaning "awakened one"). This awakening was achieved during a night of meditation, which passed through various stages as the illumination that Gautama had sought slowly welled up in his heart. He knew the exact condition of all beings and the causes of their rebirths. He saw beings live, die and transmigrate. In meditating on human pain, he was enlightened about both its genesis and the means of destroying it.

In this first stage he saw each of his previous existences, and then understood the chain of cause and effect. In the second he surveyed the death and rebirth of all living beings and understood the law that governs the cycle of birth and death. In the third he identified the Four Noble Truths: the universality of suffering, the cause of suffering through selfish desire, the solution to suffering and the way to overcome suffering. This final point is called the Noble Eightfold Path, this being eight steps consisting of wisdom (right views, right intention) ethics (right speech, right action, right livelihood), mental discipline (right effort, right mindfulness, right concentration), which ultimately lead to liberation from the source of suffering.

When day came, Gautama had attained perfect illumination, and had become a Buddha. The rays emanating from his body shone to the boundaries of space. He stayed in meditation for seven more days, and then for four more weeks he stayed by the tree. Through his process of enlightenment he discovered that all sentient beings in this universal life possess buddhahold, and all are future potential buddhas.

From that time he had two alternate paths: he could enter Nirvana immediately, or else he could stay and spread enlightenment. After Brahma came in person to beg him to preach the law, Buddha yielded and stayed on the earth. For many years he traveled and taught his wisdom about the force of love and the destruction of all desire.

Although initially hesitant to share his insight on the grounds that humanity might not be ready for such a teaching, the Buddha decided to communicate his discovery to those willing to listen. His first converts were the five ascetics with whom he had lived when he himself followed the lifestyle of the ascetic. To these he preached his first sermon in the Deer Park at Benares, outlining to them the Four Noble Truths. Out of this small group the community of monks (or Sangha) grew to about 60 in size and came to include Buddha's cousin, Ananda, and his son, Rahula. Later the Buddha was persuaded by his stepmother and cousin to accept women into the sangha.

The remaining 45 years of the Buddha's life were spent journeying around the plain of the Ganges, teaching and receiving visitors.

"There are two extremes which are to be avoided: a life of pleasure ~ this is low and ignoble, unworthy and useless, and runs counter to the affairs of the spirit; and a life of fasting ~ this is sad, unworthy and useless. Perfection has kept its distance from these two extremes, and has found the middle way which leads to repose, knowledge, illumination, and Nirvana. So here is the sacred truth about pain: birth, old age, sickness, death, and separation from that which one loves, are pain. And this is the origin of pain: it is thirst for pleasure, thirst for existence, thirst for impermanence. And here is the truth about the suppression of pain: it is the extinction of that thirst by the destruction of desire.

"Charity, knowledge and virtue are possessions that cannot be lost. To do a little good is worth more than accomplishing works of a difficult nature. The perfect man is nothing unless he pours out kindness on his fellow creatures, unless he consoles the abandoned. My doctrine is a doctrine of mercy. The way of salvation is open to all. Destroy your passions as the elephant would trample down a reed hut. But I would have you know that it is a mistaken idea to believe that one can escape from one's passions by taking shelter in hermitages. The only remedy against evil is healthy reality."

And so Buddha travelled and preached. He performed many miracles, and converted his family and many followers. During his life the Buddha had taught that no one was to succeed him as leader of the Sangha. Instead, his followers were to take his teaching and rule as their sole guides. By the time he reached the age of 80, Sakyamuni began to feel old. He visited all of the monasteries he had founded and prepared to meet his end.

Before the Buddha's death, he became severely sick. He journeyed northwest to the banks of the river Hiranyavati, walking with his disciples, and ate the food offered by a blacksmith. His illness had progresses, and at the end, he came to the river and took a bath. Then he made a rope bed among eight sal trees, with each direction having two. He lay down on his side, right hand supporting his head, the other resting on his body. All later reclining Buddhas (called Buddha's Nirvana) are in the same posture.
The Buddha's disciples kept watch on him after they were told the Buddha was going to nirvana. At night, a scholar of Brahman went to see the Buddha, but was stopped by the Buddha's disciple Ananda. Hearing this, the Buddha called the scholar Subhadda to his bed and spoke him. Thus the scholar became the Buddha's last disciple. The final exhortation of the Buddha to his disciples was that they should not be sorry for losing their tutor. (See the last sermon of the Buddha for

Growing weaker, he spoke one last time: "Do not say we have no master now. The doctrine I have preached will be your master when I have disappeared. Listen, I beg you: ALL CREATIONS ARE IMPERMANENT; work diligently for your liberation."

Having pronounced these final words, Buddha went into the jhana stages, or meditative absorptions. Going from level to level, one after the other, ever deeper and deeper, he reached ecstacy. Then he came out of the meditative absorption for the last time and passed into nirvana, leaving nothing whatever behind that can cause rebirth again in this or any other world.and finally passed into Nirvana.

After his death, Buddha's remains were cremated, as became the Buddhist tradition. The passing away, or the final nirvana, of the Buddha occurred in 483 BC on a full moon day in the month of May, known in the Indian calendar as Wesak.

Mantra of Kalachakra

According to Buddhist history, the purpose, meanings, and techniques involved in the spiritual art of sand mandala painting were taught by Shakyamuni, the historical Buddha in the sixth century B.C. in India. Over the centuries the Kalachakra teachings have been transmitted in an unbroken lineage from teacher to student. In the 11th century the Kalachakra went from India to Tibet and during the 18th century the VII Dalai Lama introduced it to the Namgyal Monastery. This continuous lineage extends to the XIV Dalai Lama of our own time.

Each mandala is a sacred mansion, the home of particular meditational deity, who represent and embodies enlightened qualities ranging from compassion to heightened consciousness and bliss. In the Tibetan Buddhist tradition, mandalas are created for rituals of initiation in which a highly qualified teacher grants permission to advanced disciples to engage in the tantric meditation practices. Both the deity, which resides at the centre of the mandala, and the mandala itself are recognised as pure expressions of the Buddha's fully enlightened mind. Symbolically the deity confers the initiations and the mandala is where the initiations takes place. Through the initiations ceremony the seed of enlightenment in each person's mind is nourished by the dynamic process of visualising and contemplating a mandala.

In essence the ceremony involves the transportation of disturbing emotions into beneficial intuition and wisdom. Normally such an initiation is given at the request of an individual or group of people. The altruistic motivation of the artist and sponsor is essential to the creation of mandala.

Everything in this mandala is the symbolic representation of some aspect of the Kalachakra deity and the deity's universe. There are 722 deities in the mandala which symbolise various manifestations of aspects of consciousness and reality, all part of the ultimate wisdom of the Kalachakra deity. Understanding and interpreting all of the symbols included in the mandala would be like reading the Kalachakra texts, which contains a vast range of teachings from cosmology to epistemology to psychology.

The Kalachakra Tantra is interpreted at three levels referred to as external, internal and alternative. The external concerns the laws of time and space of this physical world and accordingly deals with astronomy, astrology and mathematics. The internal concerns the elements and structure of the human body, including its energy system. The alternative is the doctrine, path and fruit of the actual meditational deity and its circular mandala abode.

The Kalachakra deity resides in the centre of the mandala. His palace consists of our mandala, one within another: the mandala of body, the mandala of speech, that of mind, and the very centre, wisdom and great bliss.


The palace is divided into four quadrants each with walls, gates, and a centre. The colours are specific representations of the elements and mental types. Black, in the east, is associated with the element of winds. The south is red, its elements is fire. The west is yellow, associated with the element of earth, and the north is white, represent water.


The square palace of the 722 deities is seated upon the first concentric circles, the first of which of which represents the earth. The other circles, represent water, fire, wind, space, and consciousness extend beyond the wall of the palace. The outer circles, a representation of the cosmos, is a source of Tibetan astrology. The ten wrathful deities who reside in one of the outer, concentric circles of the mandala serve as its protectors.

The Kalachakra sand mandala is dedicated to peace and physical balance, both for individual and for the world, thanks to the deities carefully among minute human, animal and floral forms, abstract pictographs, and the Sanskrit syllables that comprises the mandala's design.

Although depicted here on a flat surface, the mandala is actually three-dimensional, being a five-storeyed "divine mansion", at the centre of which stands the Kalachakra deity the manifest state of Enlightenment.

A person who simply sees this mandala many feel peace on many levels. According to the Dalai Lama, the Kalachakra deities create a favourable atmosphere, reducing tension and violence in the world. "It is a way of planting a seed, and the seed will have karmic effect. One doesn't need to be present at the Kalachakra ceremony in order to receive its benefits," he explains.

These mandalas, concentric diagrams, have spiritual and ritual significance in both Buddhism and Hinduism. The term is of Hindu origin and appears in the Rig Veda as the name of the sections of the work, but is also used in other Indian religions, particularly Buddhism. In the Tibetan branch of Vajrayana Buddhism, mandalas have been developed into sandpainting. They are also a key part of anuttarayoga tantra meditation practices.

Buddhism
Tibetan for mandala in Vajrayana Buddhism usually depicts a landscape of the "Buddha-land", or the enlightened vision of a Buddha, which inevitably represents the nature of experience and the intricacies of both the enlightened and confused mind, or "a microcosm representing various divine powers at work in the universe." Such mandalas consist of an outer circular mandala and an inner square (or sometimes circular) mandala with an ornately decorated mandala "palace" placed at the center. Any part of the inner mandala can be occupied by Buddhist glyphs and symbols, as well as by images of its associated deities, which "symbolise different stages in the process of the realisation of the truth."

Kvarne (1975: p. 164) in his extended discussion of sahaja, discusses the relationship of sadhana interiority and exteriority in relation to mandala thus:

"...external ritual and internal sadhana form an indistinguishable whole, and this unity finds its most pregnant expression in the form of the mandala, the sacred enclosure consisting of concentric squares and circles drawn on the ground and representing that adamant plane of being on which the aspirant to Buddha hood wishes to establish himself. The unfolding of the tantric ritual depends on the mandala; and where a material mandala is not employed, the adept proceeds to construct one mentally in the course of his meditation."

Mandalas are commonly used by tantric Buddhists as an aid to meditation. More specifically, a Buddhist mandala is envisaged as a "sacred space," a "Pure Buddha Realm," and also as an abode of fully realised beings or deities. While on the one hand, the mandala is regarded as a place separated and protected from the ever-changing and impure outer world of samsara, and is thus seen as a "Buddhafield" or a place of Nirvana and peace, the view of Vajrayana Buddhism sees the greatest protection from samsara being the power to see samsaric confusion as the "shadow" of purity (which then points towards it). By visualizing "pure lands," one learns to understand experience itself as pure, and as the abode of enlightenment. The protection that we need, in this view, is from our own minds, as much as from external sources of confusion. In many tantric mandalas, this aspect of separation and protection from the outer samsaric world is depicted by "the four outer circles: the purifying fire of wisdom, the vajra circle, the circle with the eight tombs, the lotus circle." The ring of vajras forms a connected fence-like arrangement running around the perimeter of the outer mandala circle.

The mandala is also "a support for the meditating person," something to be repeatedly contemplated to the point of saturation, such that the image of the mandala becomes fully internalised in even the minutest detail and can then be summoned and contemplated at will as a clear and vivid visualized image. With every mandala comes what Tucci calls "its associated liturgy...contained in texts known as tantras," instructing practitioners on how the mandala should be drawn, built and visualised, and indicating the mantras to be recited during its ritual use.

As a meditation on impermanence (a central teaching of Buddhism), after days or weeks of creating the intricate pattern of a sand mandala, the sand is brushed together and placed in a body of running water to spread the blessings of the mandala.

A mandala can also represent the entire universe, which is traditionally depicted with Mount Meru as the axis mundi in the center, surrounded by the continents. A "mandala offering" in Tibetan Buddhism is a symbolic offering of the entire universe. Every intricate detail of these mandalas is fixed in the tradition and has specific symbolic meanings, often on more than one level.

The mandala can be shown to represent in visual form the core essence of the Vajrayana teachings. In the mandala, the outer circle of fire usually symbolises wisdom. The ring of 8 charnel grounds represents the Buddhist exhortation to always be mindful of death, and the impermanence with which samsara is suffused: "such locations were utilized in order to confront and to realize the transient nature of life." Described elsewhere: "within a flaming rainbow nimbus and encircled by a black ring of dorjes, the major outer ring depicts the eight great charnel grounds, to emphasize the dangerous nature of human life." Inside these rings lie the walls of the mandala palace itself, specifically a place populated by deities and Buddhas.

One well-known type of mandala, in Japan is the mandala of the "Five Buddhas", archetypal Buddha forms embodying various aspects of enlightenment. Such Buddhas are depicted depending on the school of Buddhism, and even the specific purpose of the mandala. A common mandala of this type is that of the Five Wisdom Buddhas (a.k.a. Five Jinas), the Buddhas Vairocana, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi. When paired with another mandala depicting the Five Wisdom Kings, this forms the Mandala of the Two Realms.



Hindisum
A yantra is a two- or three-dimensional geometric composition used in sadhanas, or meditative rituals. It is thought to be the abode of the deity. Each yantra is unique and calls the deity into the presence of the

practitioner through the elaborate symbolic geometric designs. According to one scholar, "Yantras function as revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human experience"

Many situate yantras as central focus points for Hindu tantric practice.Yantras are not representations, but are lived, experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists in the Tantras between the outer world (the macrocosm) and man's inner world (the microcosm), every symbol in a yantra is ambivalently resonant in inner-outer synthesis, and is associated with the subtle body and aspects of human consciousness

Buddhist monk blowing conch shell at Mindrolling Monastery

This has been recognised as the symbol of fearlessness, and proclaimed the truth of dharma. This is the one of the eight symbols of good fortune this stands for the popularity and fame of Buddhist teaching which spread in all direction like the sound of the Conch Trumpet.

In addition to Buddha's throat, the conch also appears as an auspicious mark on the soles, palms, limbs, breast or forehead of a divinely endowed being.

The fourfold caste division is also applied as follows:

The smooth white conch represents the Brahmin caste (priests)
The red conch, the kshatriyas (warriors)
The yellow conch, the vaishyas (merchants)
The grey conch, the shudras (labourers)
Additionally, there is a fundamental classification of conch shells occurring in nature: those that turn to the left and those which turn to the right. Shells which spiral to the right in a clockwise direction are a rarity and are considered especially sacred. The right-spiralling movement of such a conch is believed to echo the celestial motion of the sun, moon, planets and stars across the heavens. The hair whorls on Buddha's head spiral to the right, as do his fine body hairs, the long curl between his eyebrows (urna), and also the conch-like swirl of his navel.

It is one of the main emblems of Vishnu, and his conch bears the name of Panchajanya, meaning 'having control over the five classes of beings.'

Arjuna's (hero of the Mahabharata) mighty conch was known as Devadatta, whose triumphant blast brought terror to the enemy. As a proclaiming battle horn, the conch is akin to the bugle. It is an emblem of power, authority and sovereignty whose blast is believed to banish evil spirits, avert natural disasters, and scare away poisonous creatures.

Today, in its greatly tamed avatar, the conch is used in Tibetan Buddhism to call together religious assemblies. During the actual practise of rituals, it is used both as a musical instrument and as a container for holy water.

Ancient Indian belief classifies the conch into male and female varieties. The thicker-shelled bulbous one is thought to be the male (purusha), and the thin-shelled slender conch to be the female (shankhini).

Mantra for Natraj

There are two forms of Nataraj:
1st Lasya -the Gentle form of Dance
Which is related with the creation of the world

2nd The most popular Tandab - More wrathful form of shiva
Here Shiva is depicted in this full wrath with his dread locked hair all open, with a fiery background. This poster depict the destructive nature of the Lord Shiva. This form is associated with destruction of the Weary (fatigue/boring) worldviews.

She is also mother to Ganesha, Kartikeya, and Ashoka Sundari. While Some communities also believe her to be sister of Vishnu.

She is also known by 108 names from the Durga Saptashati. These include Durga (invincible), Shakti (power), Ambika ('dear mother'), Gauri ('fair complexioned'), Bhairavi ('ferocious'), Kali ('dark'), Uma, Lalita, Mataji ('revered mother'), Sahana ('pure'), Maheshwari ('great goddess'). Bhavani, Shivaradni ('Queen of Shiva'), and many hundreds of others. The Lalita sahasranama contains an authoritative listing of 1,000 names of Parvati.

Source of Power
Parvati represent all form of power or energy. It is believed when shiva lost his first wife he went to a massive depression, in a nearly a Shava(Dead Body / Corpse) It is also believed that without her, Shiva remains as Shava or Corpse, for she is the ultimate source of power for all beings, gods and Devas. She brought back shiva from that Shava(Corpse)mode to Shiva.

That is why she is considered as goddess of power. Indeed, she is most powerful of all. When her anger reaches its peak, she can destroy the whole universe, gods and Trimurti in just seconds. Even Trinity i.e. Brahma, Vishnu and Shiva, never try to make her angry at any cost.

Therapeutic Benifits Of Rudrash:
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Rudraksha beads help to open Chakras and starts healing mind and body in an unbelievable time period of 48 hours.
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Cost only fractional as compared to gemstones, but give effect in much profound manner and that too without any side effects.
In this New age when alternate therapies are fast gaining popularity, Rudraksha stands out as the most attractive and effective option irrespective of any caste , sex and religion .

Lord Shiva is also known by the name “Rudra”. once lord Shiva went into deep meditation for a long period for the well-being of all living beings. After waking from the state of meditation, he opened his eyes and instantly tear drops fell on the earth. On reaching the ground, tear drops took the form of a seed which later grew into Rudraksha tree. Another epic boosts a different tale.

It says that there used to be a demon called “TripuraSur” who gained so much power that all the gods felt intimidated by him. The demon misused his power on brutally torturing the innocents. All the gods were helpless and finally turned to lord Shiva to eliminate the evils of the demon. Shiva decided to use his very powerful and destructive weapon called Aaghor to kill the demon. But on realizing the devastating effects the weapon would bring about, Shiva became very emotional and tears naturally fell down from his eyes and thus landed on the earth. Mother earth enveloped the tear drops and gave birth to a Rudraksha tree. Another tale foretells that when Lord Shiva woke up from his deep meditation, tear drops welled down from his eyes on realizing the sufferings of living creatures. His Almighty’s teardrops on reaching the earth germinated into a seed. It is believed that the seed of Rudraksha contains the secrets of entire evolution of the cosmos within it.

Native Americans believe that the night air is filled with dreams both good and bad. The Dreamcatcher when hung over or near your bed swinging freely in the air, catches the dreams as they flow by. The good dreams know how to pass through the Dreamcatcher, slipping through the outer holes and slide down the soft feathers so gently that many times the sleeper does not know that he/she is dreaming. The bad dreams not knowing the way get tangled in the Dreamcatcher and perish with the first light of the new day.

Using a hoop of willow, and decorating it with findings, bits and pieces of everyday life, (feathers, arrow heads, beads, etc) the Dreamcatcher is believed to have the power to catch all of a person's dreams, trapping the bad ones, and letting only the good dreams pass through the Dreamcatcher.

The temple of Bahal Bidjeshwori was once at the centre of a great cremation ground that was sacred to Vajravarahi, and its main image was Bhagavani Devi Vidyadhari Viramante, the ‘Divine Pleasure-giving Knowledge Holder Goddess’. She is the heart-dakini of Maitripa, who brought this symbol of his realization from India. On the right side of the goddess is Urdhvapada Varahi, with her left leg extended high in the sky to Brahmaloka, and her other foot pressing down upon a golden Maheshvara. On her left side is Vajravarahi (Tib. Dorje Palmo), and then the twelve-year-old virgin form of Vajrayogini as Naropa’s Dakini (Skt. Naro Khechari) or Chakreshvari, the consort of Chakrasamvara.

In the Newar Buddhist tradition the four aspects of Vajrayogini appear as the four ‘Heart Yoginis’ that form the inner circle of Great Bliss of the Chakrasamvara and Vajravarahi mandalas. These are:
(1) Vajrayogini as Naropa’s Dakini or Naro Khandroma, whose temple is located at Shanku.
(2) Vajravarahi as Indrabhuti’s Dakini, or Indra Yogini, whose temple is located at Guhyeshvari.
(3) The ‘Raised Foot’ form of Vajrayogini, whose temple is located at Pharphing.
(4) Vajrayogini as Akash Yogini or Vidyadhari, whose temple is located at Bijeshwori.

Vidyadhari Vajrayogini is beautiful, playful and lusty, and youthful like a sixteen-year-old. She is the colour of a red hibiscus flower, with three lotus-like eyes, and an expression that combines the sentiments of passion and slight wrath. She is shown leaping into space in the flying posture of a sky-going dakini, with her right leg bent back at the knee, and her right leg extended in ‘raised foot’ (Skt. urdhvapada) posture and held in the crook of her left arm, such that her thighs are fully splayed. Her nubile body is perfect in proportion, with a narrow waist, and firm round breast with aroused nipples.

Her long tresses of black hair flow freely behind her back, and her head is adorned with a golden crown of five jewel-topped and carved white skulls, with loops of bone beads hanging beneath below each little skull. She wears the golden ornaments of jeweled earrings, a heavy neck choker decorated with the serpent-devouring head of a garuda, wide Newar bracelets, armlets, anklets, and finger rings. A golden breast ornament loops around her chest, with small coins hanging from its upper thread, little round bells from its lower thread, with a small endless knot and reliquary box (Tib. gau) joining the threads together between her breasts. From her golden belt hang the sixty-four filigree beaded strands of her bone apron, the joined loops of which are embellished with pendant-emblems of auspicious symbols and swans, with the large pendant near her right knee displaying a small carved image of the goddess Vidyadhari herself. An embellished Newar medallion on a long silver chain swings out behind her neck, and around her shoulders she wears a long garland of dry white skulls that are described as being fifty in number.

Vidyadhari's face is inclined upward to her left as she drinks a stream of fresh blood from the tilted skull-cup she holds in her left hand. Her drinking of blood symbolizes that she is consumed with great bliss, and her inclined posture of flying towards the left represents the importance placed upon 'left-hand rituals' within the yogini or mother-tantra traditions. With her lowered right hand she circles a vajra-handled curved knife towards the ten directions, with her index finger raised in the threatening tarjani gesture, symbolizing that she terrorizes all obstructive demons. Across her left shoulder she carries the golden staff of her tantric-staff or khatvanga, which is equal in height to her own body and represents her male consort, Chakrasamvara. The top of her khatvanga is sealed with a golden crossed-vajra and a nectar vase, the impaled blue head of Bhairava, a freshly severed head, a dry white skull, and a crowning half-vajra. A billowing silk ribbon, and a damaru and bell hang from a chain near the top of the khatvanga's shaft.

It is said that all teachings of Buddha Life are contained within OM MANI PADME HUM. Shortly called as Mani mantra, the Mani mantra can be chanted and recited by anyone who feels like practicing it and doesn’t require any Buddhist Master to do so. Mani Wheel found on the Stupas are spun and spinning the wheels gives the same benefit as reciting the mantra.

The mantra can be found on the small hand wheels or a large wheel with millions of copies of mantra inside.

OM MANI PADME HUM is also inscribed in Mandala paintings. Those kinds of mandala have OM MANI PADME HUM in a circular fashion, and mantras are painted in concentric circles from the surface to the center of the circle. They come under the categories of the Mantra Mandala. These mandalas are usually found hanging on the walls of Buddhist monasteries and are often used in meditation halls for focus and concentration purposes.

They are also cravings of the mantra outside the walls of Stupas. Sometimes there are found in the center of the Sand Mandalas.

Wool felt is fabricated through the wet felting process, which uses water and friction to bind the wool fibers. Synthetic felt, when not wool-based, is typically created through a different process. Bunches of fibers are forced through a lattice of carded fibers, thereby creating a felting similar to that accomplished by the wet felting process. Synthetic felt produced this way is sometimes called needle-felt. All types of felt are available in a multitude of shapes and colors.

We are doing this business in an association with Sandhya's Felt Craft, With this association we have a production capacity of 1500 Plus contract employees. Our main factory is base at kathmandu Thankot Area and many small production units distributed in various parts of kathmandu valley and some outside kathmandu valley.

The lost-wax process offers exceptional quality control and customization, making it a preferred choice for artists seeking intricate and personalized metal artwork. Despite the availability of newer methods, the traditional lost-wax technique continues to be valued for its historical significance and the craftsmanship it embodies.

The method of metal casting in which molten metal is poured into a mold that has been created by means of a wax model. Once the mold is made, the wax model is melted and drained away. Bronze statues come to life differently than marble statues. Instead of carving a block or marble, the bronze artist uses the lost-wax technique to make a series of molds and then pours melted bronze into the final mold to create the sculpture. This method has been around since 4500 BCE.

There are a few important steps in the lost wax casting process:
Step 1: Sculpting ( It all starts in the studio with an idea, Then figuring out how to realize the vision in clay.)
Step 2: Mold Making.
Step 3: Wax Pouring.
Step 5: Wax Spring.
Step 6: Shell Dipping.
Step 7: Bronze Pouring.

Interestingly enough Loss wax process is also called Investment casting because after layers have been formed and dried, the wax is melted out of the ceramic tree by using steam (120°C) in an autoclave. This is why it is called "lost wax casting". The majority of the molten wax can then be regenerated and reusable.

Example of Bronze finishing

Bronze color refers to the distinctive hue that is characteristic of bronze metal. It is a rich, warm tone that falls somewhere between brown and copper. Bronze has been used for centuries in the creation of statues, sculptures, and various decorative items due to its unique aesthetic appeal.

While the production of bronze statues can be complex and challenging, particularly in the Nepali statue-making industry, the bronze color can still be achieved through alternative methods such as the Bronze finishing process. In Nepal, sand casting is commonly used for creating bronze statues, but the resulting quality may not always meet desired standards. The Lost Wax system, on the other hand, yields better quality but can be prone to damage during the intricate carving process, leading to a decline in its practice.

Despite the challenges faced in creating bronze statues, the Bronze finishing process offers a way for individuals who appreciate the appearance of bronze to still experience its allure. By applying this finishing technique to other materials, such as zzzz, individuals can enjoy the look and feel of a bronze statue while preserving the essence of this revered art form.

Fire Gold Plating In Nepal

Mercury gold plating is a time-honored process where a real layer of gold is carefully applied to the zzzz. Skilled artisans expertly handle the amalgamation of gold with mercury, ensuring precise application and stunning results. This method not only imparts a rich and lustrous appearance to the zzzz but also enhances its durability, allowing the gold plating to last for an extended period.

Detailed Description of Mercury Gilding
The process of Fire Gold plating is both time-consuming and intricate, requiring skilled artisans to carefully apply the gold layer using specialized tools and techniques. Despite the labor-intensive nature of the process, the end result is a stunning work of art that is sure to impress anyone who sees it.


Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.

When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface using quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.

The amalgam is equally spread over the prepared surface of the metal, the mercury is then sublimed by heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.

It is then covered with gilding wax and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation, the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum, or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.

By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.

This method of gilding metallic objects was formerly widespread but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous

The process begins with the thorough cleaning and preparation of the object to be plated. A layer of silver plating is first applied to create a base. Subsequently, the object is submerged in a solution containing gold ions, while an electric current is passed through the solution. The gold ions are attracted to the surface of the object, forming a layer that can be polished to achieve a smooth and radiant finish.

The Full Electro Gold plated finishing offers several advantages, including affordability and high-quality results. In Nepal's handicraft industry, this method of gold plating is gaining popularity due to its ability to produce exquisite and long-lasting handicraft items. Skilled craftsmen employ their expertise to ensure that the gold plating is of the utmost quality, resulting in beautiful and durable zzzz products.

By choosing the Full Electro Gold plated finishing, you can enjoy the luxurious and captivating allure of gold, enhancing the aesthetic appeal of the zzzz product while ensuring its longevity and enduring beauty.

Detailed Description of Mercury Gilding - Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.

When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface using quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.

The amalgam is equally spread over the prepared surface of the metal, the mercury is then sublimed by heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.

It is then covered with gilding wax and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation, the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum, or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.

By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.

This method of gilding metallic objects was formerly widespread but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous.

Fire Gold Plating In Nepal

Partly gold plating using the Fire Gold plating technique requires a high level of skill and precision, and Nepali artisans have been perfecting this technique for centuries. The process is labor-intensive and time-consuming, but the end result is a work of art that is both durable and long-lasting, with intricate designs highlighted by a touch of gold. This technique finds significant application in the creation of religious objects such as statues and prayer wheels, as well as everyday items. It showcases the artisans' expertise in preserving traditional methods while imbuing the objects with deep cultural and spiritual significance.

Detailed Description of Mercury Gilding - Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.

When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface using quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.

The amalgam is equally spread over the prepared surface of the metal, the mercury is then sublimed by heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.

It is then covered with gilding wax and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation, the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum, or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.

By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.

This method of gilding metallic objects was formerly widespread but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous.

Fire Gold Plating In Nepal

Detailed Description of Mercury Gilding - Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.

When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface by means of quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, thus leaving a film of free metallic mercury.

The amalgam being equally spread over the prepared surface of the metal, the mercury is then sublimed by a heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.

It is then covered with gilding wax, and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.

By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.

This method of gilding metallic objects was formerly widespread but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous.

Fire Gold Plating In Nepal

The fire mercury gold plating with antique finishing showcases the artisan's dedication to preserving traditional techniques and capturing the essence of timeless elegance. The combination of gold plating and antique finishing lends the zzzz an exquisite and enchanting allure, making it a cherished piece that stands out with its enduring beauty.


Detailed Description of Mercury Gilding - Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.

When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface by means of quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.

The amalgam being equally spread over the prepared surface of the metal, the mercury is then sublimed by a heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.

It is then covered with gilding wax, and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.

By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.

This method of gilding metallic objects was formerly widespread, but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders, since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous.

Fire Gold Plating In Nepal

Video of Face Painting

In the process of painting the face, a special variation of gold is utilized. This variation is transformed into a powder form that can be applied as paint. The gold used is believed to be 100% pure, enhancing the reverence and spiritual significance associated with this practice.


As the face is painted it is highly recommended that the face of the statue is to be greatly taken care of as it requires a very professional and skilled face artist to repair the face of dirt and damages. Commonly to protect it from damage, the statue with painted face is placed under a glass box and it is always covered with a cotton face mask if it has to be moved

The addition of the Antique finishing creates a distinct vintage charm, giving the zzzz product an antique and time-worn appearance. This finish adds depth and character, making each piece unique and evoking a sense of history and elegance.

By selecting the zzzz with the Full Electro Gold plated and Antique finishing, you can enjoy the luxurious appeal of gold while also adding a touch of antiquity. The protective varnish further ensures that the gold plating remains pristine, allowing you to appreciate the beauty and durability of the zzzz for years to come.

The contrast between the silver plating and dark oxidation creates a visually striking effect, enhancing the intricate details and contours of the zzzz. This combination of techniques not only adds visual interest but also provides a sense of antiquity and time-worn charm to the statue.

The partly silver plating and dark oxidation finishing is a testament to the craftsmanship and artistic vision of the creators. It showcases their ability to harmonize different elements, resulting in a distinctive and captivating aesthetic for the zzzz.

Choosing the zzzz with a natural patina allows you to appreciate the evolving beauty of the statue. Whether you decide to keep it in its original state or explore different finishes, the option to embrace the natural patina adds a touch of authenticity and uniqueness to your chosen display.

The dark chocolate color oxidation not only lends a touch of luxury to the zzzz but also imbues it with a sense of timelessness and antiquity. The rich brown tones evoke a sense of warmth and nostalgia, creating a visually striking and captivating piece of art.

Crafted with utmost precision and skill, the full dark chocolate color oxidation finish showcases the artistry and craftsmanship involved in creating the zzzz. It is a testament to the dedication and expertise of the artisans who masterfully transform the surface of the statue, resulting in a truly mesmerizing work of art.

The darker shades of oxidation add a sense of depth and antiquity, evoking a weathered and time-worn aesthetic. In contrast, the lighter shades bring a touch of brightness and contrast, highlighting specific features and creating a sense of balance.

The double-color oxidation finish is a testament to the skill and artistry of the craftsmen involved. It showcases their ability to manipulate the oxidation process to create a unique and visually captivating result, giving the zzzz a distinct and memorable appearance.

This adherence to color accuracy is akin to the meticulous artistry seen in thangka paintings. To achieve this finishing, organic colors and genuine gold are used, while the expertise of a skilled thangka artist is sought, as painting on a metal surface requires a distinct set of skills to bring out the elegance and beauty of the statue.

By employing this traditional coloring method, the zzzz is not only aesthetically pleasing but also maintains its cultural authenticity, paying homage to the rich traditions and practices associated with Buddhist art.

Silver plating is valued for its durability and ability to resist tarnishing, allowing the zzzz to maintain its radiant shine for an extended period. The silver-plated finish also offers versatility, complementing various design styles and adding a touch of refinement to any setting.

By choosing the zzzz with a silver plated finish, you can enjoy the timeless beauty and allure of silver, creating an exquisite and eye-catching piece that is sure to captivate.


The silver plating process steps are relatively straightforward, although they differ depending on what type you're doing — barrel or rack plating. The basic strategy, however, goes like this:

Inspection: Before electroplating, you should always check the part for imperfections — like cold shuts or sharp edges — and amend these issues before starting the process. Otherwise, the quality of the substrate will decrease, and this may cause problems for your customers.
Pre-treatment: Complete any necessary treatments before plating onto your metal part. You should also do an under-plating of copper, nickel or both metals. Additionally, you can add a silver strike or an anti-tarnish coating if there's a particular effect you want to achieve. If you plate a layer of nickel or copper with a 0.0005-inch thickness, the silver should also be 0.0005 inches for a total of 0.0010 inches.
Electroplating: Silver plating involves submerging the substrate into a bath of silver ions. After passing an electric current through the solution, the ions deposit onto the part's surface, coating it in your chosen metal — in this case, silver.

This art form is shrouded in secrecy, as each artisan holds their own closely guarded formulas and methods. With deep knowledge of materials and an artistic sensibility, they skillfully replicate the natural aging process, infusing the zzzz with a sense of authenticity and character. The result is a captivating piece that tells a visual story, evoking a bygone era and adding a touch of allure to any space.

The artist's dedication to creating an aged aesthetic goes beyond mere appearance. It is a deliberate and intentional effort to give the zzzz a unique identity, imbued with the charm and beauty of time. With every carefully applied treatment and artistic touch, the zzzz becomes a work of art that not only stands as a testament to the artisan's skill but also carries a sense of history and narrative, making it truly exceptional.

In addition to the stone-like feel, the copper material provides exceptional durability. Copper is known for its longevity and resistance to corrosion, ensuring that zzzz remains in excellent condition for years to come. Furthermore, the intricate carving details that can be achieved on copper enhance the overall beauty and intricacy of the zzzz product.

With the Stone color finishing, you can have the best of both worlds—aesthetic appeal reminiscent of a stone statue and the durability and detailed carving possibilities of copper. This combination creates a unique and captivating zzzz product that is sure to enhance any space with its charm and craftsmanship.

Gampopa was born in the Nyal (or Nyel) district, Central Tibet and from an early age was a student of medicine in the Indian, Chinese and Tibetan medical traditions. Later in his life he moved to the region of Dakpo (dwags po) in southern Tibet and hence was also called Dakpopa (dwags po pa), the man from Dakpo. The region is also near Gampo Hills, hence his other name, Gampopa. In his youth Gampopa studied under the Nyingma lama Barey as well as under the Kadampa teacher Geshe Yontan Drag. He married a daughter of a man named Chim Jose Darma Wo (mchims jo sras dar ma 'od) and had a child, but they both died, causing him to renounce the householder's life. In 1104, at the age of twenty-five he took ordination, either in Dakpo or in Penyul, at Gyachak Ri monastery ('phan yul rgya lcags ri), receiving the name Sönam Rinchen (bsod nams rin chen)." After becoming a monk in the Kadampa lineage under Geshe Loden Sherab and focused on studying the Kadampa teachings. In his 30s he sought out and became the foremost student of the yogi Milarepa. Milarepa instructed him in the practice of Vajravārahī, tummo (gtum mo) and Mahāmudrā.

Gampopa's position in the transmission lineage of the Mahamudra teaching is as follows:

Tilopa (988-1069), the Indian yogi who experienced the original transmission of the Mahamudra
Naropa (1016-1100), who perfected the methods of accelerated enlightenment described in his Six Yogas of Naropa.
Marpa (1012-1097), the first Tibetan in the lineage, who translated the Vajrayana and Mahamudra texts into Old Tibetan
Milarepa (1052-1135), poet and master who overcame Marpa's reluctance to teach but nonetheless attained enlightenment in a single lifetime
Gampopa, Milarepa's most important student, who integrated Atiśa's Kadam teachings and Tilopa's Mahamudra teaching to establish the Kagyü lineage
This lineage sequence, taken together, is called the "Five Founding Masters" by the Kagyu school.

After his studies with Milarepa, Gampopa founded Dakhla Gampo Monastery (Dwags lha sgam po) in 1121 CE. He had many great students who were accomplished tantric practitioners, both monks and laymen. Gampopa's teaching joined the Lamrim teachings of the Kadampa school with the Mahamudra and tantric teachings of the Kagyu school. According to Tony Duff, he taught Mahamudra in two approaches, "one is a gradual approach called the Four Yogas of Mahamudra, the other is a sudden approach called Essence Mahamudra.

Gampopa most famous teaching is known as "The Four Dharmas of Gampopa", this is outlined in a key text of Gampopa called The Four Dharmas in Brief:

"It is necessary for: dharma to turn to dharma; dharma to turn into the path; the path to dispel confusion; and confusion to turn into wisdom"

The Four Dharmas in Brief further states about each of the four Dharmas:

(1) Dharma to turn to dharma means to meditate on impermanence, the fact that all things will be left behind at death and that only Dharma is of use, all must be renounced except Dharma.

(2) Dharma turns into the path is explained as:

if there is the rational mind of loving kindness and compassion that cherishes other more than oneself-the fictional enlightenment mind-and then on top of that the understanding that all phenomena, outer and inner, appearing as the coming together of interdependency are illusory, then the primal dharma turns into the path.

(3) The Path is to be used to dispel confusion means that "confusion has to be dispelled from top to bottom", Gampopa explains this as follows:

First, meditation on impermanence dispels the confusion of clinging to this life, then meditation on karma and effect dispels the confusion of bad views, then meditation on the disadvantages of cyclic existence dispels the confusion of attachment to cyclic existence, then meditation on loving kindness and compassion dispels the confusion of the Lesser Vehicle, then meditation on appearances being dream-like, illusory, dispels the confusion of grasping at conceived-of things...

(4) Confusion turns into wisdom:

If, the force of meditation done on all phenomena being free from birth and cessation in suprefact (paramartha satya) causes whatever appears, whatever is known, to be resolved as its own entity, then confusion has dawned as wisdom.

Contrary to common assumptions, this statue of zzzz is not only created through the ceramic mold casting process but is also 100% hand-finished in Nepal. Skilled artisans in Nepal bring their expertise and attention to detail to add the final touches and refine the sculpture by hand. The city of Patan, renowned for its artistic heritage and craftsmanship, takes pride in being the place where this statue is entirely made. This adds a touch of authenticity and cultural significance to the artwork, as it carries the essence of the artistic traditions and craftsmanship of Patan. The combination of the modern ceramic mold casting process, the meticulous hand-finishing in Nepal, and the artistic legacy of Patan ensures that this statue of zzzz is a unique and captivating piece of art.

The process cycle for sand casting consists of six main stages, which are explained below
Mold-making -The first step in the sand casting process is to create the mold for the casting. In an expendable mold process, this step must be performed for each casting. A sand mold is formed by packing sand into each half of the mold. The sand is packed around the pattern, which is a replica of the external shape of the casting. When the pattern is removed, the cavity that will form the casting remains. Any internal features of the casting that cannot be formed by the pattern are formed by separate cores which are made of sand prior to the formation of the mold. Further details on mold-making will be described in the next section. The mold-making time includes positioning the pattern, packing the sand, and removing the pattern. The mold-making time is affected by the size of the part, the number of cores, and the type of sand mold. If the mold type requires heating or baking time, the mold-making time is substantially increased. Also, lubrication is often applied to the surfaces of the mold cavity in order to facilitate removal of the casting. The use of a lubricant also improves the flow the metal and can improve the surface finish of the casting. The lubricant that is used is chosen based upon the sand and molten metal temperature.

Clamping - Once the mold has been made, it must be prepared for the molten metal to be poured. The surface of the mold cavity is first lubricated to facilitate the removal of the casting. Then, the cores are positioned and the mold halves are closed and securely clamped together. It is essential that the mold halves remain securely closed to prevent the loss of any material.
Pouring - The molten metal is maintained at a set temperature in a furnace. After the mold has been clamped, the molten metal can be ladled from its holding container in the furnace and poured into the mold. The pouring can be performed manually or by an automated machine. Enough molten metal must be poured to fill the entire cavity and all channels in the mold. The filling time is very short in order to prevent early solidification of any one part of the metal.

Cooling - The molten metal that is poured into the mold will begin to cool and solidify once it enters the cavity. When the entire cavity is filled and the molten metal solidifies, the final shape of the casting is formed. The mold can not be opened until the cooling time has elapsed. The desired cooling time can be estimated based upon the wall thickness of the casting and the temperature of the metal. Most of the possible defects that can occur are a result of the solidification process. If some of the molten metal cools too quickly, the part may exhibit shrinkage, cracks, or incomplete sections. Preventative measures can be taken in designing both the part and the mold and will be explored in later sections.

Removal - After the predetermined solidification time has passed, the sand mold can simply be broken, and the casting removed. This step, sometimes called shakeout, is typically performed by a vibrating machine that shakes the sand and casting out of the flask. Once removed, the casting will likely have some sand and oxide layers adhered to the surface. Shot blasting is sometimes used to remove any remaining sand, especially from internal surfaces, and reduce the surface roughness.

Trimming - During cooling, the material from the channels in the mold solidifies attached to the part. This excess material must be trimmed from the casting either manually via cutting or sawing, or using a trimming press. The time required to trim the excess material can be estimated from the size of the casting's envelope. A larger casting will require a longer trimming time. The scrap material that results from this trimming is either discarded or reused in the sand casting process. However, the scrap material may need to be reconditioned to the proper chemical composition before it can be combined with non-recycled metal and reused.

The third step is known as gating and risering, where additional channels and reservoirs are added to the mold to facilitate the flow of molten metal and compensate for any shrinkage during solidification. Once the gating system is prepared, the mold is carefully closed and secured. The fourth step involves pouring the molten metal, such as bronze or iron, into the mold through the gating system. After the metal has cooled and solidified, the mold is broken open, revealing the solid metal sculpture. The final steps involve removing any excess material, surface finishing, and polishing to achieve the desired appearance.

Sand casting offers several advantages, including its versatility in producing complex shapes, cost-effectiveness for both small and large-scale productions, and the ability to use a wide range of metals. However, it does require skilled craftsmanship and careful attention to ensure the quality and accuracy of the final sculpture. By utilizing the sand casting system, the zzzz embodies the craftsmanship and artistry of the process, resulting in a captivating and unique metal artwork.

Beyond their decorative purpose, these semi-precious stones carry symbolic significance in various cultures and traditions. Turquoise is often associated with protection and healing, coral represents vitality and passion, while lapis lazuli symbolizes wisdom and truth. The inclusion of these stones not only adds to the aesthetic allure of the zzzz but also imbues it with deeper meaning and cultural symbolism.

The intricate placement of these semi-precious stones showcases the meticulous craftsmanship and attention to detail that goes into the creation of the zzzz. It is a testament to the skill and artistic vision of the artisans who delicately adorn the statue, resulting in a truly remarkable and captivating piece of art.

Making of Hand Hammered Singing bowls

The use of handmade bronze singing bowls in healing, meditation, and chakra balancing is based on the idea that sound can have a profound impact on the body and mind. When played, the bowls produce a rich, harmonious sound that is said to stimulate the chakras and bring balance to the body's energy centers. The sounds produced by the singing bowl are believed to help calm the mind, reduce stress, and promote relaxation, making them a valuable tool in meditation and mindfulness practices.

In addition, the vibrations produced by the singing bowl are said to have therapeutic benefits, promoting physical and emotional healing by reducing tension, improving circulation, and promoting relaxation. Overall, the use of handmade bronze singing bowls can be an effective and enjoyable way to enhance spiritual and emotional well-being.

1. Gold (Sun)
2. Silver (Moon)
3. Copper (Venus)
4. Iron (Mars)
5. Tin (Jupiter)
6. Mercury/Quicksilver (Mercury)
7. Lead (Saturn)
all of which feature heavily in alchemical symbolism

Normally we will send the best quality sound for our web client, but if you like to be sure about what you are purchasing you can request for the sound of the singing bowl. We will provide you with a youtube video of a few Singing bowl playing of similar sizes.

Singing Bow Casting Process

Video Description On Etching Singing bowl

The chakra system originates from ancient Indian spiritual traditions and is based on the belief that there are seven main energy centers or chakras along the body's central axis. Each chakra is associated with specific qualities and functions related to physical, emotional, and spiritual well-being. The seven chakras, from the base to the crown, are:

Root Chakra (Muladhara): Represents stability, grounding, and a sense of security.
Sacral Chakra (Swadhisthana): Relates to emotions, creativity, and sexuality.
Solar Plexus Chakra (Manipura): Associated with personal power, confidence, and self-esteem.
Heart Chakra (Anahata): Pertains to love, compassion, and emotional balance.
Throat Chakra (Vishuddha): Concerned with communication, self-expression, and truth.
Third Eye Chakra (Ajna): Relates to intuition, perception, and higher consciousness.
Crown Chakra (Sahasrara): Represents spiritual connection, enlightenment, and universal consciousness.

Each singing bowl in the 7 chakra bronze singing bowl set is typically tuned to resonate with the specific frequency and vibration associated with a particular chakra. By playing the bowls or placing them on the body during sound therapy sessions or meditation practices, it is believed that the vibrations and tones produced by the bowls can help balance, align, and harmonize the corresponding chakras, promoting overall well-being and spiritual growth.

???? Elevates of life force.
???? Balance the use of both hemisphere of the brain.
???? Reduces tension, stress and involved emotions.
???? Promotes energy balance in the body.
???? Enhance creativity and focus.

1. The antique singing bowls are made of a bronze alloy (bell metal bronze), whereas some newer bowls are made from brass.
2. The old bowls were all handmade by expert craftsmen and are distinctively different from the new bowls. Some newer bowls are still handmade by artisans in the Himalayas using the old ways and materials, but others are machine-manufactured and/or made of brass instead of bell metal bronze.
3. The antique bowls have a better tone. Some people believe this is due to the aging process, which mellows the tone.

Zhabdrung Ngawang Namgyal was key in reinstating the independence of Bhutan from Tibet under the reign of H.H. the 5th Dalai Lama and seen as the founder of Bhutan. Zhabdrung Ngawang Namgyal also established two systems of administrative power in Bhutan; one led by the Desi, who was responsible for civil administration while the other, led by Je Khenpo, was responsible for the spiritual administration of the country as the central monk body.

As a result of the enormous infighting among the succession of Desis, its role became redundant when the Bhutanese Monarchy came into power in 1907. However, the role of the Je Khenpo remains, and he is seen as the head of the Drukpa Kagyu school of Buddhism in Bhutan.

After the passing away of Zhabdrung Ngawang Namgyal, three incarnations were identified, one for his body, one for his speech and one for his mind. However, only the mind reincarnation was recognized to be his successor, and called the Zhabdrung.

Jigme Norbu, the Fourth Mind Incarnation of the Zhabdrung, was born into the respected family line of the renowned Bhutanese Nyingma terton, Pemalingpa (1450-1521), whose Nyingma teachings had became part of the Drukpa lineage. His list of teachers included several important Je Khenpos, including Sherab Gyaltsen (25th Je Khenpo), Padma Zangpo (27th/29th Je Khenpo), Jampel Gyatso (30th Je Khenpo), and Yonten Gyaltsen (31st Je Khenpo).

After Jigme Norbu was recognized as the mind reincarnation of the Zhabdrung, he was enthroned as the Desi in 1851 under the recommendation of the Central Monk Body. However, Jigme Norbu did not want to be ordained and decided to take a consort to practice advanced Mahamudra.

He also had a daughter. This was not well looked upon by Bhutanese society. That, combined with a suspicion that he was involved in a political coup, were the reasons behind his resignation in 1852. Soon after, he left his monastic seat, Talo Sanga Choling, which is located at Talo valley, and journeyed to Tibet.

Later, Jigme Norbu returned to Gorina, the monastery which was founded by his teacher, Sherab Gyeltsen, and passed into clear light at the age of 31.

Jigme Norbu's compositions were published as one volume (1071 pages) by the National Library of Bhutan in 1984. It is entitled, "The Collected Works of the Fourth Zhabdrung Tulku of Bhutan, Jigme Norbu (1831-1861)". Among the many great writings by Jigme Norbu is a ritual to various protectors. The introduction emphasized Guru Rinpoche Padma Thotrend as "Powerful Lotus of the Garland of Skulls". He is regarded as a valid object of refuge for us and all of his followers, particularly the terton Pemalingpa and their protectors.

The ritual explains how to set up tormas, and explanations on different sections, such as the invocation and prostration. Protectors mentioned in this ritual include Mahakala, Tsering Chenga, Shinkongma, Rahula, Pam Busum, Tsiu Marpo, Palden Lhamo, Chatri Tsengod, Dorje Shugden, and Jagpa Melen.

There are many similarities in Jigme Norbu's writings to the 17th century Drukpa master, Drubwang Dreuley. Dreuley is the only other recorded Drukpa Master in Bhutan to have propitiated Dorje Shugden. Within the text authored by Jigme Norbu, as in the ritual by Dreuley, Dorje Shugden is specifically invoked from Lanka and Lhasa and at the end of the ritual, there is a praise to all protectors.

The volume also included a ritual specifically devoted to Dorje Shugden which seems to have drawn from the ritual written by the previous Drukpa master Dreuley. For example, the verses at the beginning that describe Dorje Shugden match those in the ritual composed by Dreuley.

Throughout the ritual, there are verses that seem to match verbatim, verses that match but with slight amendments, as well as completely new verses. The amendments included the many places where Dorje Shugden resides, such as Sakya Monastery, Doldum Bu Chokor, and Trode Khangsar in Lhasa. These places are all mentioned in the verses just before the invocation prayers. In Dreuley's ritual, we find the same invocation praises, with only marginal variations.

We find identical verses of praise in both rituals. However, in Jigme Norbu's first line of praise, which was modified from Dreuley's ritual, Dorje Shugden is asserted to be the great protector who is the collection of all Buddha's power, thus referencing Shugden's own indisputably enlightened nature. There are also references and praises across the text to Guru Rinpoche, a rare connection that is not commonly associated with Dorje Shugden practice. For example, in the confession verses, it reads:
Ordered to protect the essential doctrine
By Padma Wang and Jamyang father and sons
Heruka and Vajrakapalamalin [Guru Rinpoche],
Dorje Shugden and retinue consider me.

While later verses in the enthronement parts of the ritual read:

Fully empowered and vajra-sealed
By deathless Vidyadhara Vajrakapalamalin [Garland of Skulls Guru Rinpoche],
To protect the general and specific doctrine,
I enthrone you as the Great King of Dharma Protectors.

We must take note especially of the clear references made within Jigme Norbu's writings of Dorje Shugden's Buddha nature and his intricate connection to Guru Rinpoche. In view of the uniqueness of this ritual, which has praises to Guru Rinpoche throughout, we could wonder if Dorje Shugden is a very special protector to this Great Master alone in Bhutan, or to all its previous great masters as well

After having finished his education, he was invited in 1403 by the emperor, because Emperor Zhu Di, the Yongle Emperor, (1402 - 1424) had a vision of Avalokitesvara. He also required religious ceremonies to be held for his deceased parents.

After a long journey beginning in 1403, he arrived in Nanjing, the then capital on April 10, 1407 on an elephant, at the imperial palace, where tens of thousands of monks greeted him. He convinced the emperor that there were different Buddhist branches for different people and that does not mean that one branch is better than the other.

The Karmapa was very well received during his visit to the capital and a number of miraculous occurrences are reported. He also performed ceremonies for the emperor's family. The emperor presented him with 700 measures of silver objects and bestowed the title of 'Precious Religious King, Great Loving One of the West, Mighty Buddha of Peace'. He also gave him a material representation of the famous and ethereal 'Vajra Crown' which was said to be invisible to all except those of most pure spirit. It was woven in black brocade and studded with jewels.

Aside from religious matters, Emperor Cheng Zu wished to establish an alliance with the Karmapa similar to the one the Yuan (1277-1367 CE) emperors had established with the Sakyapa. The Ming emperor apparently offered to send regular armies to unify Tibet under the Karmapa but Deshin Shekpa declined this rather un-Buddhist offer.

Deshin left Nanjing on 17 May 1408 CE. In 1410 he returned to Tsurphu where he had his monastery rebuilt which had been severely damaged by an earthquake.

<strong>Early Life</strong>
With a Mongolian father and a Tibetan mother, Tsongkhapa was born into a nomadic family in the walled city of Tsongkhapa in Amdo, Tibet (present-day Haidong and Xining, Qinghai) in 1357. It is said that the Buddha Sakyamuni spoke of his coming as an emanation of the Bodhisattva Manjusri in the short verse from the Root Tantra of Manjushri (Wylie: 'jam dpal rtsa rgyud):

After I pass away
And my pure doctrine is absent,
You will appear as an ordinary being,
Performing the deeds of a Buddha
And establishing the Joyful Land, the great Protector,
In the Land of the Snows.

According to hagiographic accounts, Tsongkhapa's birth was prophesied by the 12th abbot of the Snar thang monastery and was recognized as such at a young age, taking the lay vows at the age of three before Rolpe Dorje, 4th Karmapa Lama, and was named Künga Nyingpo (Wylie: kun dga' snying po). At the age of seven, he was ordained as a ?r?ma?era by Döndrup Rinchen (Wylie: don grub rin chen, 1309–1385), the first abbott of Jakhyung Monastery (Wylie: bya khyung brag), and was given the ordination name Losang Drakpa (Wylie: blo bzang grags pa).

<strong>Monastic career</strong>
It was at this early age that he was able to receive the empowerments of Heruka, Hevajra, and Yamantaka, three of the most prominent wrathful deities of Tibetan Buddhism, as well as being able to recite a great many Sutras, not the least of which was Mañju?r?n?masamg?ti. He would go on to be a great student of the Vinaya, the doctrine of behavior, and even later of the Six Yogas of Naropa, the Kalachakra tantra, and the practice of Mahamudra. At the age of 24, he received full ordination as a monk of the Sakya school.

From Zhönnu Lodrö (Wylie: gzhon nu blo gros) and Rendawa (Wylie: red mda' pa), he received the lineage of the Pramanavarttika transmitted by Sakya Pandita. He mastered all the courses of study at Drigung kagyud Monastery in Ü-Tsang.

As an emanation of Manjusri, Tsongkhapa is said to have been of "one mind" with Ati?a, received the Kadam lineages and studied the major Sarma tantras under Sakya and Kagyu masters. He also studied with a Nyingma teacher, the siddha Lek gyi Dorjé (Wylie: legs gyi rdo rje) and the abbot of Shalu Monastery, Chö kyi Pel (Wylie: zhwa lus pa chos kyi dpal), and his main Dzogchen master was Drupchen Lekyi Dorje (Wylie: grub chen las kyi rdo je), also known as Namkha Gyaltsen (Wylie: nam mkha' rgyal mtshan, 1326–1401).

In addition to his studies, he engaged in extensive meditation retreats. He is reputed to have performed millions of prostrations, mandala offerings, and other forms of purification practice. Tsongkhapa often had visions of i??adevat?s, especially of Manjusri, with whom he would communicate directly to clarify difficult points of the scriptures.

<strong>Monastic career</strong>
It was at this early age that he was able to receive the empowerments of Heruka, Hevajra, and Yamantaka, three of the most prominent wrathful deities of Tibetan Buddhism, as well as being able to recite a great many Sutras, not the least of which was Mañju?r?n?masamg?ti. He would go on to be a great student of the vinaya, the doctrine of behaviour, and even later of the Six Yogas of Naropa, the Kalachakra tantra, and the practice of Mahamudra. At the age of 24, he received full ordination as a monk of the Sakya school.

From Zhönnu Lodrö (Wylie: gzhon nu blo gros) and Rendawa (Wylie: red mda' pa), he received the lineage of the Pramanavarttika transmitted by Sakya Pandita. He mastered all the courses of study at Drigung kagyud Monastery in Ü-Tsang.

As an emanation of Manjusri, Tsongkhapa is said have been of "one mind" with Ati?a, received the Kadam lineages and studied the major Sarma tantras under Sakya and Kagyu masters. He also studied with a Nyingma teacher, the siddha Lek gyi Dorjé (Wylie: legs gyi rdo rje) and the abbot of Shalu Monastery, Chö kyi Pel (Wylie: zhwa lus pa chos kyi dpal), and his main Dzogchen master was Drupchen Lekyi Dorje (Wylie: grub chen las kyi rdo je), also known as Namkha Gyaltsen (Wylie: nam mkha' rgyal mtshan, 1326–1401).

In addition to his studies, he engaged in extensive meditation retreats. He is reputed to have performed millions of prostrations, mandala offerings and other forms of purification practice. Tsongkhapa often had visions of i??adevat?s, especially of Manjusri, with whom he would communicate directly to clarify difficult points of the scriptures.

<strong>Death</strong>
Tsongkhapa died in 1419 at the age of sixty-two. After his death several biographies were written by Lamas of different traditions. Wangchuk Dorje, 9th Karmapa Lama, praised Tsongkhapa as one "who swept away wrong views with the correct and perfect ones." Mikyö Dorje, 8th Karmapa Lama, wrote in his poem In Praise of the Incomparable Tsong Khapa:

When the teachings of the Sakya, Kagyue, Kadam
And Nyingma sects in Tibet were declining,
You, O Tsong Khapa, revived Buddha's Doctrine,
Hence I sing this praise to you of Ganden Mountain.

These sacred paintings serve as objects of contemplation, inspiration, and instruction, guiding practitioners on their spiritual path. Thangkas provide a visual gateway to the world of Tibetan Buddhism, encapsulating its rich symbolism, iconography, and spiritual concepts. With their vibrant colors, intricate patterns, and skillful craftsmanship, thangkas offer a profound visual medium for deepening one's understanding and connection to the teachings of Buddhism.

Thangkas come in various sizes, ranging from small pieces resembling Western half-length portraits to grand-scale creations spanning several meters in each dimension. While the larger thangkas are intended for temporary display during religious festivals, the majority of these artworks are designed for personal meditation or as educational aids for monastic students. The compositions of thangkas are meticulously crafted, featuring intricate details and often incorporating numerous small figures. A central deity or focal point is typically surrounded by a symmetrical arrangement of other divine beings, symbols, or narrative elements that convey profound spiritual teachings.

First, the canvas on which the painting is to be executed is laid on a wooden frame to determine the required dimensions. This canvas is an extremely finely woven cotton material, referred to in the Holy Scriptures as "Çura Canvas".

Then the canvas is cut, hemmed and, with the use of sturdy strings, very tightly mounted in the wooden frame. Painting is carried out with the frame in an upright position, without any further rigid support or backing.

In this studio, our primary artist, who works virtually exclusively for us, applies the undercoat consisting of a mixture of chalk and glue to the canvas by hand. Other Thangka workshops have turned to mainly using industrially pre-primed canvas.

This photo shows how the canvas, after receiving its base coat followed by a second coating of bone glue, is polished and smoothed by hand with a stone to attain a perfectly smooth, featureless painting surface. Through this process the canvas becomes quite rigid, thereby providing perfect conditions to evoke very finest artistic detail and over-all superior painting quality.

Using a different Thangka, we see how, after mounting, the complete basic pattern of the respective theme is applied to the canvas.

The following picture shows the steps in creating a gold-based Thangka, such as our No PH 9, the "Holy Mount Kailash". To achieve more intensive colour, yet another prime coat, in ochre, is applied, followed by a coat of pure gold. The so-called Thangka painting gold is traditionally produced by members of the Newar people in Nepal. 24-karat gold is ground to finest powder and mixed with bone glue and water in proportions suitable for direct use in painting. Thus, the Thangka gold is not gold leaf at all! Silver can be processed and used in the same way: Mount Kailash and the surrounding peaks in our completed Thangka were not painted with white paint, rather with precious silver.

Here, the nearly completed piece has been removed from the wooden frame. Now only the very finest finishing touches remain to be added, such as compacting the gold and giving Mount Kailash its silver mantle.

K. Lama regarded his already half-finished thangka proudly

The Mount Kailash Thangka, including the black margin (which can also facilitate the fastening of a traditional brocade frame), is now complete. Only the background gold must be compacted in the places where it is later intended to exhibit a sheen.

Here we see an old ballpoint pen casing into which a specially cut agate has been fitted. The back of this semi-precious stone is slightly concave and can be used to compact gold over extensive areas of the Thangka, while the blunt point is used to lineally compact gold, thus creating a shiny effect.

In this way, through partial compaction of the gold or refraining from compaction, nearly three-dimensional effects can be achieved. The glorious sheen of gold artistically treated in this way richly rewards the beholder or meditator with a Thangka possessed of an extraordinarily aesthetic aura.

Thangka Making Video

One remarkable paubha, depicting Amitabha Buddha, is housed in the Los Angeles County Museum. Believed to be from the 11th century (Nepal Sambat 485), it showcases the artistic prowess of Newar painters. Their skill made them highly sought-after throughout the Himalayan region and even as far as China. In fact, Newar artists and merchants played a significant role in spreading the art of paubha to Tibet, where it evolved into the Tibetan thangka style.

The Newar people's mastery of paubha painting highlights their rich artistic heritage and their devotion to Buddhism. These intricate and spiritually meaningful artworks continue to be cherished and admired both within Nepal and internationally. They stand as a testament to the profound artistic traditions of the Newar community and their cultural contributions to the wider Himalayan region.

Paubhas are painted on a rectangular piece of canvas. It is prepared by applying a mixture of buffalo glue and white clay on it. The surface is then rubbed with a smooth stone to give it polish. The painting is done according to the rules and dimensions handed down by tradition, and artists cannot exercise their creativity.

The paint is made from minerals and plants. Gold and silver paint are also used on paubhas. The eyes of the deity are painted when the rest of the painting has been completed, and is known as "mikh? ch?yekegu" (opening the eyes). Brocade is sewn to the edge of the paubha to make a frame for display.

From a composition perspective, the surface of Paubha is usually occupied of a large figure in the center that is placed inside a shrine and surrounded by registers of smaller figures on the sides; the background is usually filled in with natural elements such as rocks rendered in abstract patterns. The color is often deep and subdued with subtle shadings of the figures and exquisite renderings of details that are the hallmarks of early Nepalese paubhas

How to Play Gong

Bronze gongs have been an important part of Buddhist and Nepali culture for centuries. In Buddhist culture, gongs are often used in meditation and chanting and are believed to have a powerful effect on the mind and body. The sound of a gong is said to clear the mind, promote relaxation, and bring about a sense of inner peace. In Nepal, the gong is used in a variety of religious and cultural settings, including religious ceremonies and rituals, music and dance performances, and as a symbol of Nepali identity.

Sound healing is an ancient practice that uses the vibrations of sound to promote healing and relaxation in the body and mind. Gong sound baths are a popular form of sound healing that involve using gongs and other instruments to create a deeply relaxing and meditative experience. During a gong sound bath, participants lie down and listen to the sound of the gongs, which are played in a variety of rhythms and tones. The vibrations of the gongs are believed to promote relaxation, reduce stress, and bring about a sense of inner calm.

We want to make sure you have everything you need to enjoy your Gong, so please feel free to browse our selection of accessories if you need any additional items to go along with your purchase."

The shape of the Burmese gong is one of the most recognisable. They are normally made from bronze and have a prominent round boss sitting on a slightly convex curving face with the edge of the boss being slightly recessed. There is a prominent lip moving over to a gently inwardly sloping rim which is deep – usually 1.5" (3cm) to 5" (12cm) depending on the size of the gong. The oxidised layer is left on the metal and can either be slate grey, black or bottle green in colour. The oxidised layer is often scraped to reveal various patterns, with lotus flower petals or star flower mandala patterns being the most common.

Over the past fifteen years or so, Burmese gongs have become much more widely available in the West. This is partly due to the withdrawal of the tuned gongs made by Paiste and the affordability of the Burmese gong. Having said that, the prices are now rising and they are becoming quite expensive.

One thing to bear in mind when playing these gongs is that they need to be played with padded beaters and played quietly. They are cast gongs and can crack if played with a hard beater or struck with any force. The sound of the gong is a lovely low 'dong' with little overtones and no splash. The decay is fairly short lived and lasts the same length of time whether struck forte or piano.

The 'Kyeezee' is a triangular-shaped piece of bronze or brass, often decorated and carved and quite thick in cross-section. It is suspended on a cord at its mid point. When it is struck, it has a piercing bell-like tone and spinning the Kyeezee gives a warbling effect. They are often used in meditation.

The term is derived from nava (Sanskrit: नव "nine") and graha (Sanskrit: ग्रह "planet, seizing, laying hold of, holding").

The Navagraha are:

Surya (Ravi), the Sun
Chandra (Soma), the Moon
Mangala (Mangal), Mars
Budha (Budh), Mercury
Dev Guru (Brihaspati), Jupiter
Shukra, Venus
Shani, Saturn
Rahu, Solar Eclipse
Ketu, Lunar Eclipse

In general, dry cleaning is the preferred method of washing for pashmina and cashmere care. However, you can hand wash occasionally if you are careful and follow a few guidelines that are listed below.

To wash by hand, use cold water. You may add a little soft detergent, such as baby shampoo or Woolite, but please be certain the detergent is completely dissolved first. Then, wash very gently by hand while being very careful with the hand-tied tassels if you are washing a pashmina accessory.

After washing, please do not wring dry. Instead, lie it as flat as possible. Once dry, you may warm iron but it is best to put a piece of paper or cloth between the iron and the fabric.
That's it. Proper pashmina and cashmere care is actually easy. Now it is time to enjoy!

The term chakra appears to first emerge within the Hindu Vedas, though not precisely in the sense of psychic energy centers, rather as chakravartin or the king who "turns the wheel of his empire" in all directions from a center, representing his influence and power. The iconography popular in representing the Chakras, states White, trace back to the five symbols of yajna, the Vedic fire altar: "square, circle, triangle, half moon and dumpling".

The hymn 10.136 of the Rigveda mentions a renunciate yogi with a female named kunamnama. Literally, it means "she who is bent, coiled", representing both a minor goddess and one of many embedded enigmas and esoteric riddles within the Rigveda. Some scholars, such as David Gordon White and Georg Feuerstein, interpret this might be related to kundalini shakti, and an overt overture to the terms of esotericism that would later emerge in Post-Aryan Bramhanism. the Upanishad.

Breath channels (nāḍi) are mentioned in the classical Upanishads of Hinduism from the 1st millennium BCE, but not psychic-energy chakra theories. The latter, states David Gordon White, were introduced about 8th-century CE in Buddhist texts as hierarchies of inner energy centers, such as in the Hevajra Tantra and Caryāgiti. These are called by various terms such as cakka, padma (lotus) or pitha (mound). These medieval Buddhist texts mention only four chakras, while later Hindu texts such as the Kubjikāmata and Kaulajñānanirnaya expanded the list to many more.

In contrast to White, according to Georg Feuerstein, early Upanishads of Hinduism do mention cakra in the sense of "psychospiritual vortices", along with other terms found in tantra: prana or vayu (life energy) along with nadi (energy carrying arteries). According to Gavin Flood, the ancient texts do not present chakra and kundalini-style yoga theories although these words appear in the earliest Vedic literature in many contexts. The chakra in the sense of four or more vital energy centers appear in the medieval era Hindu and Buddhist texts.

In former times in the jungles near Varanasi, a pheasant, a rabbit, a monkey, and an elephant lived in friendship and harmony. The four brothers declared that although their minds were harmonious, it was sad that in the world there was so little respect held by the young for the old. They decided to show respect for each other, according to the tradition of Dharma.

Having made this determination the four animals set out to make offerings and pay homage. The younger showed respect for the older by carrying the older on his back. Standing on each others’ backs in this way, the pheasant, rabbit, monkey and elephant reached the first limb of the nyän dro da (banyan tree).

The pheasant taught the others how to follow the moral conduct of not taking lives, not taking what was not given, not speaking deceptive words, not committing sexual misconduct, and not taking intoxicants. Then each animal led similar types of animals to themselves on the path of morality. Happiness and comfort increased greatly in the world.

At that time, the king, his ministers, and the general population had the proud belief that the good times were due to their own merit. In order to determine who was responsible for the peaceful times they gathered together and asked a hermit to tell them the cause of their happiness. Through his clairvoyance the hermit explained that the countries’ wealth was not due to the power of any of the people but to the merits of the four animals in the forest who were keeping the five precepts of moral conduct and leading the other animals on that path. He advised them that they, too, should behave like these animals.

Following this advice most of the people in that region began to keep the five precepts, and as a result, after they died, they were reborn in the deva realm.

It is said in the Vinaya teaching Dülwa rlung and the discourse Do de nä kyang rlung that the pheasant was an incarnation of the qualified destroyer gone beyond Shakyamuni Buddha and the others were disciples – the rabbit was Nyi gyä (Shariputra), the monkey was Päl na kyä (Maudgalyana) and the elephant was Kungawa (Ananda).

It is also said that wherever a picture of the four brothers is displayed, the 10 virtues will increase and the minds of all will become harmonious. There will be respect for elders and auspicious events will occur.

At first, there was just the bird, and the tree was just a little sprout. The bird could scratch around on the ground and find little bits of plant to eat. The bird was unable to fly, so the bird could only eat what it could find near to the ground. As the tree grew, it became difficult for the bird to get enough food to eat.

Then, the rabbit came. The rabbit would eat what was on the ground and would lift the bird up on his back so that the bird could reach the growing tree. In this way, they both had enough to eat. However, as the tree continued to grow, it started to become too high for the bird, even on the back of the rabbit.

Then, the monkey came. The monkey could climb up into the tree and drop the fruit from the tree onto the ground for the rabbit and the bird. However, it was difficult to get to the fruit at the very top of the tree.

Then, the elephant came. With the elephant, if all the animals helped each other, they could reach the fruit at the top of the tree; and, in this way, there was plenty for all of them to eat.

The reason the four animals worked so harmoniously together and the reason they were successful is that none of them was primarily concerned with getting enough food for themselves. Each of them was concerned with trying to help the others to get what they needed. Rather than being dominated by selfish concern, they were dominated by cherishing others.

Also, the reason they were successful is that they were willing to ask for help and to receive help. In this way, the bird is considered the hero of the story. The bird was the most fragile and needed the most help.

Because the bird was willing to ask for help and because the others were happy to help the bird, everything worked out very nicely.

In Tibet, in letters of advice to families who were going through some difficult times with each other, the Four Friends were often used as an example of how the family needs to stay together and help each other. Each member is very different and brings different strengths and different weaknesses, but if they work together, they can accomplish things they could never accomplish without working together.

This story is a story of interdependence. It is a story explaining how there is no place for self-cherishing, but rather we need each other and we need to help each other. The worst thing is self-cherishing. This is a story about working harmoniously.

(At our centers, we have pheasants, rabbits, monkeys, and elephants – very different kinds of people with different talents and different needs. If we only focus on the shortcomings, we might not recognize how they are able to contribute to the greater good of the center. But if we are creative, we can find a way for everybody to contribute, and in the end, everybody can partake of the fruits of bodhichitta!)

At the end of the path a single-pointed concentration is attained, and the 'purified elephant' of the mind is now completely settled. The flying monk represents bodily bliss; and his riding of the elephant, mental bliss. Riding the elephant back triumphantly across the rainbow, wielding the flaming sword of perfect insight having attained the flame of clear understanding and remembrance, represents the uprooting of samsara by the unity of Calm-Abiding and Higher Insight.

Levels One and Two, the meditator starts by using the powers of listening and pondering the meaning of the Dharma and this fires-up the motivation and zeal to stay with the concentration on the breath, the object of meditative concentration.

Level Three and Four , the power of continuous non-discursive recollection of the understanding of the dharma gained by studying and the deeply pondering of it, brings about a capacity for periodic engagement of concentration.

Level Five and Six , through the power of Watchfulness or Alertness, although our engagement is still periodic, wavering is diminishing. This power indicates that the meditator firmly and clearly comprehends what is occurring and what he or she is doing.

Level Seven and Eight, the power of Diligence or Effort, the mind is Concentrated and pliant of both body and mind, and the meditator's engagement in concentration is uninterrupted.

Level Nine, with the power of complete adaptation/habituation full Calm-Abiding is attained, the mind is naturally settled.

1. ल First Chakra: The Root or Base Chakra-Situated at the base of the spine. Its color is Red. The Muladhara is the chakra of stability, security, and basic needs. It encompasses the first three vertebrae, the bladder, and the colon. When this chakra is open, we feel safe and fearless.

2. वँ Second Chakra: Sacral or Navel Chakra- Situated at the lower abdomen and approx. two inches from the belly bottom. Its color is orange.
The Svadhisthana chakra is our creativity and sexual center. It is located in the pubic bone, below the navel, and is responsible for our creative expression.

3. र Third Chakra: Solar Plexus- Situated at the base of Rib Cage. Yellow is the shade of the Solar Plexus Chakra. The Manipura chakra means lustrous gem and it's the area from the navel to the breastbone. The third chakra is our source of personal power.

4. य Fourth Chakra: The Heart- Situated at the center of the chest around the area of Heart. Green is the shade of the heart chakra.
The Anahata is located at the heart, center in the middle of the seven, and unites the lower chakras of matter and the upper chakras of spirit. The fourth chakra is also spiritual but serves as a bridge between our body, mind emotions, and spirit. The heart chakra is our source of love and connection. When we work through our physical chakras or the first three, we can open the spiritual chakras more fully.

5. ह Fifth Chakra: The Throat- Situated at the base of the neck in the throat. Lighter blue is the color of the throat chakra, and the note for it is G and G#. The Vishuddha chakra is the fifth chakra, located in the area of the throat. This is our source of verbal expression and the ability to speak our highest truth. The fifth chakra includes the neck, thyroid, and parathyroid glands, jaw, mouth, and tongue.

6.ऊँ Sixth Chakra: The Third Eye- Situated in the middle of the forehead linking the eyebrows. The darker blue is their color. The Ajna chakra is located between the eyebrows. It is also referred to as the "third eye" chakra. Ajna is our center of intuition. We all have a sense of intuition but we may not listen to it or heed its warnings. Focus on opening the sixth chakra will help you hone this ability.

7.Seventh Chakra- The Crown-Situated at the top of the head or crown area. Violet is the shade of the crown chakra. The Sahasrara "chakra of the thousand petal lotus" chakra is located at the crown of the head. This is the chakra of enlightenment and spiritual connection to our highest selves, others, and ultimately, to the divine.

Chakra means wheel in Sanskrit. These are receptors of the universal energy or Prana each one is associated with parts of the physical body. We recommend you this incense to burn during YOGA and MEDITATION for self-realization with Himalayan herbs.

Packed in a beautiful recyclable paper box with butter paper inner cover.

We have varieties of this incense which will help you balance your chakras.

1. Chakra Incense -Sacral Navel (for Creativity) SANDALWOOD
2. Chakra Incense-Root (for Innocense) NAGCHAMPA
3. Chakra Incense-Crown (for Integration) FRANKINCENSE
4. Chakra Incense- Third Eye (for forgiveness) ROSE
5. Chakra Incense-Solar Plexus(for Peace) LEMONGRASS
6. Chakra Incense-Heart(for Love and Compassion) JASMINE
7. Chakra Incense-Throat(for Collectivity) PATCHOULI

Tibetan Water Offering Bowls: How to Use Them

The main point of any offerings is a pure motivation to cultivate generosity and to reduce our selfishness, stinginess, and greed.
We seek to give with an open, pure heart, with no attachment to what we are giving, and with no motivation of receiving something in return.


Paradoxically, as His Holiness the Dalai Lama often teaches, cultivating generosity and devoting ourselves to the welfare of others increases our own happiness in many ways, as we release the painful, stiff worry that accompanies greed and self-centeredness.

He encourages us to become selfishly altruistic, to become happy people by concerning ourselves primarily with the well being of others.

One reason that we offer water is that water in Tibet has traditionally been considered plentiful and free, and therefore painless to give. The idea is that all of our offerings should be given as freely as we would give water.

Another way to view the water offerings is as representing the seven aspects of prayer:

prostrating
offerings to the Buddhas
confessing our wrongs
rejoicing in the good qualities of oneself and others
requesting the Buddhas to remain in this world
beseeching the Buddhas to teach others
dedicating the merit of ourselves and others which has been accumulated throughout time, in order that all sentient beings may enjoy happiness and virtue

Traditionally in Tibetan homes, we make our yonchap every morning. If that is not possible, we do it as often as we can.

Start with seven clean bowls — called ting in Tibetan — and a pitcher of fresh water. Tibetans usually use silver, brass or copper bowls, which range from very plain to carved and intricately decorated treasures.
One by one, pour a little water in each bowl before you place it on the shrine, lining the bowls up from left to right as you face the shrine. The reason to start with a little water in each bowl is that it is inauspicious to have a bowl sitting empty on the shrine.
Tibetan Buddhist masters explain that each bowl should be the distance of one barley seed from the next one.
Starting from left to right, fill each bowl with water, almost to the top. Again, the common thought is that you leave the space of one barley seed from the rim of the bowl.
While setting up your offering bowls, it is common for Tibetans to recite one of the more common mantras, like:
— Om mani padme hung (Avalokiteshvara’s mantra)
— Om muni muni maha munaye soha (Buddha Shakyamuni’s mantra)
— Om tare tuttare ture soha (Tara’s mantra)

Others may recite what is called the gyamdro prayer. The prayer can be whatever you choose. What is most important is that you pray with a sincere wish to cultivate generosity and an open heart.
In the same spirit, you might visualize that you are offering endless quantities of everything beautiful and precious, plus all the good qualities in our hearts and minds, to a vast assembly of Buddhas.
You can put a butter lamp between the third and fourth bowls, or between the fourth and fifth bowls, symbolizing the light of wisdom, dispelling the darkness of ignorance.
Once the bowls are filled, it is common to bless the offerings with kusha grass (also called elephant grass) or any kind of clean straw or stick that you may have access to. To do this, you dip your grasses into one of the bowls and sprinkle the shrine with water, reciting the purifying mantra “om a hum.” (From Khandro.net)
Finally, you can dedicate the merit you have gained by the offerings to the elimination of suffering and its causes for all sentient beings.

During the performance of some Tantric rituals, two matching Bhumpas are used. These are called the "chief" or "principal" vase, and the "action" or "working" vase. The principal vase is filled with holy water and remains upon the altar in the monastery or temple, while the action vase is used for the actual pouring of water for purification during the various stages of the ritual.

During the performance of some Tantric rituals, two matching Bhumpas are used. These are called the "chief" or "principal" vase, and the "action" or "working" vase. The principal vase is filled with holy water and remains upon the altar in the monastery or temple, while the action vase is used for the actual pouring of water for purification during the various stages of the ritual.

The tradition of using offering cakes pre-dates Tibetan Buddhism, though traditional Indian offering cakes — called bali or balingha in Sanskrit — are flat instead of conical.
The Tibetan term comes from the root gtor-ba which means to "cast away, break up, or scatter". This implies both a sense of offering and of letting go or non-attachment.

Tormas have different uses. Some are created and placed on shrines for ceremonies or to represent deities. Others are used in feast practice and consumed by practitioners during the practice. Others are made to appease spirits, accumulate merit, or remove obstacles. They are mostly made of barley flour and butter, but traditionally other ingredients such as egg, milk, sugar, honey, and even meat may be included depending upon the purpose of the torma.

Deity tormas
Deity tormas (Wylie: rten gtor) are kept on the shrine, and represent a particular tantric deity. These tormas vary in complexity from a very simple cone painted white for peaceful deities like Tara and Avalokiteshvara, to very complex designs for semi-wrathful deities like Vajrayogini and Chakrasamvara.
Food tormas
Food tormas (Wylie: skang gtor) are used in feast practices and are consumed partially by practitioners during the feast, with leftovers (Wylie: dme gtor) offered to lower beings after being blessed. In some traditions, food tormas are now made with more contemporary ingredients whereas others stay faithful to the barley flour tradition.

Offering tormas
Offering tormas may be made for and offered to deities (Wylie: sgrub gtor / mchod gtor), to Dharma Protectors, to obstructing spirits, or to other lower beings. Torma for obstructing spirits are called gektor (Wylie: gegs gtor).

Medicinal torma
A torma may be used in Tibetan medicine to extract an illness from a patient as a cure. The torma is then cast away.

Captured torma
A captured torma (Wylie: gta' gtor) may be used to speed completion of activities, by planning to offer the torma at the completion of the activity thereby encouraging successful activity.

Inner, secret and very secret torma
Practicing meditation with deity visualization is considered a form of torma offering, though no physical cake is created and then offered. Similarly, offering one's internal emotional and mental experiences and experience of suchness are non-physical forms of torma offerings.

How To Make Mandala offering

How to Practice Mandal offering

Offering the mandala contains the practice of all six perfections. By cleaning and blessing the mandala base with liquid mixed with a bajung pill you practice the perfection of giving (water symbolizes prosperity). Checking the grain1 for insects and looking after the base, keeping it clean, leads to the perfection of moral conduct. Removing insects from the grain without harming them leads to the perfection of patience. Thinking of how fortunate you are to be able to practice Dharma and making the offering with joy, you cultivate joyous effort. By not forgetting the visualization, you attain concentration. By clearly visualizing the colors and objects in the mandala, and by meditating on its emptiness, wisdom is attained. Therefore offering mandalas helps you to quickly complete the two accumulations of the merits of method and wisdom2 as it contains all six perfections.


This practice pacifies all hindrances to your temporal and ultimate happiness. These depend on merit and merit depends on offerings. The most meritorious object to offer is the mandala. Therefore if you wish to achieve temporal and ultimate happiness, the best thing you can do is to offer many mandalas.

Lama Tsongkhapa offered a million eight hundred thousand mandalas and achieved all the realizations of the stages and paths. If you wish to gain realizations you should offer mandalas to your guru every day as his jewel-like body can bestow the sphere of great bliss in an instant. All realizations depend on your guru. Offering mandalas to him/her is like offering gifts to a king before requesting a favor of him. Achieving enlightenment in one lifetime depends on your relationship with your guru.

Lama Tsongkhapa was instructed by Manjushri to leave the monastery and go to a hermitage where he was to concentrate on bodhicitta, seeing his guru as Buddha, meditate on the path, purify and accumulate merit. Without working on all of these, even if you practice for a hundred years you won't gain realizations. However, if you do, you will receive realizations within three years or even in a few months. The mere wish to make progress doesn't make it happen. It's necessary to create the causes, one of which is accumulating merit.

Basically, offering the mandala involves mentally offering the entire universe: all the planets and worlds, all sense objects, and especially the objects to which there is much clinging, such as your body, possessions, and friends. All these are offered to the merit field. The essential technique of offering is to offer the best quality materials, in the greatest quantity, and to have a clear visualization as possible. In this way, you can create extensive merit in just a short time.

Even if you're a beggar, by making mandala offerings you will receive all the necessities for your practice in this and future lives. By visualizing and then offering whatever you need in the space above the mandala, you create the cause to receive it. Visualizing anything golden and offering it to the buddhas frees you from disease, and offering the moon creates the cause for you to be reborn as a god or a holy being. Offering jewels, gold and enjoyments create the cause to be reborn in the caste of kings.

If you don't have good materials you can even use a stone for the mandala base (but first you should ask permission of the spirit landlord, otherwise it's like stealing). Lama Tsongkhapa's forearm was blue and bloody with scabs and calluses from making mandala offerings on a stone during his eight-year retreat. This doesn't mean that lamas don't have money to buy gold and silver bases. Lama Tsongkhapa did this to emphasize the importance of pure morality. If you are abiding in pure moral conduct you aren't allowed to touch precious metals with attachment. However, the more valuable the material you offer, the more merit you receive. The best is a gold or silver base, then copper or brass. The finest things to offer are piles of gold, silver, or jewels; the cnext best is seashells; rice or other grains are acceptable. As mandala offerings are of great consequence, you should offer the finest materials you can afford. If you have enough money to provide yourself with the comforts of life but you use inferior materials for offering, the only result of your offering will be a decrease of merit.

By visualizing the offerings as more precious and extensive, you create vast merits. For example, imagine that you're offering an Mt. Meru of silver, lapis lazuli, ruby, and gold, even if there are no such materials on your base, you receive the merit of actually offering them. So in just a few seconds, it's possible to create the merit of having offered the entire universe. When you offer water bowls it's good to visualize the water as nectar. The water appears as nectar to the devas, so of course, it appears as nectar to the buddhas—this is explained in Maha-Uttara Yoga Tantra. It generates infinite bliss in the holy mind. So if you offer only water, you get the merit of offering water, but if it's offered as nectar you gain much more merit because of the superior quality of that offering.

Histroy of Incense

Native Americans also celebrated the benefits of burning herbs and incense, particularly sage, to cleanse their souls free of impurities, along with driving away impurities from their house and worship places. Burning incense with essential oils has been an ancient therapeutic ritual that has been revived by Buddhists, yogis, and other spiritual traditions around the world in modern times.

Boost Focus an Concentration
Most people believe that burning incense is a yogic ritual, but the truth is that it promotes mindfulness and concentration, so you can burn it whenever you feel the need to be fully aware. For instance, while you are work, studying, doing yoga, or anything else, incense can help you concentrate.

Buddhist monks realized this advantage of burning incense thousands of years ago, and they used it to purify their atmosphere, clear up their thoughts, and concentrate on meditation. Their traditions reveal that jewelry designers, artisans, and other handcrafters would also burn incense to boost their focus.

STIMULATE YOUR CREATIVE JUICES
The pleasant fragrance of incense stimulates the mind and gets your creative juices flowing so you can feel inspired to imagine and identify the beauty around you. Incense boosts creativity and its botanical aroma calms the mind & invites peace so the imagination can run wild and free without any anxieties stressing out your brain.

PROMOTES POSITIVITY ENERGY
For centuries, spiritual gurus and religious teachers have advocated the use of incense to purify the environment, the mind, and the soul. Modern science reveals that the smoke of incense is filled with potent fungicidal, insecticidal, and antibacterial powers, which keeps your environment free of pollutants.
Combining incense with essential oils is a great remedy to eliminate negativities, feel more positive, motivate yourself, and drive out all impurities from your soul and surroundings. Remember, a clean and pure environment is the most beneficial strategy to keep the mind energetic and the body healthy.

HELP WITH DEPRESSION & ANXIETY

Some research suggests that burning incense, particularly frankincense, which is obtained from the Boswellia plant, stimulates the less understood ionic pathways within the brain, which aid in reducing symptoms of depression and anxiety. Ancient therapeutic and healing rituals have advised the use of incense to drive away feelings of despair, depressive thoughts, negative emotions, and anxieties that gnaw at the brain’s peace.

It will allow you to feel light-hearted and positive by driving out the negative thoughts and replacing them with calmness and a mindful attitude to give your absolute best to yourself.


ELIMINATE STRESS
Whether you are performing yoga or doing meditation, anxious and stressful thoughts are the greatest challenge in your quest to find peace and serenity. Burning incense has always been a ritual for meditation and yoga, and this is primarily because of its ability to stimulate the brain with a sense of calm.

The aroma of incense smoke is capable of reducing heart rates, and soothing the nerve pathways within the brain to make you feel completely relaxed and at peace. It is a great idea to burn incense while taking a luxurious hot bath or a massage so your muscles can relax and get rid of all that tension.

FEEL HAPPY & MINDFULLY AWARE
Our ability to smell opens up a pathway that directly leads to the brain, and when the aroma released by incense smoke reaches the brain, it stimulates the Limbic system. This fragrance stimulates the production of various essential brain chemicals that are associated with the feelings of calmness, happiness, and bliss.

When you burn incense, its aroma aids in opening up the nasal passages, a great remedy for flu, allowing you to feel relaxed and happy by naturally reducing your blood pressure. It promotes a strong sense of mindfulness that allows you to be more aware of yourself and appreciative of everything around you.

SLEEP NATURALLY & BLISSFULLY
People who struggle with symptoms of insomnia or struggle falling asleep can benefit from the therapeutic calmness of burning incense. It is incredibly beneficial for inducing drowsiness, and it is widely considered an ancient treatment for dealing with insomnia and sleep disorders.

Incense contains a powerful variety of plants, and various different parts of herbs that boost potent chemicals, nutrients, and naturally-occurring compounds to stimulate the mind and trigger the production of therapeutic brain chemicals and happy hormones.

Incense is the perfect remedy to clear your mind and begin your meditative practice and yoga session with a clear and focused mind. Allow it to make you feel more mindful and connected with your spiritual self, even when you’re baking some cookies, doing your work or sitting down for dinner with your family. It is an essential ancient remedy to purify your environment, your house, your thoughts, and your soul.

BOOST FOCUS & CONCENTRATION
1. STIMULATE YOUR CREATIVE JUICES
2. PROMOTES POSITIVE ENERGY
3. HELP WITH DEPRESSION & ANXIETY
4. ELIMINATE STRESS
5. FEEL HAPPY & MINDFULLY AWARE
6. SLEEP NATURALLY & BLISSFULLY

Cheppu - The Mythical Creature

Cheppu is portrayed in his fierce appearance eating up showing just 50% of Cheppu's body and eating up Naga(snake).

It is additionally informed that Cheppu vanished from the world as he would not like to see the kaliyuga, the incredible yuga, when the evil would totally victorious over the great and the world would be obliterated by Vishnu in his manifestation as kalki, the destroyer. Knowing his fortitude, honesty and entitled with every one of the better stamps Manjushree needed than see him and mentioned him to show his full structure. He showed up gradually in the midst of the cloud. Manjushree, as a veteran craftsman, quickly drew his structure by his foot subtly without the information on Cheppu. At the point when Manjushree could complete to draw his head just he came to know Manjushree's misdirection and promptly vanished. Because of his valiance, honesty and every unrivaled imprint, he was given the spot at the highest point of the fundamental passage of the sanctums for the assurance from every one of the risks. Nagas(serpents) are the food of Cheppu.

Along the narratives of Manjushree, comes an intriguing and interesting story joined to Cheppu – The Mythical Creature:

Quite a while past, the Kathmandu Valley was just an enormous lake occupied by the endless number of sea-going creatures. Most of them were the Nagas (snakes). Along these lines, this valley was otherwise called Naga Daha, which means the "Home of the Serpents'.

One day Manjushree Bodhisattva (a Buddhist god from China) stayed with this valley. He loved the valley. He loved the valley such a lot of that he needed to make a delightful town out of it . With this aim he promptly slice through the southern slope of the valley with one stroke of this his incredible sword (Chandrahara) and depleted off the water. This constrained every one of the occupants of the lake to leave, as they couldn't do anything against the omnipotent Manjushree. Be that as it may, an animal called Cheppu waited. When by his yogic force Manjushree detected that there was somebody actually covered up some place under the remainder of the lake, he instructed the last to leave the water in a flash. He was frightened when he saw that he was unable to conflict with the force of Manjushree. In this way, he said he would leave the lake if Manjushree would vow not to take a gander at his shocking element when he moved out of the lake. As indicated by the guarantee, Manjushree shut his eyes and Cheppu arranged to emerge from the water. As the dread stricken animal pushed half of his terrible body over the surface, Manjushree couldn't resist the opportunity to open eyes covertly, wondering for no specific reason. At the point when Cheppu saw Manjushree open his eyes, he got so vexed that he immediately plunged back profound under the water to conceal himself once more. Manjushree, embarrassed about breaking his guarantee, before long haggled with Cheppu guaranteeing him that he could never trouble again to seen by anybody). He additionally guaranteed that he would permit him to involve an exceptionally critical spot in the blessed sanctuaries of Nepal (he planned to develop soon in the valley) and stay there half-covered up for eternity.

This story appears to clarify a ton about our engineering custom of showing just 50% of Cheppu's body over the tympanums of the sanctuary entryways. Regardless of whether this legendary story contains any trace of legitimacy or not issue the least. What includes in the social worth it reflects and the creative interest it leaves for the whole gang to comprehend and appreciate.

Cundī is depicted with eighteen arms, each wielding implements that symbolize upaya. Her eighteen arms also represent the eighteen merits of attaining Buddhahood as described in an appendix to the Cundī Dhāraṇī Sūtra.

By seeking out statues made over a decade ago, you can find ones that were crafted with the intention of honoring and representing divine beings. These older statues have a special aura and significance, reminding us of a time when creating Buddhist statues was seen as a sacred act.

The Sacred Serenity collection provides an opportunity to own one of these timeless masterpieces. With their intricate details, divine presence, and the devotion put into their creation, these statues can bring a sense of tranquility, spiritual awakening, and a connection to the divine into your space. Welcome the "Sacred Serenity" into your life and experience the whispers of ancient wisdom and serenity it holds.

Sandalwood oil has a distinctive soft, warm, smooth, creamy, and milky precious-wood scent. It imparts a long-lasting, woody base to perfumes from the oriental, woody, fougère, and chypre families, as well as a fixative to floral and citrus fragrances. When used in smaller proportions in a perfume, it acts as a fixative, enhancing the longevity of other, more volatile, materials in the composite. Sandalwood is also a key ingredient in the "floriental" (floral-ambery) fragrance family – when combined with white florals such as jasmine, ylang ylang, gardenia, plumeria, orange blossom, tuberose, etc.

Sandalwood oil in India is widely used in the cosmetic industry. The main source of true sandalwood, S. album, is a protected species, and demand for it cannot be met. Many species of plants are traded as "sandalwood". The genus Santalum has more than 19 species. Traders often accept oil from closely related species, as well as from unrelated plants such as West Indian sandalwood (Amyris balsamifera) in the family Rutaceae or bastard sandalwood (Myoporum sandwicense, Myoporaceae). However, most woods from these alternative sources lose their aroma within a few months or years.

Isobornyl cyclohexanol is a synthetic fragrance chemical produced as an alternative to the natural product.

Sandalwood's main components are the two isomers of santalol (about 75%). It is used in aromatherapy and to prepare soaps.

Juniper is used for digestion problems including upset stomach, intestinal gas (flatulence), heartburn, bloating, and loss of appetite, as well as gastrointestinal (GI) infections and intestinal worms. It is also used for urinary tract infections (UTIs) and kidney and bladder stones. Other uses include treating snakebite, diabetes, and cancer.

Some people apply juniper directly to the skin for wounds and for pain in joints and muscles. The essential oil of juniper is inhaled to treat bronchitis and numb pain.

In foods, the juniper berry is often used as a condiment and a flavoring ingredient in gin and bitter preparations. The extract and essential oil are used as a flavoring ingredient in foods and beverages.

In manufacturing, juniper oil is used as a fragrance in soaps and cosmetics.

Juniper extract and juniper oil are used in cosmetics including lipstick, foundation, hair conditioners, bath oils, bubble bath, eye shadow, and many other products.

One of the oldest aromatics, cedarwood was valued highly in ancient times, and used in all facets of daily life as a cosmetic, hair tonic, incense, and perfume. With a rich, woody, slightly masculine scent, the fragrance relaxes and harmonizes, while building inner confidence and self-acceptance. Particularly in times of stress, the scent helps enhance the capacity to give generously to another. Cedarwood is used whenever calm and composure are required. It is said to aid in relieving nervous tension, anxiety, insomnia, fighting depression, and aggression. It is said to improve blood circulation, arthritis, and enhance concentration. It is a powerful antiseptic, astringent, and insect repellent. It repels mosquitoes, moths, woodworm, rats, and mice.

Atlas Cedarwood Tree
The ancient Syrians and Mesopotamians considered the tree a sign of enduring love and nourished the spirits of their ancestors with cedarwood incense. For surviving the flood, it is said Noah burnt cedarwood oil in gratitude to the Lord. Atlas cedarwood was used in ancient Egypt for fumigation and embalming. Wood is used for storage chests as it repelled insects. Used for incense. Used in the East for bronchial and urinary tract infections.

The Virginian cedarwood was used by Native Americans for respiratory infections, esp. with catarrh. Also rheumatism, skin rashes.

Making Process of Herbal Soap

Nice quality herbal soaps are made from raw extracts, edible oils, mineral oils, and other natural ingredients. Some common ingredients used to produce these soaps are certified organic olive, coconut, palm, soybean, castor, and almond oils, with the addition of cocoa butter, shea butter, aloe vera, vitamin e, and essential oils.

These soaps contain no additives, synthetics, fillers, petroleum distillates, liquids, dyes or metals.

Various types of herbs used to produce these soaps include burdock, comfrey, eucalyptus, hyssop, oat straw, plantain, red clover, rosemary, and witch hazel.

The various types of essential oils used to produce herbal soaps are


Olive Oil - Rich in Vitamin E and works as a humectant for skin. Produces silky bubbles

Coconut Oil - Rich in moisturizing properties and helps create a hard bar of soap with fluffy bubbles/lather

Palm Oil - Good for the conditioning of skin and helps make a hard bar

Soy Bean Oil - Rich in vitamins A, E & K. Provides good natural antioxidant and moisturizing properties

Cocoa Butter - Softens and protects the dry and chapped skin. It is a super-emollient produced during the manufacture of cocoa and chocolate

Check the ingredients carefully when choosing a herbal soap. Any producers of soaps may also say that they use additives, such as lavender, although they simply use lavender scented oil, which is not the same thing as essential oil and does not produce the same result. Scented oil is not the same thing as essential oils and does not produce the same result. Suitable herbal soaps can be chosen based on the quality and reaction of your skin. A moisturizing soap with natural and herbal ingredients may be picked to achieve the best results.

Soaps produced using conventional cod processing methods should be preferred as they preserve and maintain the nutritious value of the herbs used in the manufacture of soap.

If your skin is dry, you can use a natural soap made with oatmeal and/or avocado extracts. Herbal soaps made for dry skin usually contain lavender, peppermint, and spearmint oils, which tend to remove impurities in the skin. If you have oily skin, look for a natural soap with almond oil or one made with calendula oil. Tea oil-containing soaps are also considered to be effective in treating oily skin conditions.

The stupa is a traditional structure of architecture, filled with relics and written mantras, which demonstrates the harmony and perfection of all universal principles and invites the human mind to participate in the growth and endless possibilities.

Basically, in the Sutras, the direct teachings of Buddha, one can find examples of eight different kinds of stupas. They apply to important events, such as his birth, his enlightenment, his teachings and his death, in Buddha Shakyamuni's life. According to these cases, the first stupas of this kind were constructed at different locations in India and today's Nepal and became holy sites.

Later, the so-called "Tathagata Stupas of the Eight Sacred Places" tradition came to Tibet. You can still find all eight stupas in a row on top of an enclosed wall at some Tibetan monasteries, counting 108 or even 1,080 stupas all together.

In Europe, it is very unusual to see all the eight stupas constructed together. In France (Montchardon), for example, one row is located and, since 2017, a beautiful set crowns Karma Berchen Ling.

A powerful protective field is formed by the eight stupas which can keep negative forces away. Established at the entrance, this "wall of stupas" not only reminds us of Buddha's deeds but also outwardly protects the retreat spot.

This process is very simple to perform and can be done using a few basic materials and tools. Aside from creating small objects, resin casting can also be used to make architectural objects.
A resin casting is a process that can produce complex shapes. The shape of the mold cavity is also affected by the material used.

Dhatarattha King of the east and god of music. His symbolic weapon is the pipa (stringed instrument). He is harmonious and compassionate and protects all beings. Uses his music to convert others to Buddhism. Associated with the color white.

Vessarana [Jambhala] This is the chief of the four kings and protector of the north. He is the ruler of rain. His symbolic weapons are the umbrella or pagoda. Wearing heavy armor and carrying the umbrella in his right hand, he is often associated with the ancient Indian god of wealth, Kubera. Associated with the color yellow or green.

Virūlhaka King of the south and one who causes good growth of roots. He is the ruler of the wind. His symbolic weapon is the sword which he carries in his right hand to protect the Dharma and the southern continent. Associated with the color blue.

Virūpakkha King of the west and one who sees all. His symbolic weapon is a snake or red cord that is representative of a dragon. As the eye in the sky, he sees people who do not believe in Buddhism and converts them. His ancient name means "he who has broad objectives". Associated with the color red.

Our skilled artisans in Nepal have crafted this shawl by hand, ensuring that each piece is unique and one-of-a-kind. The intricate weaving and attention to detail are evident in every stitch, making this shawl a true work of art.

Measuring at a generous size, this shawl can be worn in a variety of ways, making it a versatile addition to your wardrobe. Whether you're bundling up for a winter walk or looking for a stylish accessory to wear to the office, this shawl is sure to impress.

In summary, our Acrylic Wool Shawl is warm, durable, and handmade with care in Nepal. Its soft texture and intricate design make it a must-have for anyone looking to stay cozy and stylish during the colder months.

In addition to their aesthetic appeal, beads and bone design key rings are also imbued with cultural significance and spiritual meaning. Many people in Nepal believe that certain types of bone and beads can have positive effects on the mind and body, and may promote healing, balance, and positive energy.

Beads and bone design key rings make excellent gifts for those who appreciate unique and meaningful accessories, and are a wonderful way to support the local artisans and culture of Nepal. They are also a practical accessory that can be used to keep keys organized and easy to find. Overall, these key rings are a beautiful and functional addition to any keychain or set of keys.

Some popular styles of cotton shorts in Nepal include patchwork shorts, which feature a patchwork design made from various fabrics and prints, and cargo shorts, which have multiple pockets for storage. Yoga shorts are also popular and often feature a stretchy cotton material that allows for ease of movement.

Overall, cotton shorts are a comfortable and practical option for both men and women in Nepal, and there are many styles to choose from to suit various activities and personal preferences.

Lightweight cotton shawls can be worn in many ways, such as draped over the shoulders, wrapped around the neck like a scarf, or even worn as a beach cover-up. They are also easy to pack and can be a great accessory for travel or outdoor activities.

Overall, a lightweight cotton shawl is a versatile and stylish accessory that can add a touch of comfort and elegance to any outfit. Whether you're looking for a simple and understated shawl or a colorful and bold one, there are plenty of options to choose from in Nepal.

Lightweight cotton shawls can be worn in many ways, such as draped over the shoulders, wrapped around the neck like a scarf, or even worn as a beach cover-up. They are also easy to pack and can be a great accessories for travel or outdoor activities.

Overall, a lightweight cotton shawl is a versatile and stylish accessory that can add a touch of comfort and elegance to any outfit. Whether you're looking for a simple and understated shawl or a colorful and bold one, there are plenty of options to choose from in Nepal.

Cotton kurta tops are often paired with loose-fitting pants or leggings and can be accessorized with jewelry or scarves. They are versatile and can be dressed up or down depending on the occasion.

Overall, a cotton kurta top with border embroidery is a beautiful and traditional garment that is both comfortable and stylish. It is a great choice for anyone looking for a lightweight and breathable option for their wardrobe.

One of the benefits of ribbed cotton caps is that they are lightweight and comfortable to wear, making them perfect for all-day wear during cooler weather. The ribbed texture of the fabric adds extra insulation and helps to trap heat close to the head, keeping you warm and comfortable even in chilly temperatures.

Overall, a ribbed cotton cap is a stylish and practical accessory that is perfect for anyone who wants to stay warm and comfortable during cooler weather. Whether you're running errands, going for a hike, or just hanging out at home, a ribbed cotton cap is a great way to add some extra warmth and style to your look.

Cotton dresses can be worn with sandals or sneakers for a more casual look, or with heels or dress shoes for a more formal occasion. They can also be layered with jackets or scarves for cooler weather.

Overall, cotton dresses are a versatile and comfortable clothing item that can be worn for many occasions. They come in various designs and styles in Nepal, making it easy to find one that fits your personal style.

Another type of cotton bag is the backpack, which is perfect for hiking, traveling, or everyday use. Backpacks made from cotton are lightweight and comfortable to wear, and often have adjustable straps and multiple pockets for storage.

Cotton bags with patchwork, embroidery or printed designs are popular in Nepal and other parts of South Asia. These bags may feature traditional designs and motifs, such as mandalas, lotus flowers, or other symbols with deep spiritual significance. They may also feature modern designs or pop culture references.

Overall, cotton bags are a practical and stylish accessory that is perfect for anyone who wants to reduce their environmental footprint while still enjoying high-quality and durable bags. Whether you need a shopping bag, shoulder bag, backpack, or something else, there is a cotton bag out there that is perfect for your needs.

In addition to their aesthetic appeal, copper pendants with Seku designs are believed to have spiritual and healing properties. Copper is thought to have grounding and energizing properties, and is said to promote mental clarity and emotional stability. Seku designs are also believed to have symbolic meanings that can help to promote spiritual growth and enlightenment.

Overall, a copper pendant with Buddhist or Hindu Seku designs is a beautiful and meaningful piece of jewelry that is perfect for anyone who is interested in spirituality, meditation, or mindfulness practices. It is a unique and stylish accessory that can be worn with a variety of outfits, and is sure to be treasured for years to come.

Coin purses come in a variety of shapes and sizes, from small and simple designs that fit in the palm of your hand, to larger and more complex designs with multiple compartments and pockets. Some coin purses have snap closures, while others have zippers or other types of closures.

Coin purses are popular accessories for both men and women, and are available in a wide range of colors, patterns, and styles. They are perfect for carrying in a pocket, purse, or backpack, and are ideal for traveling, shopping, or running errands.

Overall, a coin purse is a practical and stylish accessory that is essential for anyone who wants to keep their coins and small items organized and easily accessible.

The lightness and thinness of the shawl make it perfect for wearing in a variety of settings and climates. It can be draped over the shoulders as a shawl to keep warm on chilly evenings, or wrapped around the neck as a scarf for added insulation. It is also an excellent accessory for traveling, as it can be easily packed in a suitcase or carry-on bag without taking up too much space.

A very light cashmere Nepali shawl is a luxurious and elegant accessory that is perfect for adding a touch of sophistication to any outfit. It can be dressed up or down, and is ideal for both formal and casual occasions. Overall, a very light cashmere Nepali shawl is a beautiful and versatile accessory that is sure to be treasured for years to come.

Cashmere shawls are versatile and can be worn in a variety of ways, from draped over the shoulders as a shawl to wrapped around the neck as a scarf. They are perfect for adding a touch of elegance and sophistication to any outfit, whether dressed up or dressed down.

Cashmere shawls made in Nepal are also a popular souvenir for visitors to the region. They make excellent gifts for friends and loved ones, and are a beautiful and timeless accessory that can be enjoyed for many years to come. Overall, a Cashmere shawl made in Nepal is a luxurious and beautiful addition to any wardrobe.

Some bracelets may also have cultural or symbolic significance. For example, in many cultures, bracelets are worn as a symbol of status or as a protective talisman. Some bracelets may also be associated with particular religious or spiritual beliefs.

Bracelets are a popular accessory for both women and men, and can be worn for a variety of occasions, from casual outings to formal events. They make excellent gifts for friends and loved ones, and are a great way to add a touch of personality and style to any outfit. Overall, a bracelet is a versatile and timeless piece of jewelry that can be enjoyed by anyone.

In addition to their aesthetic appeal, bone pendants can also have cultural and spiritual significance. In many cultures, bone jewelry is believed to have healing properties and can promote balance and positive energy. Additionally, using natural materials like bone in jewelry is eco-friendly and sustainable.

Bone pendants can be worn on their own as a statement piece or paired with a simple chain or cord for a more understated look. They make excellent gifts for those who appreciate unique and meaningful jewelry and are a great way to support local artisans and culture. Overall, a bone pendant is a beautiful and meaningful addition to any jewelry collection.

In Nepal, bone jewelry is believed to have healing properties and may promote balance and positive energy. Many people appreciate the eco-friendly aspect of using natural materials in their jewelry, as well as the cultural and spiritual significance of wearing a bone necklace.

Bone necklaces make excellent gifts for those who appreciate unique and meaningful jewelry, and are a great way to support local artisans and culture. They can be worn with a variety of outfits and for various occasions, adding a touch of elegance and uniqueness. Overall, a bone necklace is a beautiful and meaningful addition to any jewelry collection.

In addition to their practical use, key rings can also be a fun and unique way to express personal style or interests. Some keyrings may feature images or symbols of favorite hobbies, sports teams, or pop culture icons. Others may be handcrafted by local artisans using traditional techniques and materials, such as bone or wood.

Overall, a key ring is a simple yet essential accessory that can help keep keys organized and easily accessible. With so many styles and designs available, it's easy to find a key ring that not only serves its practical purpose but also adds a touch of personal style and flair.

Bone earrings not only have aesthetic appeal but also cultural and spiritual significance. In Nepal, bone jewelry is believed to have healing properties and promote balance and positive energy. Additionally, using natural materials in jewelry is eco-friendly and sustainable.

Bone earrings make excellent gifts for those who appreciate unique and meaningful jewelry and are a great way to support local artisans and culture. They can be worn with a variety of outfits and for various occasions, from casual to formal, adding a touch of elegance and uniqueness. Overall, bone earrings are a beautiful and meaningful addition to any jewelry collection.

In addition to their aesthetic appeal, bone earrings also hold cultural and spiritual significance. In Nepal, bone jewelry is believed to have healing properties and may promote balance and positive energy. Many people also appreciate the eco-friendly aspect of using natural materials in their jewelry.

Bone earrings make excellent gifts for those who appreciate unique and meaningful jewelry, and are a wonderful way to support the local artisans and culture of Nepal. They are a versatile accessory that can be worn with a variety of outfits, from casual to formal, and are sure to be a conversation starter. Overall, bone earrings are a beautiful and meaningful addition to any jewelry collection.

In addition to their aesthetic appeal, these bed sheets can also serve as a reminder of one's spiritual practices and beliefs. They can be a comforting and grounding presence in the bedroom, helping to promote a sense of peace and mindfulness.

Cotton bed sheets with various gods of Hindu and Buddhist and animal prints are a wonderful way to bring culture and spirituality into the home, and make a meaningful and unique addition to any bedroom.

In addition to their aesthetic appeal, beads and bone design pendants are also imbued with cultural significance and spiritual meaning. Many people in Nepal believe that certain types of bone and beads can have positive effects on the mind and body, and may promote healing, balance, and positive energy.

Beads and bone design pendants make excellent gifts for those who appreciate unique and meaningful jewelry, and are a wonderful way to support the local artisans and culture of Nepal. They can be worn as a standalone pendant on a chain or added to a charm bracelet for a personalized touch. Overall, these pendants are a beautiful and meaningful addition to any jewelry collection.

In addition to their aesthetic appeal, beads and bone design necklaces are also imbued with cultural significance and spiritual meaning. Many people in Nepal believe that certain types of bone and beads can have positive effects on the mind and body, and may promote healing, balance, and positive energy.

Beads and bone design necklaces make excellent gifts for those who appreciate unique and meaningful jewelry, and are a wonderful way to support the local artisans and culture of Nepal. They are also a versatile accessory that can be worn with a variety of outfits, from casual to formal. Overall, these necklaces are a beautiful and meaningful addition to any jewelry collection.

Nepali Pashmina sweaters are available in a variety of styles, ranging from classic crew necks to more modern designs with unique details. They are highly sought after for their exceptional warmth and softness, making them ideal for cold winter days.

In addition to their luxurious feel, Nepali Pashmina sweaters are also an important part of Nepali culture and heritage. The production of Pashmina textiles is a traditional handicraft that has been passed down through generations, and is valued for its sustainability and eco-friendliness.

Overall, a Nepali Pashmina sweater is a beautiful and timeless piece of clothing that represents the natural beauty of Nepal and the skill and artistry of its craftsmen. It is a treasured possession that carries deep meaning and significance for those who own it, and is sure to provide warmth and comfort for years to come.

Nepali Pashmina shawls are available in a variety of colors and patterns, ranging from classic neutral tones to bold and vibrant designs. They are highly sought after for their exceptional warmth and softness, making them ideal for wrapping around the shoulders during cold winter days or for use as a stylish accessory in any season.

In addition to their luxurious feel, Nepali Pashmina shawls are also an important part of Nepali culture and heritage. The production of Pashmina textiles is a traditional handicraft that has been passed down through generations, and is valued for its sustainability and eco-friendliness.

Overall, a Nepali Pashmina shawl is a beautiful and timeless accessory that represents the natural beauty of Nepal and the skill and artistry of its craftsmen. It is a treasured possession that carries deep meaning and significance for those who own it, and is sure to provide comfort and warmth for years to come.

Nepali Pashmina mufflers are available in a variety of colors and patterns, ranging from classic neutral tones to bold and vibrant designs. They are highly sought after for their exceptional warmth and softness, making them ideal for keeping the neck and face warm during cold winter days.

In addition to their luxurious feel, Nepali Pashmina mufflers are also an important part of Nepali culture and heritage. The production of Pashmina textiles is a traditional handicraft that has been passed down through generations, and is valued for its sustainability and eco-friendliness.

Overall, a Nepali Pashmina muffler is a beautiful and timeless accessory that represents the natural beauty of Nepal and the skill and artistry of its craftsmen. It is a treasured possession that carries deep meaning and significance for those who own it, and is sure to provide comfort and warmth for years to come.

Nepali Pashmina blankets are available in a variety of colors and patterns, ranging from classic neutral tones to bold and vibrant designs. They are highly sought after for their exceptional warmth and softness, making them ideal for snuggling up on cold winter nights or for use as a stylish accessory in any room of the house.

In addition to their luxurious feel, Nepali Pashmina blankets are also an important part of Nepali culture and heritage. The production of Pashmina textiles is a traditional handicraft that has been passed down through generations, and is valued for its sustainability and eco-friendliness.

Overall, a Nepali Pashmina blanket is a beautiful and timeless piece that represents the natural beauty of Nepal and the skill and artistry of its craftsmen. It is a treasured possession that carries deep meaning and significance for those who own it, and is sure to provide comfort and warmth for years to come.

The pendant may be worn on a chain or cord around the neck, and is often used as a statement piece or as a talisman to protect the wearer from negative energies or evil spirits. It is also commonly given as a gift to family members or friends, particularly on special occasions, such as weddings or religious ceremonies.

Overall, a Nepali metal pendant is a beautiful and unique piece of jewelry that represents the rich cultural heritage of Nepal and the skill and artistry of its craftsmen. It is a treasured possession that carries deep meaning and significance for those who wear it or receive it as a gift.

Some popular styles of metal earrings include hoops, studs, dangles, and chandelier earrings. Hoop earrings are circular in shape and come in a variety of sizes and thicknesses. Stud earrings are small and sit flush against the earlobe, while dangle earrings hang down from the earlobe and can be simple or ornate. Chandelier earrings are typically long and elaborate, with multiple tiers or layers of metal and sometimes embellished with gemstones or beads.

Metal earrings can be a great way to express personal style and add a touch of glamour to any outfit. They are also a popular choice for those with sensitive ears, as they are less likely to cause irritation or allergic reactions than earrings made from other materials such as plastics or acrylics.

The stone setting of the bracelet may include gemstones that are associated with healing properties in traditional Eastern medicine, such as amethyst, turquoise, or garnet. These gemstones are believed to have specific properties that can help balance the body's energy and promote physical and emotional healing.

Wearing a white metal or copper bracelet with Buddhism stone setting may be seen as a way to connect with Buddhist principles and promote healing and balance in the body and mind. It can also serve as a reminder to cultivate compassion, mindfulness, and other Buddhist values in daily life.

These wall hangings are often created by skilled local artisans who use traditional techniques to produce the intricate designs and vibrant colors. Some prints may be hand-painted or block-printed, while others may incorporate other materials such as fabric or beads to add texture and depth.

One of the benefits of using Lokta paper for wall hangings is that it is an eco-friendly and sustainable material. The Lokta plant is fast-growing and regenerates quickly, making it a renewable resource. The paper is also produced using traditional methods that do not rely on harmful chemicals or bleaches.

Overall, Nepali Lokta paper wall hanging prints are a beautiful and unique way to showcase the rich cultural heritage of Nepal. They make a great addition to any home or office and are a wonderful way to bring a touch of spirituality and cultural diversity to your decor.

One of the benefits of using Lokta paper for photo albums is that it is an eco-friendly and sustainable material. The Lokta plant is fast-growing and regenerates quickly, making it a renewable resource. The paper is also produced using traditional methods that do not rely on harmful chemicals or bleaches.

In addition to being a sustainable choice, Nepali Lokta paper photo albums are also a beautiful and unique way to showcase your photos. The natural texture and colors of the paper add a touch of rustic charm, and the traditional designs and motifs are a nod to the rich cultural heritage of Nepal.

Overall, Nepali Lokta paper photo albums are a great choice for anyone looking for an eco-friendly and beautiful way to showcase their memories. They are a sustainable and unique option that is sure to be cherished for years to come.

One of the benefits of using Lokta paper for notebooks is that it is an eco-friendly and sustainable material. The Lokta plant is fast-growing and regenerates quickly, making it a renewable resource. The paper is also produced using traditional methods that do not rely on harmful chemicals or bleaches.

In addition to being sustainable, Nepali Lokta Paper notebooks are also a beautiful and unique way to take notes or keep a journal. The natural texture and colors of the paper add a touch of rustic charm, and the traditional designs and motifs are a nod to the rich cultural heritage of Nepal.

Overall, Nepali Lokta Paper notebooks are a great choice for anyone looking for an eco-friendly and unique notebook option. They are a sustainable and beautiful way to keep your notes and sketches while also supporting traditional Nepali craftsmanship.

The compact size of this tiny flip notebook makes it easy to carry in a pocket, purse, or backpack, and the flip-style design allows for easy access to your notes. Each page is blank, providing you with plenty of space for writing or drawing.

Not only are Lokta paper tiny flip notebooks a beautiful and sustainable choice, but they also support local communities in the Himalayan region. By purchasing this notebook, you are helping to preserve traditional paper-making techniques and support the livelihoods of those who rely on the Lokta plant for income.

Overall, the Lokta paper tiny flip notebook is a convenient and environmentally responsible option for anyone looking to take notes or sketches on the go.

One of the benefits of using Lokta paper for bags is that it is an eco-friendly and sustainable material. The Lokta plant is fast-growing and regenerates quickly, making it a renewable resource. The paper is also produced using traditional methods that do not rely on harmful chemicals or bleaches.

In addition to being sustainable, Nepali Lokta paper bags are also a beautiful and unique way to showcase traditional Nepali craftsmanship. The natural texture and colors of the paper add a touch of rustic charm, and the traditional designs and motifs are a nod to the rich cultural heritage of Nepal.

Overall, Nepali Lokta paper bags are a great choice for anyone looking for an eco-friendly and unique bag option. They are a sustainable and beautiful way to carry your belongings while also supporting traditional Nepali craftsmanship.

The design of the mountain goat leather purse for men can vary, with some purses featuring a simple, classic design and others incorporating modern features such as multiple compartments, adjustable straps, and waterproofing. Some purses may also be decorated with traditional designs or motifs that reflect the cultural traditions of the region.

These purses are not only functional but also represent the rich cultural heritage of the Himalayan region. They are often produced by skilled local artisans who have been crafting leather goods for generations.

Mountain goat leather purses for men are suitable for a range of occasions, including outdoor activities, travel, and everyday use. They are a long-lasting investment and are often passed down as family heirlooms from generation to generation.

The design of the mountain goat leather shoulder bag can vary, with some bags featuring a simple, classic design and others incorporating modern features such as multiple compartments, adjustable straps, and waterproofing. Some bags may also be decorated with traditional designs or motifs that reflect the cultural traditions of the region.

These shoulder bags are not only functional but also represent the rich cultural heritage of the Himalayan region. They are often produced by skilled local artisans who have been crafting leather goods for generations.

Mountain goat leather shoulder bags are popular among both men and women, and are suitable for a range of occasions, including outdoor activities, travel, and everyday use. They are a long-lasting investment and are often passed down as family heirlooms from generation to generation.

The design of the mountain goat leather bag can vary, with some bags featuring a simple, classic design and others incorporating modern features such as multiple compartments, adjustable straps, and waterproofing. Some bags may also be decorated with traditional designs or motifs that reflect the cultural traditions of the region.

These bags are not only functional but also represent the rich cultural heritage of the Himalayan region. They are often produced by skilled local artisans who have been crafting leather goods for generations.

Mountain goat leather bags are suitable for a range of occasions, including outdoor activities, travel, and everyday use. They are a long-lasting investment and are often passed down as family heirlooms from generation to generation.

The design of the mountain goat leather backpack bag can vary, with some bags featuring a simple, classic design and others incorporating modern features such as padded straps, multiple compartments, and waterproofing. Some bags may also be decorated with traditional designs or motifs that reflect the cultural traditions of the region.

These backpack bags are not only functional but also represent the rich cultural heritage of the Himalayan region. They are often produced by skilled local artisans who have been crafting leather goods for generations.

Mountain goat leather backpack bags are popular among outdoor enthusiasts and are also used as fashion accessories due to their unique and stylish appearance. They are a long-lasting investment and are often passed down as family heirlooms from generation to generation.

The stones used in Nepali metal ladies bags can also vary, with popular choices including rubies, sapphires, emeralds, and diamonds. In addition to their decorative function, these stones may also hold spiritual or symbolic significance within Nepali culture.

Metal ladies bags with stone settings are often used for special occasions such as weddings, religious ceremonies, or cultural festivals. They are also considered to be valuable and long-lasting investments, and may be passed down as family heirlooms from generation to generation.

Today, metal ladies bags with stone settings are still produced by skilled Nepali artisans, and are sold in Nepali markets as well as exported to other countries. They are not only functional and stylish accessories, but also represent the rich cultural heritage of Nepal.

The jamawar shawl is known for its rich and vibrant colors, often featuring bold hues such as red, blue, green, and gold. The intricate patterns and designs are woven using a special technique known as 'jamawar' weaving, which involves interlacing threads of different colors to create a unique and eye-catching design.

Nepali jamawar shawls are often worn on special occasions such as weddings, religious ceremonies, and other formal events. They are also popular as gifts, as they are considered a luxurious and elegant item that can be cherished for years to come.

Overall, the Nepali jamawar shawl is a beautiful and intricate piece of traditional Nepali craft that showcases the skill and expertise of the weavers who create them.

Like other hemp products, Nepali hemp slippers and flip-flops are known for their durability and eco-friendliness. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more sustainable and ethical choice for those who want to support eco-friendly fashion.

Many Nepali hemp slippers and flip-flops are handmade by skilled artisans using traditional techniques. This ensures that each pair is unique and made with care and attention to detail. Additionally, buying handmade products supports local artisans and communities, promoting sustainable and ethical fashion practices.

In conclusion, Nepali hemp slippers and flip-flops offer a sustainable and ethical alternative to mass-produced footwear. They are comfortable, stylish, and unique, and they support local artisans and communities while promoting eco-friendly fashion practices.

One of the benefits of hemp shoes is that they are highly durable and long lasting, making them a sustainable choice for footwear. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp shoes are often handmade by skilled artisans using traditional techniques passed down through generations. These shoes are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their footwear.

Overall, Nepali hemp shoes are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their style.

One of the benefits of hemp coin purses is that they are highly durable and long-lasting, making them a sustainable choice for fashion and accessories. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp coin purses are often handmade by skilled artisans using traditional techniques passed down through generations. These coin purses are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their wardrobe.

Overall, Nepali hemp coin purses are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their style.

One of the benefits of hemp pendants is that they are highly durable and long-lasting, making them a sustainable choice for fashion accessories. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp pendants are often handmade by skilled artisans using traditional techniques passed down through generations. These pendants are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their accessories.

Overall, Nepali hemp pendants are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their style.

One of the benefits of hemp brooches is that they are highly durable and long-lasting, making them a sustainable choice for fashion and accessories. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp brooches are often handmade by skilled artisans using traditional techniques passed down through generations. These brooches are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their wardrobe.

Overall, Nepali hemp brooches are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their style.

One of the benefits of hemp keyrings is that they are highly durable and long-lasting, making them a sustainable choice for fashion and accessories. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp keyrings are often handmade by skilled artisans using traditional techniques passed down through generations. These keyrings are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their everyday items.

Overall, Nepali hemp keyrings are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their style.

One of the benefits of hemp tea mats is that they are highly durable and long-lasting, making them a sustainable choice for home accessories. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp tea mats are often handmade by skilled artisans using traditional techniques passed down through generations. These tea mats are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their home decor.

Overall, Nepali hemp tea mats are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their home.

One of the benefits of hemp bracelets is that they are highly durable and long-lasting, making them a sustainable choice for fashion and accessories. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp bracelets are often handmade by skilled artisans using traditional techniques passed down through generations. These bracelets are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their wardrobe.

Overall, Nepali hemp bracelets are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their style.

One of the benefits of hemp belts is that they are highly durable and long-lasting, making them a sustainable choice for fashion and accessories. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp belts are often handmade by skilled artisans using traditional techniques passed down through generations. These belts are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their wardrobe.

Overall, Nepali hemp belts are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their style.

One of the benefits of hemp shoulder bags is that they are highly durable and long-lasting, making them a sustainable choice for fashion and accessories. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more eco-friendly option for those who want to support sustainable and ethical fashion.

Nepali hemp shoulder bags are often handmade by skilled artisans using traditional techniques passed down through generations. These bags are a testament to the creativity and craftsmanship of Nepali artisans, and they offer a practical and stylish solution for those who want to support sustainable and ethical fashion while also adding a touch of unique and colorful design to their wardrobe.

Overall, Nepali hemp shoulder bags are a practical, durable, and sustainable choice for anyone who wants to support handmade and eco-friendly fashion while also adding a touch of Nepali art and culture to their style.

Hemp guitar bags are a popular choice among musicians who want to protect their instruments while also supporting sustainable and eco-friendly fashion. Hemp is a renewable resource that requires less water and pesticides to grow than other materials such as cotton or leather, making it a more sustainable choice for fashion and accessories.

In addition to being environmentally friendly, hemp guitar bags are also highly durable and long-lasting. They can withstand the wear and tear of regular use and provide a protective barrier against dust, dirt, and other environmental factors that can damage guitars.

Overall, hemp guitar bags from Nepal are a unique and eco-friendly choice for musicians who want to protect their instruments while also supporting sustainable and handmade fashion. They are a testament to the craftsmanship and creativity of Nepali artisans, and they offer a practical and stylish solution for transporting and storing guitars.

One of the benefits of a finger ring made out of glass beads is that it can be lightweight and comfortable to wear, making it a great accessory for everyday wear or for special occasions. The intricate and detailed designs of the ring also make it highly coveted and often considered a work of art.

These rings are often made by skilled artisans in Nepal, using traditional techniques that have been passed down through generations. They can be found in a range of styles and designs, from delicate stackable rings to bold statement pieces, and are a popular choice for those who appreciate handmade and sustainable fashion.

Overall, a finger ring made out of tiny glass beads is a unique and beautiful piece of jewelry that can add a touch of color and texture to any outfit. It is a great choice for those who want to support handmade and sustainable fashion, as well as those who appreciate the intricate and detailed work of skilled artisans from Nepal.

One of the benefits of a necklace made out of glass beads is that it can be lightweight and comfortable to wear, making it a great accessory for everyday wear or for special occasions. The intricate and detailed designs of the necklace also make it highly coveted and often considered a work of art.

These necklaces are often made by skilled artisans in Nepal, using traditional techniques that have been passed down through generations. They can be found in a range of styles and designs, from delicate chokers to longer statement pieces, and are a popular choice for those who appreciate handmade and sustainable fashion.

Overall, a necklace made out of tiny glass beads is a unique and beautiful piece of jewelry that can add a touch of color and texture to any outfit. It is a great choice for those who want to support handmade and sustainable fashion, as well as those who appreciate the intricate and detailed work of skilled artisans from Nepal.

One of the benefits of earrings made out of glass beads is that they are lightweight and comfortable to wear, making them a great accessory for everyday wear or for special occasions. The intricate and detailed designs of the earrings also make them highly coveted and often considered a work of art.

These earrings are often made by skilled artisans in different parts of the world, such as India, Africa, and Central America. They can be found in a range of styles and designs, from delicate drop earrings to more elaborate chandelier-style earrings, and are a popular choice for those who appreciate handmade and sustainable fashion.

Overall, earrings made out of tiny glass beads are a unique and beautiful piece of jewelry that can add a touch of color and texture to any outfit. They are a great choice for those who want to support handmade and sustainable fashion, as well as those who appreciate the intricate and detailed work of skilled artisans.

One of the benefits of a bracelet made out of glass beads is that it is lightweight and comfortable to wear, making it a great accessory for everyday wear or for special occasions. The intricate and detailed designs of the bracelet also make it highly coveted and often considered a work of art.

These bracelets are often made by skilled artisans in different parts of the world, such as India, Africa, and Central America. They can be found in a range of styles and designs, from thin delicate bracelets to wider statement pieces, and are a popular choice for those who appreciate handmade and sustainable fashion.

Overall, a bracelet made out of tiny glass beads is a unique and beautiful piece of jewelry that can add a touch of color and texture to any outfit. It is a great choice for those who want to support handmade and sustainable fashion, as well as those who appreciate the intricate and detailed work of skilled artisans.

One of the benefits of bangles made out of glass beads is that they are lightweight and comfortable to wear, making them a great accessory for everyday wear or for special occasions. The intricate and detailed designs of the bangles also make them highly coveted and often considered a work of art.

These bangles are often made by skilled artisans in different parts of the world, such as India, Africa, and Central America. They can be found in a range of styles and designs, from thin delicate bangles to wider statement pieces, and are a popular choice for those who appreciate handmade and sustainable fashion.

Overall, bangles made out of tiny glass beads are a unique and beautiful piece of jewelry that can add a touch of color and texture to any outfit. They are a great choice for those who want to support handmade and sustainable fashion, as well as those who appreciate the intricate and detailed work of skilled artisans.

One of the benefits of a bag made out of glass beads is that it is highly durable and can withstand daily use. The glass beads are tightly woven together, creating a sturdy and strong material that can hold up to everyday wear and tear. Additionally, the intricate and detailed designs of the bags make them highly coveted and often considered a work of art.

These bags are often made by skilled artisans in different parts of the world, such as India, Africa, and Central America. They can be found in a range of styles and designs, from small coin purses to larger tote bags, and are a popular choice for those who appreciate handmade and sustainable fashion.

Overall, a bag made out of tiny glass beads is a unique and beautiful accessory that can add a touch of color and texture to any outfit. It is a great choice for those who want to support handmade and sustainable fashion, as well as those who appreciate the intricate and detailed work of skilled artisans.

One of the benefits of a felt beads necklace is that it is lightweight and comfortable to wear, making it a great accessory for everyday wear or for special occasions. The texture of the felt beads also adds a unique and tactile quality to the necklace, making it a great conversation starter.

Felt beads necklaces are often handmade by artisans using traditional crafting techniques, and they can be found in a range of styles and designs from around the world. They are a popular choice for those who want to support handmade and sustainable fashion, as well as those who appreciate the unique beauty and texture of felted wool.

Overall, a felt beads necklace is a unique and beautiful piece of jewelry that can add a touch of personality and style to any outfit. It is a great choice for those who appreciate handmade and sustainable fashion and want to add a unique and eye-catching accessory to their wardrobe.

Felt beads can also be used in home décor projects such as making garlands, wreaths, or wall hangings. They add a soft and cozy texture to any project and are a popular material for creating seasonal decorations such as Christmas ornaments or Easter decorations.

Felt beads are a popular material for children's crafts because they are easy to work with and come in bright and fun colors. They can be used to make simple projects such as keychains or hair accessories, or as part of more complex projects such as stuffed animals or mobiles.

Overall, felt beads are a versatile and fun material that can be used for a wide range of craft projects. They are easy to work with and come in a range of colors and sizes, making them a popular choice for crafters of all ages and skill levels.

The shawl may be made from a single piece of fabric or may be created from multiple pieces sewn together. It may also feature additional decorative elements such as tassels, beads, or sequins to add texture and visual interest to the garment.

The Nepali shawl with embroidery is not only a functional item to keep the wearer warm but also a beautiful and unique piece of wearable art. It can be worn for special occasions such as weddings or religious festivals, or as a decorative item in a living room or bedroom.

Overall, a Nepali shawl with embroidery is a beautiful and culturally significant piece of clothing that represents the skill and creativity of Nepali artisans. It is a perfect gift item for anyone who appreciates the beauty and intricacy of traditional handicrafts and wants to add a touch of cultural significance to their wardrobe or home décor.

The door curtains may also feature other design elements, such as floral patterns, animal motifs, or geometric shapes. These designs are often created using patchwork techniques, in which different pieces of fabric are sewn together to create a larger design.

In addition to the design work, Tibetan door curtains may also feature decorative embellishments such as tassels, beads, or fringe. These embellishments add texture and visual interest to the curtain.

Cochin, which refers to a type of embroidery technique, may also be used on Tibetan door curtains. Cochin embroidery involves creating raised designs using a needle and thread, and it is often used to create intricate floral patterns or other decorative elements.

Overall, Tibetan door curtains are beautiful and intricate pieces of textile art that reflect the rich cultural heritage of Tibet. They are often used to add color and decoration to homes, monasteries, and other sacred spaces.

One of the benefits of Nepali-made cotton trousers is that they are versatile and can be worn in a variety of settings. They can be dressed up with a blouse or dress shirt for a more formal occasion, or paired with a t-shirt or tank top for a casual look.

Another benefit of Nepali-made cotton trousers is that they are comfortable to wear in a variety of weather conditions. Cotton is a breathable fabric that wicks away moisture, keeping you cool and comfortable even on hot days. At the same time, cotton also provides warmth on cooler days, making these trousers a great year-round clothing option.

Overall, Nepali-made cotton trousers are a stylish, versatile, and comfortable clothing item that is perfect for anyone who wants to add some extra style and functionality to their wardrobe. Whether you're running errands, heading to work, or going out for a night on the town, Nepali cotton trousers are a great choice.

One of the benefits of cotton tops for ladies is that they are versatile and can be worn in a variety of settings. They can be dressed up with a skirt or dress pants for a more formal occasion, or paired with jeans or shorts for a more casual look.

Another benefit of cotton tops for ladies is that they are comfortable to wear in a variety of weather conditions. Cotton is a breathable fabric that wicks away moisture, keeping you cool and comfortable even on hot days. At the same time, cotton also provides warmth on cooler days, making these tops a great year-round clothing option.

Overall, cotton tops for ladies are a stylish, versatile, and comfortable clothing item that is perfect for anyone who wants to add some extra style and functionality to their wardrobe. Whether you're running errands, heading to work, or going out for a night on the town, a cotton top for ladies is a great choice.

Embroidered cotton t-shirts are also popular in Kathmandu Valley and often feature intricate designs that are created using colorful threads. These designs may be inspired by local textiles or may incorporate traditional embroidery techniques that have been passed down through generations.

In addition to cultural and religious themes, cotton t-shirts in Kathmandu Valley may also feature images or slogans related to social or political issues. For example, t-shirts may feature images or slogans related to environmental conservation, women's rights, or social justice.

Overall, cotton t-shirts in Kathmandu Valley are a colorful and expressive way to celebrate local culture and traditions. Whether you're looking for a t-shirt with a bold print or an intricate embroidery, there are plenty of options to choose from that reflect the rich cultural heritage of Nepal.

Nepali beaded bracelets are often inspired by the country's rich cultural heritage and natural beauty. Some designs incorporate traditional motifs and symbols, such as mandalas or prayer flags, while others feature images of animals, landscapes, or spiritual figures.

In addition to their aesthetic appeal, Nepali beaded bracelets are often imbued with cultural significance and spiritual meaning. Many people believe that wearing certain types of beads can have positive effects on the mind and body, and may promote healing, balance, and positive energy.

Beaded bracelets made in Nepal are versatile accessories that can be worn with a variety of outfits, from casual to formal. They make excellent gifts for those who appreciate unique and meaningful jewelry, and are a wonderful way to support the local artisans and culture of Nepal.

The Nepali cotton skirt is easy to care for and can be machine washed and dried. It is perfect for travelers and anyone who appreciates beautiful and comfortable clothing that is easy to wear and maintain.

Whether you are looking for a comfortable and stylish skirt for everyday wear or a unique and eye-catching piece for a special occasion, this Nepali cotton skirt is sure to be a great addition to your wardrobe.

Cotton jackets with fleece lining are versatile and can be dressed up or down depending on the occasion. They are often paired with jeans or other casual pants and can be accessorized with scarves or hats.

Overall, a cotton jacket with fleece lining is a warm and comfortable garment that is perfect for cooler weather. Whether you prefer a patchwork, embroidered, or printed design, there are many options to choose from in Nepal.

One of the benefits of using Lokta paper for gift wrapping is that it is eco-friendly and sustainable. The Lokta plant is fast-growing and regenerates quickly, making it a renewable resource. The paper is also produced using traditional methods that do not rely on harmful chemicals or bleaches.

In addition to being a sustainable choice, Lokta paper gift wrapping is also a unique and beautiful way to present gifts. The natural texture and colors of the paper add a touch of rustic charm, and the traditional designs and motifs are a nod to the rich cultural heritage of Nepal.

Overall, Nepali Lokta paper gift wrapping in A3 size sheet is a great choice for anyone looking for an eco-friendly and beautiful way to wrap gifts. It is a sustainable and unique option that is sure to impress the recipient.

A fridge magnet featuring mountain ranges could showcase the stunning beauty of the Himalayan mountain range, which includes some of the world's highest peaks such as Mount Everest, Annapurna, and Dhaulagiri. The design could incorporate a range of colors and textures to evoke the rugged and majestic nature of these mountains.

Buddhism is a prominent religion in Nepal, and a fridge magnet with a Buddhist theme could feature symbols or imagery related to Buddhist philosophy or practice. This could include the Buddha himself, as well as symbols such as the lotus flower, the Eightfold Path, or the Wheel of Dharma.

Overall, a fridge magnet with a Kathmandu Valley or Himalayan theme is a great way to bring a touch of Nepali culture and natural beauty into your home. A fridge magnet with a Buddhist theme can also serve as a daily reminder of the importance of mindfulness, compassion, and other core Buddhist values.

Nepali metal incense holders come in various shapes and sizes. Some common designs include cylindrical containers with lids, lotus-shaped holders, or intricate carved boxes. These holders are specifically designed to hold incense sticks, keeping them secure and providing a stable base for burning.

These handmade metal incense holders are not only functional but also serve as decorative pieces, adding a touch of elegance and cultural charm to any space. They can be found in local markets, handicraft stores, or online platforms specializing in Nepali crafts and artisanal products.

In Buddhist culture, metal jewelry boxes are often used to store sacred objects such as prayer beads, meditation cushions, or other items used in Buddhist practice. These boxes may be decorated with intricate designs that incorporate Buddhist symbols such as the dharma wheel, the vajra, or the Buddha's footprint.

In Tibetan culture, metal jewelry boxes are often used to store important religious artifacts such as prayer flags, thangkas (religious paintings), or Tibetan singing bowls. These boxes may be decorated with traditional Tibetan designs such as the eight auspicious symbols or the Tibetan knot.

Metal jewelry boxes are considered to be valuable items in Nepali, Buddhist, and Tibetan cultures, and are often passed down from generation to generation as family heirlooms. These boxes are not only functional, but are also considered to be works of art that reflect the rich cultural traditions of the region.

Short Vedio

The kukri is also used by various regiments and units in the Indian Army, including the Assam Rifles, the Kumaon Regiment, the Garhwal Rifles, and various Gorkha regiments. Outside of its native South Asia, the kukri is also seen in service with the British Army's Royal Gurkha Rifles—a unique regiment that is quite different from the rest of the British Army in that it is the only regiment that recruits its soldiers solely from Nepal; a relationship that dates back to the days of British colonial rule in India.

The kukri is the standard issue weapon of all Gurkha military regiments and units around the world, so much so that some English-speakers refer to it as a "Gurkha blade" or "Gurkha knife." The kukri is frequently depicted in Nepalese and Indian Gorkha heraldry, and it is used in many traditional, Hindu-centric rites such as wedding ceremonies.

There have been and continue to be many myths surrounding the kukri since its first recorded use in the 7th century, most notably that a traditional custom revolves around the blade, which must draw blood before being sheathed due to its sole purpose as a fighting weapon. They are, however, frequently used as regular utility tools. Extraordinary stories of Gurkhas using them in combat may contribute to this misconception. The spellings kukri, khukri, and kukkri are all of Indian English origin, with khukuri being the original Nepalese English spelling.

In Nepal, a Kumari is a prepubescent girl selected from the Shakya caste of the Nepalese Newari Buddhist community. The Kumari is revered and worshiped by some of the country's Hindus too. While there are several Kumaris throughout Nepal, with some cities having several, the best known is the Royal Kumari of Kathmandu, and she lives in the Kumari Ghar, a palace in the center of the city. The selection process for her is especially rigorous. As of 2017, the Royal Kumari is Trishna Shakya, aged three, installed in September 2017 by the Maoist government that replaced the monarchy. Unika Bajracharya, selected in April 2014 as the Kumari of Patan, is the second most important living goddess.

In Kathmandu Valley, this is a particularly prevalent practice. It is believed to be the incarnation of Taleju, a manifestation of the goddess Durga. When her first menstruation begins, it is believed that the deity vacates her body. Serious illness or a major loss of blood from an injury also causes loss of deity.

The Kumari tradition is only followed in a few cities in Nepal, which are Kathmandu, Lalitpur, Bhaktapur, Sankhu and Bungamati. The selection process and roles of the Kumari vary between the different towns.

One of the benefits of using a metal lighter case is that it helps to protect the lighter from scratches, dents, and other types of damage. It also makes it easier to keep the lighter clean and free from debris, as the case can be easily wiped down or cleaned.

Another advantage of using a metal lighter case is that it can help to prevent accidental fires. The case provides an additional layer of protection between the lighter and any flammable materials, reducing the risk of sparks or flames accidentally igniting anything nearby.

Metal lighter cases are available in many different sizes and styles to fit a wide variety of lighter types and brands. They make a great accessory for smokers, hikers, and anyone who wants to keep their lighter safe and protected.

Nepali silver earrings are also valued for their durability and quality. They are often made using high-quality silver that is known for its strength and resistance to tarnishing. This means that they can be worn for years without losing their shine or beauty.

Overall, Nepali silver earrings are a beautiful and meaningful piece of jewelry that represents the rich culture and heritage of Nepal. They are a treasured possession that can be worn with pride and enjoyed for years to come.

The designs of Nepali silver rings can vary widely, ranging from simple and understated to intricate and elaborate. Many rings are engraved with intricate patterns, symbols, or religious motifs that are important in Nepali culture and heritage.

In addition to their aesthetic appeal, Nepali silver rings are also valued for their craftsmanship and durability. They are often made using high-quality silver that is known for its strength and resistance to tarnishing.

Overall, a Nepali silver ring is a beautiful and meaningful piece of jewelry that represents the rich culture and heritage of Nepal. It is a treasured possession that can be worn with pride and enjoyed for years to come.

The designs of Nepali silver pendants can vary widely, ranging from simple and understated to intricate and elaborate. Many pendants are engraved with intricate patterns, symbols, or religious motifs that are important in Nepali culture and heritage.

In addition to their aesthetic appeal, Nepali silver pendants are also valued for their craftsmanship and durability. They are often made using high-quality silver that is known for its strength and resistance to tarnishing.

Overall, a Nepali silver pendant is a beautiful and meaningful piece of jewelry that represents the rich culture and heritage of Nepal. It is a treasured possession that can be worn with pride and enjoyed for years to come.

Nepali woolen caps for children with animal designs are also valued for their versatility. They can be worn with a variety of outfits, including coats, jackets, and sweaters. They are often designed with a snug and comfortable fit, making them practical for everyday wear.

These caps come in a wide range of designs, with each animal design featuring its own unique color scheme and patterns. They are often adorned with intricate details such as ears, tails, and faces, making them even more fun and playful for children.

Overall, Nepali woolen caps for children with animal designs are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of the skill and expertise of Nepali artisans and a treasured possession that can bring joy and warmth to children's lives.

Nepali woolen jackets for babies are also valued for their softness and comfort. They are often designed with a snug and comfortable fit, making them practical for everyday wear. Additionally, wool is a natural material that is gentle on a baby's delicate skin, making it a popular choice for baby clothing.

These jackets come in a wide range of designs, including traditional patterns and modern, contemporary designs. They are often adorned with intricate patterns, including geometric shapes, animal motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen jackets for babies are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of the skill and expertise of Nepali artisans and a treasured possession that can keep babies warm and cozy during colder weather.

Nepali woolen caps are also valued for their versatility. They can be worn with a variety of outfits, including coats, jackets, and sweaters. They are often designed with a snug and comfortable fit, making them practical for everyday wear.

These caps come in a wide range of designs, including traditional patterns and modern, contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen caps are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

Nepali woolen carpets are also valued for their durability. They are made using high-quality wool that is carefully selected for its strength and resilience, ensuring that the carpet can withstand heavy foot traffic and last for many years.

These carpets come in a wide range of designs, including traditional patterns and modern, contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen carpets are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of the skill and expertise of Nepali artisans and a treasured possession that can add warmth and beauty to any home.

Nepali woolen gloves are also valued for their versatility. They can be worn with a variety of outfits, including coats, jackets, and sweaters. They are often designed with a snug and comfortable fit, making them practical for everyday wear.

These gloves come in a wide range of designs, including traditional patterns and modern, contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen gloves are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

Nepali woolen hand warmers are also valued for their versatility. They can be worn with a variety of outfits, including coats, jackets, and sweaters. They are often designed with a loose and stretchy fit, making them comfortable and easy to wear.

These hand warmers come in a wide range of designs, including traditional patterns and modern, contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen hand warmers are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

Nepali woolen jackets are also valued for their durability. They are made to withstand wear and tear, making them a long-lasting investment. They are often designed with practical features such as pockets and zippers, making them functional as well as fashionable.

These jackets come in a wide range of designs, including traditional patterns and modern, contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen jackets are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

Nepali woolen leg warmers are also valued for their versatility. They can be worn with a variety of outfits, including skirts, dresses, and pants. They are often designed with a loose and stretchy fit, making them comfortable and easy to wear.

These leg warmers come in a wide range of designs, including traditional patterns and modern, and contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen leg warmers are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

Nepali woolen mufflers are also valued for their versatility. They can be worn with a variety of outfits, including jackets, sweaters, and coats. They can be draped over the shoulders or wrapped around the neck, depending on the style and preference of the wearer.

These mufflers come in a wide range of designs, including traditional patterns and modern, and contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen mufflers are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

Nepali woolen ponchos are also valued for their versatility. They can be worn as an outer layer on top of a sweater or jacket, or as a mid-layer underneath a heavier coat. They are often designed with a loose and flowy fit, making them comfortable and easy to wear.

These ponchos come in a wide range of designs, including traditional patterns and modern, contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Overall, Nepali woolen ponchos with a fleece lining are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

These socks come in a wide range of designs and styles, from traditional patterns to more modern and contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Nepali woolen socks are also valued for their warmth and durability. They are often made using high-quality wool, which makes them soft and comfortable to wear. They are also known for their durability and can last for years if cared for properly.

Overall, Nepali woolen socks are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

These sweaters come in a wide range of designs and styles, from traditional patterns to more modern and contemporary designs. They are often adorned with intricate patterns, including geometric shapes, floral motifs, and other designs inspired by Nepali culture and heritage.

Nepali woolen hand-knitted sweaters are also valued for their warmth and durability. They are often made using high-quality wool, which makes them soft and comfortable to wear. They are also known for their durability and can last for years if cared for properly.

Overall, Nepali woolen hand-knitted sweaters are a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of empowerment for Nepali women and a treasured possession that can be worn and enjoyed for years to come.

Made from high-quality, ethically sourced wood, these masks and wall hangings are the epitome of craftsmanship. Each intricate detail is delicately carved by hand, showcasing the artistry and dedication of the artisans. Whether you're a collector, a spiritual seeker, or simply appreciate the beauty of traditional craftsmanship, these wooden Buddhist masks and wall hangings will captivate your senses and bring a sense of tranquility to your surroundings. Hang them on your walls or display them as a centerpiece, and let their timeless beauty and spiritual aura create a serene atmosphere in your home or office. Discover the magic of Nepali artistry with our hand-carved wooden Buddhist masks and wall hangings today.

One of the most striking features of these traditional windows is the intricate carvings that adorn them. These carvings are often inspired by nature and feature images of birds, animals, and flowers. The geometric patterns and motifs used in these carvings are also believed to have symbolic meanings, such as good luck and prosperity. The use of bold colors and intricate details in these carvings make them stand out and add a unique visual appeal to any space.

These traditional windows of Kathmandu make for a perfect wall decoration or photo frame. They can add a touch of elegance and cultural richness to any room. They are a great way to bring a piece of Kathmandu's rich heritage into your home and serve as a reminder of the city's rich cultural history. These windows are a great way to add a unique touch to your home decor and to showcase your love for Kathmandu and its culture.

Woolen cap, jacket, muffler, and socks sets are also valued for their softness and comfort. They are often designed with a snug and comfortable fit, making them practical for everyday wear. Additionally, wool is a natural material that is gentle on the skin, making it a popular choice for winter clothing.

These sets come in a wide range of designs, including traditional patterns and modern, contemporary designs. They are often adorned with intricate patterns, including geometric shapes, animal motifs, and other designs inspired by Nepali culture and heritage. Some sets may also feature matching colors and patterns for a coordinated look.

Overall, a woolen cap, jacket, muffler, and socks set is a beautiful and meaningful product that represents the rich culture and heritage of Nepal. They are a symbol of the skill and expertise of Nepali artisans and a treasured possession that can keep both men and women warm and cozy during colder weather.

When using Tibetan stamps, you can create beautiful and intricate designs on a variety of surfaces, including paper, cloth, leather, or even walls. These stamps can be used for a variety of crafts, such as scrapbooking, card-making, or even for creating beautiful designs on clothing or home decor items.

In addition to their practical uses, Tibetan stamps with metal settings also have cultural significance. They are an expression of traditional Tibetan art and symbolism, and many of the designs have deep spiritual meanings within the Tibetan Buddhist tradition.

Overall, Tibetan stamps with metal settings are a unique and beautiful addition to any crafter's toolkit. They allow for the creation of intricate designs that reflect both the beauty of Tibetan culture and the creativity of the individual using them.

The designs on these brass door locks can vary widely and often feature depictions of Hindu gods and goddesses such as Ganesh, Lakshmi, or Kali, as well as Buddhist deities like Tara or Buddha. They can also feature animal head designs, such as the popular lion or dragon head designs.

In addition to their aesthetic appeal, these brass door locks are steeped in cultural and religious significance. In Hindu and Buddhist traditions, the depictions of deities and animal heads on the locks are believed to provide protection and ward off negative energies. The locks themselves are also considered to be a symbol of security and protection, adding a layer of spiritual significance to their functional purpose.

Overall, brass door locks with various gods and goddesses and animal head designs are a unique and beautiful addition to any home or office. Their intricate designs, cultural significance, and functional purpose make them a true works of art that can add a touch of spirituality and beauty to any space.

The door curtains themselves are typically designed to fit standard door frames and can be easily hung using hooks or a rod. They can be used to partition rooms, provide privacy, or simply add a touch of decorative flair to a doorway.

Aside from their aesthetic appeal, Tibetan door curtains are also steeped in cultural significance. In Tibetan culture, doors are considered to be a threshold between the physical and spiritual realms, and are often adorned with symbols of good fortune and protection to ward off negative energies.

Overall, a Tibetan door curtain with various religious designs is a unique and beautiful way to add a touch of Tibetan culture and tradition to your home or office. Its intricate designs and vivid colors make it a true work of art, while its cultural significance can add a meaningful touch to any space.

♥ Increases nobility ♥ Spiritual awareness ♥ Psychic abilities ♥ Inner peace and healing ♥ Healing of body, mind & soul ♥ Positive transformation ♥ Meditation ♥ Balance ♥ Relieves stress ♥ Communication


Amethyst is a variety of Quartz and is a 6th Anniversary gemstone.
Chakras - Third Eye Chakra, Crown Chakra
Birthstone - February
Zodiac - Virgo, Sagittarius, Capricorn, Aquarius, Pisces
Planet – Jupiter
Element – Air, Water
Vibration - Number 3
Typical colours - light slightly-pinkish violet to a deep grape purple




Amethyst promotes spiritual awareness, intuition, and psychic abilities. It has potent healing and cleansing properties. Amethyst promotes sobriety by reducing overindulgence in alcohol, drugs, or other addictions. It both calms and stimulates the mind, allowing you to become more focused, improve memory, and boost motivation. Amethyst aids in the recall and comprehension of dreams. It alleviates insomnia. Encourages self-sacrifice and spiritual wisdom.

Amethyst stimulates hormone production and regulates the endocrine system and metabolism. It boosts the immune system, alleviates pain, and prepares the body to fight cancer. It kills cancerous tumors and promotes tissue regeneration. Blood cleansing. Physical, emotional, and psychological pain or stress is relieved. Amethyst relieves headaches and tension. It treats hearing disorders and reduces bruising, swellings, and injuries. Amethyst heals lung and respiratory tract diseases, skin conditions, cellular disorders, and digestive tract diseases.

♥ Inner truth ♥ Inner power ♥ Love ♥ Purification ♥ Intuition ♥ Positive magic ♥ Self-confidence ♥ Manifestation ♥ Friendship

Lapis Lazuli is a combination rock type of Calcite, Lazurite & Pyrite. Lapis Lazuli is a 9th Anniversary gemstone.
Chakras - Throat Chakra, Third Eye Chakra
Birthstone - September
Zodiac - Taurus, Virgo, Libra, Sagittarius
Element - Water
Vibration - Number 3
Typical colours - Deep blue flecked with gold (Pyrite)


Lapis Lazuli boosts the immune system, purifies blood, lowers blood pressure, cooling and soothing areas of inflammation. It alleviates insomnia and vertigo, and overcomes depression. Lapis Lazuli benefits the respiratory and nervous systems and the throat, vocal cords, and thyroid, cleanses organs, bone marrow and thymus.

Onyx treats disorders of the bones, bone marrow and blood. It is beneficial for teeth and the feet. In addition to the generic healing properties of Onyx, specific colours and types have additional attributes:
Black Onyx is associated with our Base Chakra.

♥ Strength ♥ Stamina ♥ Constancy ♥ Permanence ♥ Firmness ♥ Durability ♥ Self-control

Tiger Eye treats eyes, throat and reproductive organs, releases toxins, alleviates pain and is helpful in repairing broken bones and strengthening the alignment of the spinal column.

♥ Protection ♥ Clear thinking ♥ Personal empowerment ♥ Integrity ♥ Willpower ♥ Practicality ♥ Grounding ♥ Power ♥ Courage ♥ Grace

Tiger Eye, also known as Tigers Eye, is a variety of Chalcedony. Tiger Eye is an 18th Anniversary gemstone.

Chakras - Sacral Chakra, Solar Plexus Chakra
Zodiac - Capricorn
Planet - Sun
Element - Fire, Earth
Vibration - Number 4
Typical colours - golden-brown, blue, red

Moonstone is a 3rd Anniversary gemstone.

Chakras - Third Eye Chakra, Solar Plexus Chakra
Birthstone - June
Zodiac - Cancer, Libra, Scorpio
Planet - Moon
Element - Water
Vibration - Number 4
Typical colours - cream, yellow, blue, grey, peach/pink

Most gemstone jewellery is fairly durable, but some care does need to be taken.

Remove jewellery before doing any housework - household cleaners are corrosive and may permanently damage your gems;
Remove jewellery before doing any manual labour; or work requiring hands to be immersed in water.
Remove jewellery before swimming or showering - chlorine, some soaps and just immersing in water, may cause damage to your gemstones or their settings;
Remove jewellery before sleeping - tossing and turning in your sleep puts excess strain on your jewellery, causing it to become loose or even break;
Only put on your jewellery after perfume and/or hair care products have dried - these may cause breakdown of the stones;
Store in a dark place, out of direct sunlight, in a pouch, ziplock bag, or jewellery box - sunlight may cause fading of stones and the humidity in the air can cause tarnishing to silver.
General Cleaning
Silver can tarnish quite easily, leaving it looking black and dirty. To ensure that your silver is kept shiny it can be polished gently with a jewellery cloth, or you can use a standard silver polish.

Copper is likely to develop a distinctive patina. Patina is not a "defect", it is a natural by-product. If you do not like the patina effect, you can clean copper goods using standard copper polish.

TAKE CARE using polishes and tarnish removers around your gemstones, as these can cause your gemstones to become dull and fade.

Rose Quartz strengthens and balances the physical heart and circulatory system, and releases impurities from body fluids. It hastens recovery, reduces high blood pressure, aids chest and lung problems, heals the kidneys and adrenals, and alleviates vertigo. A good energetic support for those with leukaemia. Rose Quartz has the power to increase fertility and to protect both mother and unborn fetus from miscarriage.

♥ Unconditional love ♥ Self-love ♥ Mother love ♥ Caring ♥ Kindness ♥ Friendship ♥ Romantic love ♥ Platonic love

Rose Quartz is a rose pink variety of Quartz.
Chakras - Heart Chakra
Zodiac - Taurus, Libra
Planet - Venus
Element - Earth, Water
Vibration - Number 7
Typical colours - rose pink

Turquoise aids in the absorption of nutrients, enhances the immune system, stimulates the regeneration of tissue, and heals the whole body. It contains anti-inflammatory and detoxifying effects, and alleviates cramps and pain. Turquoise purifies lungs, soothes and clears sore throats, and heals the eyes, including cataracts. It neutralises over acidity, benefits rheumatism, gout, stomach problems, and viral infections

♥ Purification ♥ Serenity ♥ Protection ♥ Wisdom ♥ Balance ♥ Strength ♥ Friendship ♥ Love ♥ Positive thinking ♥ Sensitivity

Turquoise is a mineral that is a hydrous phosphate of copper and aluminium. Turquoise is an 11th Anniversary gemstone.

Chakras - Heart Chakra, Throat Chakra, Third Eye Chakra
Birthstone - December (Blue Turquoise)
Zodiac - Scorpio, Sagittarius, Aquarius, Pisces
Planet – Venus & Neptune
Element – Earth/Air/Fire
Vibration - Number 1
Typical colours - Turquoise, blue, green, yellow-green

♥ Absorbs negative energy ♥ Platonic love ♥ Friendship ♥ Community ♥ Creativity ♥ Passion ♥ Romantic love ♥ Wisdom ♥ Optimism ♥ Enthusiasm ♥ Balance ♥ Relaxation ♥ Protection ♥ Safe travel on water

Coral is a 35th Anniversary gemstone.

Zodiac - Taurus, Pisces
Planet - Mars
Vibration - Master Number 22
Typical colours - Black, pink, red, white, blue
Chakras - Base Chakra
Zodiac - Libra
Vibration - Number 4

The design of the Nepali silver bet buckle can vary depending on the region of Nepal it comes from. For example, a buckle from the Kathmandu Valley may feature intricate geometric patterns, while a buckle from the eastern region of Nepal may feature floral motifs or scenes depicting daily life.

Nepali silver bet buckles are also valued for their durability and quality. They are often made using high-quality silver that is known for its strength and resistance to tarnishing. This means that they can be used and enjoyed for years without losing their beauty or value.

Overall, a Nepali silver bet buckle is a beautiful and meaningful accessory that represents the rich culture and heritage of Nepal. It is a treasured possession that can be worn with pride and enjoyed for generations to come.

Nepali silver bracelets are also valued for their durability and quality. They are often made using high-quality silver that is known for its strength and resistance to tarnishing. This means that they can be worn for years without losing their shine or beauty.

Nepali silver bracelets are often worn as a symbol of good luck, protection, or religious significance. They are a treasured possession that can be worn with pride and enjoyed for years to come.

Overall, Nepali silver bracelets are a beautiful and meaningful piece of jewelry that represents the rich culture and heritage of Nepal. They are a treasured possession that can be worn and enjoyed for generations to come.

Copper is a natural antibacterial agent, which means that water stored in a copper water bottle is naturally purified and free from harmful bacteria. In addition to its antibacterial properties, copper is also believed to have a number of health benefits, such as aiding digestion and boosting the immune system.

Nepali copper water bottles are not only functional, but they are also beautifully designed with intricate patterns and motifs that are inspired by traditional Nepali art and culture. These bottles often feature designs that are symbolic of good fortune and prosperity, such as the Om symbol or the lotus flower.

Overall, a Nepali copper water bottle is a beautiful and practical addition to any home or office. It is not only a functional water container but also a piece of art that showcases the rich cultural heritage of Nepal. It is a great gift for anyone who values sustainability, health, and beauty.

Metal wall hangings are also popular and come in a variety of styles and finishes, such as brass, bronze, or copper. These hangings are often crafted with a high level of detail and feature intricate designs that are inspired by Buddhist art and symbolism. They can be hung on the wall using a hook or bracket and add a touch of elegance and shine to any space.

Buddhist wall hangings often feature symbols and motifs that have deep spiritual significance in the Buddhist tradition, such as the lotus flower, the eight auspicious symbols, or the endless knot. These symbols are believed to bring positive energy and peace to the space they occupy, making them a popular choice for meditation rooms or other sacred spaces.

Overall, wall hangings with Buddhist motifs are a beautiful and meaningful way to add a touch of spirituality and cultural richness to your home or office decor. They make a great gift for anyone who values art, spirituality, and cultural diversity.

The design of the mountain goat leather waist bag can vary, with some bags featuring a simple, classic design and others incorporating modern features such as multiple compartments, adjustable straps, and waterproofing. Some bags may also be decorated with traditional designs or motifs that reflect the cultural traditions of the region.

These waist bags are not only functional but also represent the rich cultural heritage of the Himalayan region. They are often produced by skilled local artisans who have been crafting leather goods for generations.

Mountain goat leather waist bags are popular among outdoor enthusiasts and are also used as fashion accessories due to their unique and stylish appearance. They are a long-lasting investment and are often passed down as family heirlooms from generation to generation.

One of the most prominent features of silver decoration plates is their intricate designs. These plates can feature a wide range of patterns, such as floral motifs, geometric designs, or religious symbols. They can also be engraved with traditional scenes depicting daily life in Nepal or important events in Nepali history.

Silver decoration plates are also valued for their durability and quality. They are often made using high-quality silver that is known for its strength and resistance to tarnishing. This means that they can be used and enjoyed for years without losing their beauty or value.

Overall, silver decoration plates are a beautiful and meaningful form of art that represents the rich culture and heritage of Nepal. They are a treasured possession that can be used and enjoyed for generations to come.

Nepali spoons are commonly used in households and restaurants throughout the country. They are perfect for serving traditional Nepali dishes, such as daal-bhaat-tarkari (lentils, rice, and curry), momos (dumplings), and chow mein (stir-fried noodles). The spoons are also popular for cooking, particularly for stirring and mixing ingredients in large pots and pans.

Aside from their practical uses, Nepali spoons are also considered as an essential part of Nepali culture and heritage. They are often used in traditional ceremonies and rituals, such as weddings and religious festivals, where they symbolize purity, tradition, and continuity.

Overall, Nepali spoons are a unique and functional utensil that embodies the rich cultural heritage of Nepal. They are not only an essential part of Nepali cuisine but also hold significant cultural and traditional value.

Timur (Szechuan pepper): Timur is a key ingredient in Nepali cuisine and is used extensively in both savory and sweet dishes. It has a unique and distinctive taste, slightly numbing and tingling, and is often used to flavor meat and vegetable dishes.

Dhania (Coriander seeds): Dhania is a popular spice in Nepali cuisine and is used to add a nutty and earthy flavor to various dishes. It is commonly used in curries and soups.

Jeera (Cumin seeds): Jeera is a spice with a warm, earthy, and slightly bitter flavor. It is commonly used in Nepali cuisine to flavor curries, soups, and chutneys.

Rai (Mustard seeds): Rai is a common ingredient in Nepali cuisine, and its seeds are used for cooking, pickling, and seasoning. It has a pungent and slightly bitter taste.

Masala (Spice mix): Nepali masala is a blend of various spices, including cumin, coriander, cinnamon, cardamom, and cloves. It is used to flavor various dishes, including curries, soups, and stews.

Jwano (Thyme seeds): Jwano is a unique spice found in Nepali cuisine and is used to add a distinctive flavor to various dishes. It is commonly used in meat and vegetable dishes and is also added to bread and dough.

Dhania patra (Coriander leaves): Dhania patra, also known as cilantro, is commonly used as a garnish and flavoring agent in Nepali cuisine. It has a fresh and citrusy taste and is often used in salads, soups, and chutneys.

Jimbu (Himalayan herb): Jimbu is a herb found in the Himalayan region and is commonly used in Nepali cuisine. It has a strong and distinct flavor and is used to flavor soups, stews, and curries.

These are some of the popular spices used in Nepali cuisine. They add depth, complexity, and flavor to dishes and are an essential part of Nepali culinary culture.

Santoshi Mata emerged as a goddess in the early 1960s. Her prayer initially spread through word of mouth, vrata-pamphlet literature, and poster art. Her vrata was gaining popularity with North Indian women. However, it was the 1975 Bollywood film Jai Santoshi Maa narrating the story of the goddess and her ardent devotee Satyavati—which propelled this then little-known "new" goddess to the heights of devotional fervour. With the rising popularity of the film, Santoshi Mata entered the pan-Indian Hindu pantheon and her images and shrines were incorporated in Hindu temples. The film portrayed the goddess to be the daughter of the popular Hindu god Ganesha and related her to the Raksha Bandhan festival, however, it had no basis in Hindu scriptures.

Inside the box, there are several packets of Nepali herbal tea, each containing a blend of different herbs and spices. The ingredients used in these blends are carefully selected for their unique taste and health benefits, and may include ingredients such as ginger, cinnamon, cardamom, clove, and tulsi (holy basil).

The tea is packaged in individual sachets to preserve its flavor and freshness, and to make it easy to prepare. To make a cup of Nepali herbal tea, simply steep one sachet in hot water for a few minutes, then add honey or sugar to taste.

In addition to its delicious taste, Nepali herbal tea is also known for its many health benefits. The herbs and spices used in these blends are rich in antioxidants, anti-inflammatory compounds, and other beneficial nutrients that may help to boost immunity, aid digestion, reduce stress, and promote overall health and wellness.

Overall, the Nepali herbal tea pack in a beautiful wooden box with carvings is a unique and thoughtful gift that combines the beauty of Nepali craftsmanship with the health benefits of herbal tea. It is perfect for anyone who appreciates natural beauty and wants to enjoy the delicious taste and health benefits of Nepali herbal tea.

Jade stone tea pots are another popular option in Nepal and Tibet. These tea pots are highly valued for their beauty and durability, and are often carved into intricate shapes and designs. They are highly prized as heirloom pieces and are often passed down from generation to generation.

Brass tea pots are also popular in these regions, particularly in Tibetan households. These tea pots are highly ornate and often feature intricate designs and engravings. They are highly durable and can withstand high heat, making them perfect for brewing and serving hot tea.

No matter the material, Nepali and Tibetan tea serving vessels are highly prized for their beauty and functionality. They are typically used for serving traditional tea, which is brewed with a mix of black tea leaves, milk, and spices such as cinnamon, cardamom, and ginger. The tea is then poured into the tea pot and served to guests in small cups, often accompanied by sweet or savory snacks.

Overall, Nepali and Tibetan tea serving vessels are a unique and beautiful addition to any tea lover's collection. Whether made of metal, jade stone, or brass, these tea pots are highly prized for their beauty, functionality, and cultural significance.

According to accounts from his life, he preached the importance of "realization of the self" and criticized "love towards perishable things". His teachings concentrate on a moral code of love, forgiveness, helping others, charity, contentment, inner peace and devotion to the God and guru. He stressed the importance of surrender to the true Satguru, who, having trod the path to divine consciousness, will lead the disciple through the jungle of spiritual training.

Sai Baba also condemned distinction based on religion or caste. It remains unclear if he was a Muslim or a Hindu. This, however, was of no consequence to Sai Baba. His teachings combined elements of Hinduism and Islam: he gave the Hindu name Dwarakamayi to the mosque in which he lived, practised both Hindu and Muslim rituals, taught using words and figures that drew from both traditions and took samadhi in Shirdi. One of his well-known epigrams, Allah Malik (God is King) and Sabka Malik Ek (Everyone's Master is One), is associated with both Hinduism and Islam. He is also known to have said "Look to me, and I shall look to you" and Allah tera bhala karega. He was said to be an incarnation of Dattatreya.

Yab-yum is widely regarded as representing the primordial union of wisdom and compassion. The masculine form is active in Buddhism, representing the compassion and skillful means that must be developed in order to achieve enlightenment. The feminine form is passive and represents wisdom, both of which are required for enlightenment. The figures, when joined, represent the union required to remove the veils of Maya, the false duality of object and subject.

These figures are frequently worked into statues or reliefs, or they are painted on thangkas. Yab-yum can also be represented by the aniconic symbols yantra and mandala.

In Tibetan Buddhism, the same ideas are to be found concerning the bell and the dorje, which, like the yab-yum, symbolize the dualism that must be transcended. The sacred Tantric practice leads to rapid development of mind by using the experience of bliss, non-duality, and ecstasy while in communion with one's consort, either visualized, or in the case of advanced practitioners, in some cases physical. In one important Anuttarayoga text, where Tilopa expounds the meaning to Naropa, it is said:

When you rely on a consort, the wisdom of empty bliss will arise, so enter into union—the blessing of method and wisdom. Bring it down slowly, retain it, reverse it, and draw it back up. Bring it to the places in the body and let it spread throughout. When you remain free of desire, the wisdom of empty bliss will appear.

Indicating the advanced nature of the actual practice with consort, the verses are the last in what is already widely considered as a text for the most advanced practitioners, a fact clearly evident in the story about Naropa's receiving the teaching.

Buddhism is another significant religion in Nepal, and many books related to it can be found in the country. The most popular ones include the Tripitaka, a collection of Buddha's teachings, and the Tibetan Book of the Dead, which is a guide for the dead through the afterlife. Other important Buddhist texts include the Lotus Sutra, Heart Sutra, and Diamond Sutra.

Islamic books, such as the Quran and Hadith, are also prevalent in Nepal, particularly in the Muslim community. These books contain teachings, stories, and principles related to Islam.

In addition to these, Nepal is also home to a small Christian population, and there are several Christian religious books available in the country. These include the Bible, which is considered the holy book for Christians, and other religious texts and teachings.

Overall, religious books found in Nepal are an integral part of the country's diverse cultural and spiritual landscape. They offer insight into various religions, philosophies, and practices and provide guidance and inspiration to many Nepalese people.

One of the benefits of using Lokta paper for lamp shades is that it is an eco-friendly and sustainable material. The Lokta plant is fast-growing and regenerates quickly, making it a renewable resource. The paper is also produced using traditional methods that do not rely on harmful chemicals or bleaches.

In addition to being sustainable, Nepali Lokta paper lamp shades are also a beautiful and unique way to add a touch of warmth and elegance to your home decor. The natural texture and colors of the paper add a touch of rustic charm, and the traditional designs and motifs are a nod to the rich cultural heritage of Nepal.

Overall, Nepali Lokta paper lamp shades are a great choice for anyone looking for an eco-friendly and unique way to light up their living space. They are a sustainable and beautiful way to showcase traditional Nepali craftsmanship while adding a touch of warmth and elegance to your home decor.

These envelopes come in a variety of sizes and styles, including standard letter envelopes, invitation envelopes, and even window envelopes. They are also available in a range of colors, from natural earth tones to bright and bold hues.

Not only are Lokta paper envelopes a beautiful and sustainable choice for your mailings, but they also support local communities in the Himalayan region. By purchasing these envelopes, you are helping to preserve traditional paper-making techniques and support the livelihoods of those who rely on the Lokta plant for income.

Overall, Lokta paper envelopes are a unique and environmentally responsible option for anyone looking to make a statement with their mailings.

Nepali nettle shawls are typically decorated with traditional Nepali designs, such as floral motifs or geometric patterns, and are available in a variety of colors. They are often worn by both men and women as a functional accessory to protect against the cold and wind, as well as a cultural statement.

In addition to their practical use, Nepali nettle shawls are also considered an important part of Nepali cultural heritage. The production of nettle shawls is a traditional handicraft that has been passed down through generations, and is valued for its sustainability and eco-friendliness.

Overall, a Nepali nettle shawl is a beautiful and unique piece of clothing that represents the natural beauty of Nepal and the skill and artistry of its craftsmen. It is a treasured possession that carries deep meaning and significance for those who wear it or receive it as a gift.

The production of a Nepali carpet is a time-consuming process that requires a high degree of skill and expertise. The process typically involves several stages, including wool or silk spinning, dyeing, knotting, and finishing. The finished carpet is a durable and long-lasting work of art that can be used as a functional floor covering or as a decorative element in a room.

Nepali carpets are highly sought after for their beauty, quality, and cultural significance. They are often considered a symbol of Nepali craftsmanship and are treasured possessions that are passed down through generations.

Nepali herbal tea is often consumed for its health benefits, which may include boosting the immune system, improving digestion, reducing inflammation, and promoting relaxation and stress relief. It is also a popular choice for those who want to enjoy a caffeine-free alternative to traditional tea or coffee.

In addition to its health benefits, Nepali herbal tea is also an important part of Nepali culture and tradition. It is often served to guests as a sign of hospitality and is a popular beverage during religious festivals and other cultural celebrations.

Overall, Nepali herbal tea is a delicious and healthy beverage that represents the rich cultural heritage of Nepal and the natural beauty of its native herbs and spices.

One of the benefits of using Lokta paper for photo albums is that it is an eco-friendly and sustainable material. The Lokta plant is fast-growing and regenerates quickly, making it a renewable resource. The paper is also produced using traditional methods that do not rely on harmful chemicals or bleaches.

In addition to being a sustainable choice, Nepali Lokta paper photo albums are also a beautiful and unique way to showcase your photos. The natural texture and colors of the paper add a touch of rustic charm, and the traditional designs and motifs are a nod to the rich cultural heritage of Nepal.

Overall, Nepali Lokta paper photo albums are a great choice for anyone looking for an eco-friendly and beautiful way to showcase their memories. They are a sustainable and unique option that is sure to be cherished for years to come.

Tobacco was introduced by the Portuguese to the court at Beijing some time during the mid- to late-16th century. It was originally smoked in pipes before the establishment of the Qing Dynasty. The use of snuff and snuff bottles spread through the upper class, and by the end of the 17th century it had become a part of social ritual to use snuff. This lasted through most of the 18th century. Eventually, the trend spread into the rest of the country and into every social class. It was common to offer a pinch of snuff as a way to greet friends and relatives. Snuff bottles soon became an object of beauty and a way to represent status and wealth.

The use of snuff increased and decreased with the rise and fall of the Qing Dynasty and died away soon after the establishment of the Republic of China. However, contemporary snuff bottles are still being made, and can be purchased in souvenir shops, flea markets and museum gift shops. Original snuff bottles from the Qing period are a desirable target for serious collectors and museums. A good bottle has an extra quality over and above its exquisite beauty and value: that is touch. Snuff bottles were made to be held and so, as a rule, they have a pleasant tactile quality.

The absolute date of the Pashupatinath temple construction is still uncertain. However, the present form of this temple was constructed in 1692 A.D. Over time, many more temples have been erected around this two-storied temple. These include the Vaishnava temple complex with a Rama temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.

Legend surrounding the origin of the temple
Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was built. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 B.C.[citation needed] The richly ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Aalok Pashupatinath came to existence here. Some of them are narrated below.

The Cow Legend
Legend says that Lord Shiva and Parvati once took the form of an antelope and sported unknown in the forest on the Bagmati river's east bank. The gods later caught up with him and grabbing him by one of his horns, forced him to resume his divine form. The broken horn was worshipped as a Sivalinga but over time it was buried and lost. Centuries later astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.

The Licchavi Legend
According to Gopalraj Aalok Vhat bhencis temple was built by Prachanda Deva, a Licchavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).

The Devalaya Legend
Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five-storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.
Other beliefs
There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deer and walked into the forest. Many spots in the Kathmandu Valley have been identified as places where Shiva went during his time as a deer. After a while, the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Lord Shiva announced that, since he had lived by the Bagmati river in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.

Finding of Shiva Linga at Pashupatinath Temple
It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place where the lingam was sunken into the soil and poured her milk on top of the soil. After a few thousand years some people saw Kamadhenu pouring milk on that same spot every day, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.

In Nepal, batik painting is a popular art form that is often used to create colorful wall hangings, clothing, and accessories. Nepali batik painters often draw inspiration from their rich cultural heritage, incorporating traditional motifs and symbols into their designs. Many Nepali batik paintings feature intricate mandalas, geometric patterns, and depictions of deities and spiritual figures.

Batik painting requires a high degree of skill and patience, as each layer of wax and dye must be carefully applied to achieve the desired effect. The result is a stunning piece of art that showcases the beauty of Nepali culture and the creativity of its people.

Landscape: The Nepali landscape is diverse and varied, ranging from lush green valleys to arid highlands. Nepali oil paintings may depict these landscapes in a variety of styles, from realistic depictions to more abstract interpretations.

Newari Life: The Newari people are an ethnic group native to the Kathmandu Valley in Nepal. Nepali oil paintings may depict aspects of Newari life, such as traditional festivals, ceremonies, and cultural practices.

Kathmandu: The capital city of Nepal, Kathmandu is a vibrant and colorful city with a rich cultural heritage. Nepali oil paintings may feature iconic landmarks and buildings in Kathmandu, such as Durbar Square, Swayambhunath Stupa, and Boudhanath Stupa.

Temples and stupas: Nepal is home to numerous temples and stupas, which are important religious and cultural sites. Nepali oil paintings may depict these sites in great detail, capturing their intricate architecture and decorative elements.

Overall, Nepali oil paintings are a beautiful and vibrant representation of Nepali culture and heritage, capturing the essence of this rich and diverse country. They are treasured works of art that carry deep meaning and significance for those who create and admire them.

The candle stand typically holds a single candle, which can be placed on top of the elephant's back or in a holder attached to the elephant's trunk. The stand may also feature additional design elements, such as decorative engraving, etching, or embossing.

The brass elephant candle stand is not only a functional item but also a decorative one that adds charm and elegance to any room or space. It can be used as a centerpiece on a dining table, as a decorative item in a living room, or as a decorative item in a bedroom or office.

Overall, the brass elephant candle stand is a beautiful and unique decorative item that adds a touch of cultural and spiritual significance to any space. It is a perfect gift item for anyone who appreciates the beauty and elegance of brass handicrafts and the symbolism of the elephant in various cultures.

In addition to their functional use, brass candle stands and holders can also add a touch of elegance and sophistication to a room. They make excellent decorative accents for dining tables, living rooms, and bedrooms, and can be used to create a cozy and inviting ambiance.

Brass candle stands and holders also make great gifts for weddings, housewarmings, and other special occasions. They are a timeless and classic decor item that can be enjoyed for years to come. Overall, a brass candle stand and holder is a beautiful and functional addition to any home.

Batik wall hangings often feature traditional Nepali motifs, such as mandalas, lotus flowers, and depictions of deities and spiritual figures. They are often used to decorate homes and meditation spaces, as they are believed to bring positive energy and create a calming atmosphere.

The intricate designs and vibrant colors of batik wall hangings make them a beautiful addition to any room. They can be used as a statement piece on a large empty wall or hung above a bed or couch to add color and interest. Additionally, they make excellent gifts for those who appreciate traditional art forms and the beauty of Nepali culture.

The set includes a stylish decanter with a lid and four matching glasses, all crafted from brass. The decanter is perfect for serving your favorite spirits, while the glasses are ideal for serving shots or small drinks. The set is versatile and can be used to serve a wide range of beverages, including wine, whiskey, and other alcoholic beverages.

The Brass Nepali Alcohol and Drink Serving Set is perfect for entertaining guests or as a beautiful addition to any home bar. Its unique and eye-catching design is sure to impress your guests and elevate any social gathering.

In summary, our Brass Nepali Alcohol and Drink Serving Set is a stunning addition to any home or bar. Handcrafted with care by skilled artisans in Nepal, this set is made from high-quality brass and is both durable and stylish. Whether you're entertaining guests or looking for a beautiful way to serve your favorite beverages, this set is sure to impress.

Other types of metal flower holders include baskets, buckets, and urns, which are designed to hold a mix of different flowers and foliage. These holders often feature intricate designs and details, such as scrollwork or embossed patterns, that add to their decorative appeal.

Metal flower holders can be used both indoors and outdoors, and are often used as centerpieces for weddings, parties, and other special events. They can also be used to brighten up a room or add a touch of elegance to a table or mantel.

When choosing a metal flower holder, it's important to consider the size and shape of the holder, as well as the type of flowers you plan to use. Additionally, you should look for a holder that is sturdy and well-made, with a finish that is resistant to rust and other types of corrosion.

The Tsongkhapa Gelugpa Refuge Tree is a powerful symbol of the Gelugpa tradition's commitment to the path of enlightenment. The tree represents the vast lineage of teachers and teachings that lead to enlightenment, and it reminds practitioners of the importance of following the path and relying on the guidance of their teachers.

Here is a more detailed description of the figures depicted in the thangka:

Tsongkhapa: The central figure in the thangka is Tsongkhapa, the founder of the Gelugpa tradition. Tsongkhapa is seated on a lotus and sun disk, and he is surrounded by a host of other figures, including bodhisattvas, meditation deities, and protectors. Tsongkhapa is considered to be an emanation of the bodhisattva of wisdom, Manjushri.

The Lineage of Sutra Teachers: The figures on the left side of the thangka represent the lineage of teachers who transmitted the sutra teachings. The sutra teachings are the foundational teachings of Buddhism, and they provide guidance on how to live a moral and ethical life, develop concentration and wisdom, and ultimately achieve enlightenment. The lineage of sutra teachers begins with the Buddha Shakyamuni and continues through a long line of great Indian and Tibetan teachers.

The Lineage of Tantric Teachers: The figures on the right side of the thangka represent the lineage of teachers who transmitted tantric teachings. The tantric teachings are a more advanced form of Buddhist practice that can lead to quicker and more profound results. The lineage of tantric teachers begins with the Buddha Shakyamuni and continues through a long line of great Indian and Tibetan teachers.

The Bodhisattvas: The bodhisattvas are enlightened beings who have vowed to help all sentient beings achieve enlightenment. They are depicted in the thangka as beautiful and compassionate figures.

The Meditation Deities: The meditation deities are powerful beings who can help practitioners to develop concentration and wisdom. They are depicted in the thangka as fierce and wrathful figures.

The Protectors: The protectors are benevolent beings who guard the Dharma and protect practitioners from harm. They are depicted in the thangka as fearsome and powerful figures.

The Tsongkhapa Gelugpa Refuge Tree is a beautiful and inspiring work of art that reminds practitioners of the importance of following the path of enlightenment and relying on the guidance of their teachers.

The Nepali Musician set is often used in traditional Nepali music performances, such as religious ceremonies, festivals, and cultural events. It represents the rich musical heritage of Nepal and the skill and artistry of Nepali musicians.

Some Buddhist mantra chants audio CDs may also feature guided meditations or instructions on how to use the mantras and chants in your own meditation practice. These CDs can be a useful tool for anyone interested in learning more about Buddhist meditation, or for those looking to deepen their practice and connect more fully with their spirituality.

Per historical Hindu practice of Sati, the queen sacrificed herself by sitting atop her deceased husband's funeral pyre. Prior to her death, she told Thapa that she would appear again, six months later, a farmer working on the field split a stone which apparently started a stream of blood and milk. After hearing about this, Thapa went to where the stone was located and started to do Hindu tantric rituals which halted the stream.

Later he built a shrine at the same spot so that their wishes can come true, and also the persist of the temple necessity should be the ancestor of Thapa. Manakamana is thought to be Champawati, wife of Ram Shah, she reappeared during his son Dambar Shah's reign, and according to other sources indicate that she appeared during the reign of Prithvi Narayan Shah, founder of present-day Nepal. The temple is the holy site of Goddess Bhagwati, an incarnation of Parvati. Mana translates as "heart" and "kamana" as "wish" and it is believed that the Bhagwati grants wishes of its devotees.

There are two theories regarding the origin of the hookah. The first is that following the introduction of tobacco to medieval India by the Jesuits, and since then tobacco use became widespread. The hookah or waterpipe was invented by Abu’l-Fath Gilani, a Persian physician of Akbar, in the Indian city of Fatehpur Sikri during Mughal India; the hookah spread from the Indian subcontinent to Persia first, where the mechanism was modified to its current shape, and then to the Near East. Alternatively, it could have originated in the Safavid dynasty of Persia, from where it eventually spread to the Indian subcontinent.

Despite tobacco and drug use being considered a taboo when the hookah was first conceived, its use became increasingly popular among nobility and subsequently widely accepted. Gradually, burned tobacco has been commonly replaced by vaporizing flavored shisha. Still the original hookah is often used in rural South Asia, which continues to use Tumbak (a pure and coarse form of unflavored tobacco leaves) and smoked by burning it directly with charcoal. While this method delivers a much higher content of tobacco and nicotine, it also imposes more adverse health effects compared to vaporized shisha hookahs.[citation needed]

The word hookah is a derivative of "huqqa", a Hindustani word, of Arabic origin (derived from حُقَّة ḥuqqa, "casket, bottle, water pipe"). Outside its native region, hookah smoking has gained popularity throughout the world, especially among younger people.A hookah (Hindustani: हुक़्क़ा (Devanagari), حقّہ (Nastaleeq), IPA: [ˈɦʊqːa]; also see other names), or shisha, is a single- or multi-stemmed instrument for heating or vaporizing and then smoking either tobacco, flavored tobacco (often Mu‘assel), or sometimes cannabis, hashish, and in the past opium. The smoke is passed through a water basin—often glass-based—before inhalation.

The health risks of smoking through a hookah include exposure to toxic chemicals that are not filtered out by the water and risk of infectious disease when hookahs are shared.
There are two theories regarding the origin of the hookah. The first is that following the introduction of tobacco to medieval India by the Jesuits, and since then tobacco use became widespread. The hookah or waterpipe was invented by Abu’l-Fath Gilani, a Persian physician of Akbar, in the Indian city of Fatehpur Sikri during Mughal India; the hookah spread from the Indian subcontinent to Persia first, where the mechanism was modified to its current shape, and then to the Near East. Alternatively, it could have originated in the Safavid dynasty of Persia, from where it eventually spread to the Indian subcontinent.

Despite tobacco and drug use being considered a taboo when the hookah was first conceived, its use became increasingly popular among nobility and subsequently widely accepted. Gradually, burned tobacco has been commonly replaced by vaporizing flavored shisha. Still the original hookah is often used in rural South Asia, which continues to use Tumbak (a pure and coarse form of unflavored tobacco leaves) and smoked by burning it directly with charcoal. While this method delivers a much higher content of tobacco and nicotine, it also imposes more adverse health effects compared to vaporized shisha hookahs.[citation needed]

The word hookah is a derivative of "huqqa", a Hindustani word, of Arabic origin (derived from حُقَّة ḥuqqa, "casket, bottle, water pipe"). Outside its native region, hookah smoking has gained popularity throughout the world, especially among younger people.

He divided the rice into 49 portions, one for each day until he would be enlightened, and threw the precious bowl into the river.

The bowls are all made laboriously by hand. They are constructed from eight pieces of steel – particularly auspicious as this invokes the eight spokes on the Buddhist Wheel of Dharma and the enlightenment of Lord Buddha. The seams of the bowls are then fused with copper to give them their distinctive pattern. Some of the finished bowls are polished to give them a clear, natural metal finish, but others are coated with layers of black lacquer.

The brass dhau pati is usually decorated with intricate designs and patterns, which add to its aesthetic appeal. It is a small and portable vessel that can be easily carried from one place to another, making it ideal for use in outdoor ceremonies and festivals.

The use of the brass dhau pati in Newari culture reflects the importance of food and hospitality in the culture. It is a symbol of respect and reverence for the deities and is considered an essential part of many religious rituals and ceremonies.

Labradorite treats disorders of the eyes and brain, stimulates mental acuity, and relieves anxiety and stress. It regulates metabolism, balances hormones and relieves menstrual tension. Labradorite treats colds, gout, and rheumatism, lowers blood pressure, and aids in digestion

♥ Transformation ♥ Promotes psychic abilities ♥ Strengthens our will ♥ Stimulates imagination ♥ Calming

Chakras - Throat Chakra, Third Eye Chakra, Crown Chakra
Zodiac - Leo, Scorpio, Sagittarius
Planet - Uranus
Element - Water
Vibration - Numbers 6 and 7
Typical colours - Pale green, blue, colourless, grey-white: with iridescent blue or gold flashes

Historical texts portray Machig Labdrön as the originator of the Chöd lineage which she developed in Tibet. This was confirmed in her own lifetime by Indian Brahmins and others, and Machig Labdron creation of the Chod lineage is not doubted by its modern practitioners.

The influences of other practices on Chöd are debated. Some posit Machig Labdron may have come from a Bön family, a position which contradicts historical records. According to Namkhai Norbu, Chöd might be interpreted through combining native shamanism with the Dzogchen teachings. Other Buddhist teachers and scholars offer differing interpretations of the origins of Chöd, and not all of them agree that Chöd has Bön or shamanistic roots.

How to Burn Incense

Sang burners are usually handcrafted from copper, brass, or a mix of metals, often with decorative elements. Common styles include:

Urn-shaped or bowl-shaped with a deep interior to hold ash, sand, or charcoal.
Perforated lid (with holes or filigree) that allows fragrant smoke to rise gently while containing the burning material.
Raised base or legs for safety and airflow.
Symbolic decorations such as the Face of Glory (Kirtimukha), dragons, Mahakala, lotus motifs, or the Eight Auspicious Symbols.
Sizes vary: smaller ones (around 6–10 inches high) for indoor/home altars, larger or hanging versions for temples or outdoor use.

Many are made in Nepal (especially in the Kathmandu Valley) by skilled artisans and sold as ritual tools for Tibetan Buddhist practitioners. Some modern versions are electric, but traditional ones are metal and meant for charcoal or direct burning.

1. Partially fill a new incense burner with ash or sand.
2. Light your favourite incense stick and place it horizontally on the bed of ash.
3. A small quantity of loose or powder incense may also be sprinkled over the lit incense stick.
4. Remove the ash build-up regularly to ensure the burning incense does not come into close proximity with the lid of the burner, thus preventing heat damage.
Always burn incense in moderate quantities to prevent overheating.
Do not handle the incense burner when hot.

The different stone settings on top of the imitation amber vessel add an extra element of beauty and elegance to the piece. These stones can include a variety of different colors and types, such as turquoise, coral, and lapis lazuli. The stones are carefully selected and placed in intricate patterns and designs that are meant to enhance the overall aesthetic of the vessel.

In Tibetan religious practices, these flower vessels are typically used as a way to show respect and devotion to various deities. They are often used in rituals and ceremonies and can be found on altars in temples, homes, and other places of worship. These vessels are not only beautiful and unique, but they also serve a meaningful and important purpose in the religious practices of the Tibetan people.

Haldu is moderately durable to fungi and is susceptible to dry wood borers; sapwood not or slightly demarcated (risk in all the wood).

Haldu can be used for several applications:

Interior: e.g. furniture, stairs, panelling, flooring, veneer, boxes and crates, pencils, joinery, sliced veneer, cigar boxes, light carpentry
References: CIRAD Forestry Department

How to Roll a Thangka

The silk fabric protects the edges of the Thangka, and also makes it easier to hang. A thin silk cover protects the painting when rolled, and may be gathered up to display the painting when hung on the wall. It is generally thought that silk brocade renders a Thangka more attractive and more religious.

The technique of silk brocading was first developed around the 9th century AD as a way to protect paintings during transport across the treacherous Himalayan mountains. Nepalese artists, seeking to meet the exploding demand for Buddhist art in Tibet, developed Thangka techniques so that paintings could be easily rolled and carried in large numbers. Due to these clever techniques, Buddhists throughout the Himalayan region were able to obtain beautiful supports for their practice.

Chakras - Third Eye Chakra
Zodiac - Capricorn
Element - Earth
Typical colours - Clear with needle-like crystals of Black Tourmaline.

Tourmaline Quartz combines the properties of Tourmaline and Clear Quartz Crystal. Tourmaline purifies ones own energies and protects from negativity, while Quartz amplifies energies focused through it. This combination makes Tourmaline Quartz a powerful shield-stone that, depending on the desired intent of the wearer, can amplify and return negative energy, like a mirror spell, or can convert the negative energy into positive energy for the wearer.

An effective grounding stone, Tourmaline Quartz strengthens the body's energy field against external invasion and deflects detrimental environmental influences. It is often seen as a symbol of unity and is an effective problem solver. It eliminates crystallised patterns which are, or may have been, destructive in ones own life and releases tensions at any level. Its liberating power against negative energy can be used to assist us to actualise the strength needed to alleviate negative or hostile relationships and situations. Tourmaline Quartz balances yin / yang energies. It harmonises disparate and opposite elements and polarities, and turns negative thoughts and energies into positive ones. Psychologically, it helps to integrate and heal the shadow energies, alleviating self-sabotage. It harmonises the meridians, the subtle bodies, and the chakras.

Tourmaline Quartz detoxifies the entire body and is used to treat disorders of the digestive tract.

The presence of Hematite gives Black Star Sapphire its golden color. It’s truly a magnificent stone that one just cannot help but fall in love with it! What also sets this kind of Star Sapphire apart is the presence of twelve rays in a star pattern. Regular Star Sapphires only have six rays. It is commonly found in Thailand and West Africa, particularly in Liberia, Sierra Leone, and Guinea.

his is a stone that offers protection, as well as centering and grounding capabilities. It will also give you the confidence to trust your own intuition.
When you’re employed, trying to look for a job, or trying to keep a job, the energies of this stone will support you in achieving it, and even improve your current job situation.

It is also a wisdom stone. It will calm your thoughts and eliminate your mental tensions, allowing for a greater and sharper focus.

This will bring serenity and peace of mind. All signs of depression or spiritual confusion will also be neutralized or alleviated.

Black Star Sapphire will give you wisdom in any kind of situation, especially when you use it in meditation.

It will open your mind to intuitive understanding and increase your faith and hope!

It’s also considered a stone of abundance and prosperity because it will attract all kinds of gifts and blessings.

You will receive more material, emotional, intellectual, and spiritual blessings, and it will promote wealth and richness in all aspects.

Chakras - Sacral Chakra, Solar Plexus Chakra, Throat Chakra
Zodiac - Leo, Aquarius
Planet - Sun
Element - Fire
Vibration - Number 3
Typical colours - yellow, golden – transparent or translucent

Amber is a powerful healer and cleanser of the body, mind and spirit. It also cleanses the environment. Amber draws disease from the body, healing and renewing the nervous system and balancing the right and left parts of the brain. It absorbs pain and negative energy, helping to alleviate stress. Amber clears depression, stimulates the intellect and promotes self-confidence and creative self-expression. It encourages decision-making, spontaneity and brings wisdom, balance and patience.

Amber opens the throat centre, treating goiters and other throat problems. It also treats stomach, spleen, kidneys, bladder, liver and gallbladder. Amber strengthens the mucus membranes and alleviates joint problems.

Kambaba Jasper was originally called Green Stromatolite Jasper and now goes by the trade name Kambaba or Crocodile Jasper. Only certain mines in Madagascar and South Africa source these beautiful and exotic Jaspers.

Chakra Healing with Kambaba Jasper
Through clearing blockages in the heart chakra, Kambaba Jasper can help us to feel secure when opening ourselves to giving and receiving love.

Kambaba Jasper is a stone of peace, tranquility, and fertility. It reminds us of the gift of life and our connection to all living things of the present, past & future. Rich in orbs and swirls of green and black, this stone is commonly used to aid in meditation. Known for providing peace and tranquility, Kambaba Jasper is said to remove blockages in the heart and base chakras to dispel worry and negativity, and allow a clear path for clarity and serenity to flow.

Whether you feel trapped in hardship or are simply wishing to live with less negativity, Kambaba Jasper, the “Supreme Nurturer,” encourages us to imagine an ebb and flow of energy between ourselves and the earth. Used in meditation, this grounding stone offers a sense of emotional protection as we visualize any worries and negativity being drawn from us, and invite warmth, comfort and fresh insight into our lives. This newfound clarity and peace of mind can help us to be more honest with ourselves and confidently take action in our lives.

If you are in search of tranquility or hoping to find answers in life, Kambaba Jasper can ground you on your journey to discover new insights and release negative emotions that weigh you down and cloud your mind.

Crystal healing is a type of alternative therapy that involves using gemstones to bring balance to an individual's life and mind. Crystals are said to "have a stable and unchanging energy pattern, each with a unique frequency and energy field, or resonance" that gives them special properties, explains Judy Hall, in her work, The Little Book of Crystals. As a result, "they act like tuning forks," helping bring "harmony" to the "very unstable energy field of the human body".

The proposed healing benefits of crystals predominantly surround areas of mental wellbeing; including feelings of increased tranquility, positivity and focus, as well as enhanced immunity and pain relief.

Individual crystals are also known to have their own special energies that align to different areas of your life, with their shape and colour - as well as their type - affecting their influence.

Larimar is said to enlighten and heal in a physical, emotional, mental and spiritual way. It stimulates the heart, throat, third eye and crown chakras facilitating inner wisdom and outer manifestation. It represents peace and clarity, radiating healing and love energy. It is recommended for people who are stressed and it is said to be a healing stone.

Because Larimar is recommended for stress, in The Book of Stones (Berkeley, CA: North Atlantic Books, 2007) by Robert Simmons and Naisha Ahsian, it is said Larimar can be helpful for for phobias, panic attacks, stress-related imbalances, and excessive anger or fear.

They also say it aids in breaking down the walls one has built around the heart for defense, and allows for emotional release and the clearing of deep emotional patterns. It helps one to reconnect to a previous, more natural state of playfulness and joyful childlike energy.

Larimar is said to help us to view events from a different perspective; it softens, enlightens and heals in a physical, emotional, mental and spiritual way, stimulates the heart, throat, third eye and crown chakras facilitating inner wisdom and outer manifestation. It represents peace and clarity radiating healing and love energy. It is recommended for people who are stressed. It is said to be a healing stone.

In The Book of Stones, Robert Simmons writes "Larimar is a stone of tremendous benefit to the throat chakra, providing the power of clear communication and the emotional strength and stability that enable one to speak from the heart. . . .

"It supports a state of confident well-being and awareness of one's capacities."

"Relaxation is one of the benefits of Larimar. It soothes the emotional body, releasing undesirable attachments and relieving stress. Wearing the stone, one feels surrounded in an oasis of calm, always aware of the fundamental 'all-rightness' of the world, regardless of transient circumstances. Larimar can cool hot tempers and guide excess passion into peace."

"In meditation, Larimar can help one see and release oneself from unhealthy inner bonds to other people, or to principles which do not serve one's highest good."

"Placing Larimar stones in one's home or work environment will assure a pleasant and serene atmosphere. Using the stone on the throat chakra in a pendant or in a laying-on-the-stones treatment, will help to unleash the voice of one's deepest wisdom."

And, while no one knows for sure about the effects of Larimar, no one can deny its obvious beauty and the impact of a stone this glorious is indisputable.

Jade also saw popularity outside Eastern cultures.

“The remains of jade tools and utensils have been found in the excavation of ancient sites worldwide,” Boote says. “Tribes in New Zealand would use jade to adorn their masks. They would also turn to the mystical powers of jade when they wanted to make an offering to the water spirits.”

Even the Spanish used jade, claims Boote, calling it “piedra de ijada,” or stone of the loin. This could be “in homage to jade’s positive effect when it came to healing the bladder and problems with the kidneys,” she says.

Jade “is a stone that does not demand from you. But instead, it gives you all the love and courage you need to raise your own vibrations, tap into your dreams, and welcome all the wonderful things that want to come to you,” Boote says.

Boote explains that there are two stones known as jade. They’re called nephrite and jadeite.

“To the untrained eye, these stones are difficult to distinguish. This is usually done by experts using sound frequency, or chiming,” she says.

According to Boote, both stones have the same healing properties.

The most important deposits for Star Ruby have been in Upper Myanmar, Burma near Mogok. Star Rubies are also found in the mines of Thailand, Sri Lanka & Tanzania. There are some other mines also but the availability and quality of Rubies are not as per the demand in the market.

Star Ruby is considered very effective for people suffering from heart-related disorders.
People struggling with low decision-making abilities & self-esteem get immensely benefitted by wearing this gem.
It has been observed that the gemstone is effective for people having depression and anxiety.

One of the unique features of large cut sugar crystals is their ability to dissolve slowly in hot liquids. This makes them perfect for adding a sweet and flavorful touch to tea and coffee, without overpowering the flavor of the beverage. The crystals also add a crunchy texture when used in baked goods and desserts.

Large cut sugar crystals are also known for their health benefits. Unlike refined white sugar, which has been stripped of its natural nutrients, rock sugar contains trace minerals, such as calcium, magnesium, and iron. These minerals are important for maintaining healthy bones and muscles, and also help to regulate blood sugar levels.

Overall, large cut sugar crystals are a versatile and delicious sweetener that can be used in a variety of hot beverages, baked goods, and desserts. Their unique flavor and texture, combined with their health benefits, make them a popular choice for those looking to add a touch of sweetness to their favorite foods and drinks.

One of the most popular Nepali dishes that include anise seed is the traditional meat curry known as "masu ko dalcha". This curry is made with a variety of spices, including anise seed, and is often served with rice or flatbread. Anise seed is also used in Nepali desserts, particularly in the preparation of "sel roti", a popular sweet snack made with rice flour, sugar, and anise seed. The seeds are ground and added to the mixture before frying the dough in oil.

Overall, anise seed is a versatile and essential ingredient in Nepali cuisine. Its unique flavor and aroma add depth and complexity to a wide range of dishes, making it a must-have spice in any Nepali kitchen.

Decorative Item: Tibetan wooden boxes are highly valued as decorative pieces that add a touch of elegance and cultural richness to any room. Their vivid colors and intricate designs make them a focal point on shelves, mantels, or coffee tables, enhancing the aesthetic appeal of a space.
Storage: These boxes are functional storage items, perfect for keeping small treasures, jewelry, incense, prayer beads, or other personal items safe. They often come in various sizes, making them suitable for different storage needs.
Gift: A Tibetan wooden box makes a thoughtful and unique gift, especially for those who appreciate art, culture, or spiritual artifacts. It can serve as a memorable keepsake for special occasions.
Spiritual Use: In Tibetan culture, these boxes may also be used in religious settings to store sacred objects, texts, or ritual items, preserving them in a manner that respects their spiritual significance.

Overall, Tibetan wooden boxes are not just storage items but also serve as beautiful decorative pieces that can bring a touch of Tibetan culture and spirituality into any home. Their vibrant colors and intricate designs make them a unique addition to any interior decor, while their functionality and craftsmanship are a testament to the rich artistic traditions of Tibet.

Vedio of 100 Jataka Tales

Shakyamuni Buddha is seated on a lotus throne ornately decorated and supported by two lions. Behind the throne are branches of a tree perched with birds. The Buddha is wearing a gold decorated robe, holding a bowl in his left hand. He has his chief disciples Sariputta to his right and Maudgalyayana to his left. The Buddha and monks appear with white halos. At the bottom center is the panel showing the three donors. Painted blocks depicting the one hundred Jataka tales surround the central image, beginning at the top center and moving in a clockwise domino pattern around the central image.

In the Buddhist tradition, there are many variations of the tales, which have come from retelling these stories over centuries. The popular painted depictions focus on the thirty-four Jataka tales. In this unique painting, the thirty-four Jataka tales are included in the first set of thirty-four stories in the one hundred Jatakas.

The additional sixty-six stories depict slight variations of the first thirty-four life stories. The original Tibetan script with corresponding translation for each of the one hundred blocks and long narration of the first thirty-four Jataka life stories accompanies the work of art.

There are hundreds of Jataka Tales that describe the events and various previous births of Shakyamuni Buddha. In the Tibetan Buddhist Tradition, the vast majority of painted depictions focus on either the Thirty-four tales or the longer One Hundred Jataka Tales. The collection known as the Thirty-four Jatakas is included as the first series of thirty-four stories in the One-hundred Jatakas.

Over the time span of the last millennium, there have been many Tibetan edited versions of texts retelling these stories. There can also be many minor variations and sometimes the addition of extra stories, but all of the edited versions generally follow the same list of titles and are commonly known as the two collections of Thirty-four Jataka Tales and the One Hundred Jataka Tales.

Story Titles for the One-hundred Jataka Tales: (The list below is based on the story names presented with the block print set of Dingriwa's Prajnaparamita block print text).

1. The Tigress (read the story)
2. King of the Shibis (read the story)
3. A Small Portion of Gruel (read the story)
4. The Merchant (read the story)
5. The Invincible One (read the story)
6. The Hare (read the story)
7. Ajastya the Ascetic (read the story)
8. The Strength of Love (read the story)
9. Vishvantara (read the story)
10. The Sacrifice (read the story)
11. Shakra (read the story)
12. The Brahman (read the story)
13. She Who drives Men Mad (read the story)
14. Suparaga (read the story)
15. The Fish (read the story)
16. The Baby Quail (read the story)
17. The Jar (read the story)
18. The Wealthy Prince (read the story)
19. The Lotus Roots (read the story)
20. The Treasurer (read the story)
21. The Story of Kuddhabodhi (read the story)
22. The Noble Geese (read the story)
23. The Wise One (read the story)
24. The Great Ape (read the story)
25. The Fabulous Sharaba Deer (read the story)
26. The Ruru Deer (read the story)
27. The Monkey King (read the story)
28. The Teacher Of Restraint (read the story)
29. A Visitor From Brahmaloka (read the story)
30. The Elephant (read the story)
31. Sutasoma (read the story)
32. Prince of the Iron House (read the story)
33. The Buffalo (read the story)
34. The Woodpecker (read the story)
35. The Compassionate Lion
36. Great Diligence
37. Gold Colored King
38. Wild Animal Kunda
39. The Meritorious King
40. Bhikshu Kirti Prabha
41. The Master Desiring Solitude
42. King of the Illuminating Lamp
43. Rabbit Enjoying Solitude
44. King Bearing a Staff
45. Indomitable Children
46. King Sthiradatta
47. Bodhisattva Bliss Giver
48. Ascetic Pleasant Ray
49. Water Born Child
50. The Worldly Joy
51. King Brahmadatta
52. Kumara Seeking Spiritual Instruction
53. Kumari Having Wisdom
54. The Doctor Who Makes Rain Fall
55. Prince Mirror Face
56. The Sage Born in a Cattle Shed
57. Peaceful Intellect
58. Nagaraja Big Drum
59. The Water Bird (chu sreg)
60. Buddha Vishvajnana
61. The Compassionate Leader
62. Kumara with a Soul of Compassion
63. Shishu Karma
64. Indra Who Helps to Overcome from Non-virtue
65. Buddha Brahma
66. The Dancer
67. Chakravartin King Mandhatri
68. The Nagraja Enjoying the Treasure
69. The Lion King
70. Megha, Brahmin Child
71. King Prabhavati
72. Renowned Brahma
73. The Gambler
74. Peaceful and Gentle Creature
75. Elephant with Six Tusks
76. Buddha Udayin
77. The Wealthy King
78. Brahma Joy of the Moon
79. King Ambar
80. King Shrisena
81. Prince Mahasattva
82. King Moonlight
83. King of Shibi
84. King Aranemi
85. The Bodhisattva Who Endures
86. Lion King Clotted Hair
87. Knowledgeable Master
88. Kumara Sudhana
89. Blissful God
90. The Meritorious Prince
91. Rishi Suprabha
92. The Rishi Who Accomplished the End of the Age
93. Ketumati
94. Shyamaka
95. Brahma Suryamala Prahana
96. Rishi Dhundubi
97. King Nemi
98. Bhikshu Utpala Mukha
99. Bodhisattva Virbala
100. The Magnificent One
101. Buddha Uttama Svetaketu

It is incredibly light, delicate, and keeps you exceptionally warm.

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