The story of bronze statues in Asia begins in what is  generally known as the Indus Valley Civilization (circa  2400 BC)  Most of the bronze, copper and brass  statues created in Asia throughout the ages have  some religious significance – the statues where either  for worshipin temples or taking on religious  processions.  With literally hundreds of thousands of temples in Asia, the demand for metal statues was very great, leading to highly developed skills in bronze, copper and brass casting.  Where sculptors use historical examples and techniques to sharpen their vision, to deepen their insight, and to solve their problems, they use tradition creatively.

The artisans use the technique of casting known as the lost-wax process, this process allows them to achieve the greatest detail in each statue or sculpture.  First an exact wax model is prepared    in beeswax, allowing the creation of intricate detail in the  statue.  Then the wax is covered in a thick   layer of wet clay  and allowed to dry.  Then the clay  is baked in a brick oven.   Small openings left in the  clay allow the melting wax to  escape – leaving  behind a detailed mould.  The original wax  statue is  lost and thus the name ‘the lost-wax process’.   Then,  red-hot molten metal is slowly poured into  the  mould.  At  least  three days are required for  cooling  before the mould can be broken and the  statue  removed.  Because every mould is broken at the time of releasing the statue from the mould, each statue created using the lost-wax process is unique. 

In the final stage the artisan carves away at the statue with hammer and special chisels, etching out the last fine details.  When completed the statue literally shines like gold, and as time goes by the statue takes on a duller  copper or brass look and green oxides begin to form  in   the  cracks and crevices.  Without waiting for time,  use, and  atmospheric conditions (oxidation) to give a    lovely surface to  sculpture, artists may use acids,    heat, and other devices to  achieve immediate effects  of  mellowness, age and subtle colour,  which are  considered to enhance the artistic beauty of the  statue.  Patina is the term used for the surface colour and quality  of metal statues