For hundreds of years, Buddhists throughout the world have sculpted images of the Buddha. These icons both calm the minds of those who see them and display reverence for this great religious leader. Thai people have created statues in this manner since at least the period of the Dhavarati Kingdom (about 750-850 CE) up until the present day. While the forms have been numerous, no single style has been universal, with each statue having a flavor of its own.

The process of construction depends on the statue’s size. Any sculpture larger than 20 inches across in the lap requires special techniques. The majority of these larger statues eventually become the principal Buddha images in a temple or monastery. The stages of construction are complex and varied, requiring craftsmen from numerous disciplines, including foundry workers, those that melt and pour the molten metal, polishers, and artists who work in black lacquer and gilt.

The traditional manner of forging a Buddhist statue follows these basic stages:

Creating the Rough Model
The workers begin by assembling the rough model of the statue from a mixture of hardened earth or clay mixed together with sand. They then cut a V-shaped trough through the whole body and through the arms so as to form a path for the metal as it melts. When they pour the blazing hot metal into the channel, it will push out the beeswax from the mould.

After this, the craftsmen daub a gooey liquid on the clay surface, smoothing out the lumps and preparing the mould for the beeswax. They then apply the wax, carving out the final details of the Buddha. When the metal is later poured within the mold, it will replace these carved details creating a beautiful cast image.
Creating the mould
This stage begins with applying to the surface of the beeswax a liquid mixture composed of cow dung and dried clay, ground and sifted into a fine powder. They stir to combine the two and then smear the mixture onto the wax surface. Once the statue has been covered, they pierce the mud and beeswax with metal wires, pushing all the way through until the sharp tips firmly connect with the clay model underneath. This ensures that the outer mould is attached to the rough model, so that the two parts do not shift as the beeswax melts off. Across the goo the workers lay down cloth wicks for the molten wax to run down when it melts.

The craftsmen, ready to create the outer mould, knead a new mixture from white clay, finely crushed sand, and water until it is uniform in consistency. They apply it to the beeswax and so form the first layer of the outer mould. Once dry, another mixture is applied, this time aged soil mixed with clay and sand and then blended with water. This layer, thicker than the prior one, constitutes the second shell of the mould. They then lay down wires, fastening them tightly into a grid so that they surround the mould, protecting it from exploding under the pressure and heat.
Once the wires have been bound tight, a final sheath is formed with aged soil creating the third and final layer of the mould. The workers then leave this massive bundle of clay, beeswax and wire exposed to the air for 4 to 7 days until dry. Once dry, they create a lip or pipe for pouring the bronze down into the mould and drill a vent at the brim of the mould to release air.
Once finished, an offering is made to the local spirits. A spokesman for the temple accepts the gold pieces and gold square sheets, then lays them in the crucible to be melted. The “compensation,” for the statue, collected in the monk’s bowls as a meritorious offering for the temple, includes flowers, incense and candles. When the ceremony finally comes to an end, the lay people bring these gifts forth, wai the statue (the traditional Thai custom of pressing one’s palms together and bowing), and lay the gifts at the crucible. As for the holy thread which has encircled the head Buddha during the ceremony, each person is given a piece to carry home on their person to keep for good luck.