Dry lacquer

Japanese: 乾漆 - かんしつ

A technique for making Buddhist statues. There are two types: dry lacquer and wood core dry lacquer. In the former, the general shape of the statue is made from clay, and then several layers of linen cloth are covered with lacquer. After drying, the clay is removed and a reinforcing wooden frame is installed. Wood chip lacquer is used for the detailed shaping, and wire is inserted into thin parts such as the fingers. This technique was first used in the Western Regions and China, and was introduced to Japan and flourished during the Nara period. Representative examples include the statues of the Eight Guardian Deities and Ten Great Disciples at Kofuku-ji Temple, the Fukukensaku Kannon statue at Todai-ji Temple, and the statue of Ganjin at Toshodai-ji Temple. In the latter, the general shape of the statue is made from wood, and wood chip lacquer is piled up on top of this. It came into use later than dry lacquer during the Nara period. The Eleven-Headed Kannon statue at Shorin-ji Temple was made using this technique.

Source : Heibonsha Encyclopedia About MyPedia Information

Japanese:

仏像製作の技法。脱活乾漆と木心乾漆の２種がある。前者は土で大体の像形を造り，その上に漆で麻布を幾重にも張り重ねて，乾燥した後に中の土を抜き取り，補強の木わくを組み入れる。細部の造型には木屑漆(こくそうるし)を用い，手指など細い部分には針金を心に入れる。西域・中国で行われ，日本に伝わって奈良時代に盛んに行われた。興福寺八部衆・十大弟子像，東大寺不空羂索(ふくうけんさく)観音像，唐招提寺鑑真和上像などが代表例。後者は像の大体の形を木で造り，これに木屑漆を盛り上げて造る。奈良時代に脱活乾漆よりは遅れて用いられるようになった。聖林寺十一面観音像はこの技法によるもの。

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