王冠楠

【Abstract】：Chinese?traditional?lacquer?art?has?experienced?thousands?of?years?of?cultural?accumulation， and?the?quiet?and?restrained?aesthetics?are?consistent?with?the?ethereal?silence?of?Buddha.

【Key;words】：Buddha;Chinese;lacquer;Qingzhou

I.?History?of?Lacquer

China?is?the?first?country?in?the?world?to?use?natural?lacquer?to?make?lacquer?crafts，?the?first?country?to?take?practicability?as?purpose，?which?is?reflected?in?life?appliances. After?Han?Dynasty， the?lacquer?products?gradually?disappeared?from?the?folk?goods， while?the?dry?lacquer?was?developed. During?Wei-Jin?and?Northern?Southern?dynasties?and?the?number?of?lacquer?statues?began?to?increase. After?Song?and?Yuan?dynasties， the?title?of “dry?lacquer” was?rarely?used， and?the?title?of “bodiless” appeared?in?the?middle?of?the?Qing?Dynasty. In?recent?years， the?bodiless?lacquer?has?been?mostly?presented?to?the?world?in?the?form?of?gifts?and?works?of?art.

II.?Qingzhou?Round-carved?Single?Buddha?Style

During?the?Han?Dynasty，?Buddhism?was?introduced?to?China?from?India， and?a?Buddha?art?group?centered?on?Qingzhou?was?formed?in?the?eastern?part?of?China. The?single?round-carved?Buddha?is?one?of?the?two?sculpture?forms?of?Qingzhou?Buddha. The?single?Buddha?costumes?are?diversified?and?deeply?influenced?by?foreign?cultures. There?are?kasayas?with?shoulder?style， double-necked?style?and?partial?right-shoulder?style， which?have?distinctive?regional?characteristics. Different?conch?pearl?shapes， milk?nail?shapes， cone?shapes， etc. were?matched?with?low?round?meat?topknot. The?face?of?the?Buddha's?face?has?a?multi-faceted?dome?with?a?rounded?front， a?low?cheekbones?and?a?slight?squint.

III.?Basic?Process?of?Lacquers?Three-dimensional?Modeling

（1）Preparation?of?tool?and?material：

The?lacquer?as?the?painting，?its?color?has?connotation?and?mystery， with?strong?oriental?aesthetic?characteristics， the?shape?can?not?be?separated?from?the?fetal?bone， such?as?jade， wooden?tires， pottery， etc.， painted?on?it， processed?into?a?paint?product. The?lacquer?art?is?decorative， and?the?materials?used?are?not?only?Chinese?lacquers， but?also?gold?and?silver， shells， chicken?and?duck?eggshells， etc.

（2）Dynamic?analysis

When?the?gesture?of?the?Buddha?statue?is?determined， it?will?be?carefully?analyzed. Generally， the?statue?can?be?divided?into?two?parts： immobile?and?movable. The?non-moving?parts?are?three?bulks?and?limbs?of?the?Buddha?statue， and?the?movable?part?are?the?neck， the?waist?and?the?joints.

（3）Build?a?skeleton

The?material?for?building?the?skeleton?can?be?made?of?wood， with?aluminum?wire， nails?and?straw?ropes. It?can?also?be?welded?with?angle?iron， steel?bars?and?steel?net. Human?body?dynamics， center?of?gravity， proportion， and?structural?points?must?be?accurately?reflected.

（4）Add?mud

Start?from?the?chest?or?pelvis?of?the?torso， while?shaping?the?torso， add?the?mud?to?the?legs?and?the?head， and?finally?add?to?the?arms?and?the?base.

（5）Deep?engraving

After?the?production?of?the?previous?stage?is?completed， ?he?following?is?an?in-depth?characterization?stage. In-depth?is?to?fully?express?the?object?with?a?real?body?language. How?to?go?deeper？?It?can?be?understood?from?two?aspects. One?is?to?take?the?method?of "addition?and?subtraction"， and?the?other?is?to "add?and?subtract".

（6）Gypsum?molding

First?of?all， use?the?insert?to?divide?the?Buddha?statue?into?six?parts， the?body?has?two?parts， and?the?hands?have?four?parts. Second， apply?a?layer?of?parting?agent?to?the?Buddha's?mud. Third， the?gypsum?is?prepared. After?the?first?time，?the?gypsum?is?slightly?solidified， and?it?is?followed?by?the?gypsum?of?the?second?time. The?gypsum?of?the?second?time?should?be?properly?thickened?and?smeared?to?be?dense?and?uniform. Then?add?hemp?to?make?it?a?whole. Finally， it?is?reinforced?with?wood?to?make?the?mold?less?susceptible?to?damage?and?deformation. After?it?is?completely?solidified， the?mold?is?divided， and?then?the?mud?is?poured?out， and?the?gypsum?mold?is?completed.

（7）After?the?original?shape?is?prepared， apply?soapy?water.

Apply?soapy?water?to?the?inner?gypsum?exterior?of?the?Buddha?statue. The?second?application?of?soapy?water?should?be?applied?on?the?basis?of?totally?dry?condition?of?the?first?application?of?the?soapy?water.

（8）Paint?mud?once. （raw?lacquer?+ clay）

（9）Painting?ash?of?three?times （fine?ash， medium?ash， coarse?ash） blend?the?raw?lacquer?and?grey-tile?ash?into?paste， and?use?the?rubber?slab?to?scrape?the?inner?gypsum?exterior.

（10） Mount?the?ramie?of?about?four?layers. The?thickness?of?the?mounting?is?determined?according?to?the?size?and?needs?of?the?styling.

（11） After?each?mounting， shave?the?paint?once?mud?and?fill?in?the?ramie?mesh.

（12） Painting?ash?three?times （coarse?ash， medium?ash， fine?ash）

（13） Paint?mud?twice. （14） Fix?raw?lacquer. （15） Polishing?and?shaping. （16） Bodiless?type. （17） Painting.（18） Painted?and?decorated.

IV.Summary?of?Chapter

The?lacquer?art?is?closely?connected?with?the?Buddha?statue，?and?it?is?the?core?of?the?oriental?art. Through?continuous?experiments， the?effect?of?mutual?fusion?of?the?combination?of?lacquer?and?Buddha?statues?can?be?reached?and?achieved. The?combination?of?Chinese?lacquer?craft?and?Buddha?statues?is?not?only?the?demand?for?advancement?of?two?art?forms. The?development?of?lacquer?Buddha?statues?is?an?excellent?expression?of?art?diversity?in?the?modern?era. It?is?a?brave?attempt?and?innovation?on?art?and?the?impetus?of?the?artists' creative?development?and?sublimation.

Reference：

[1]WANG?Weihua?Study?on?Buddha?Statue?Molding?in?Longxing?Temple， Qingzhou?Fine?Arts.?P104～109

[2]YU?Bing?Deep?Exploration?and?Development?of?Study?on?Buddha?Statues?in?Longxing?Temple， Qingzhou， Shandong]Roots?Seeking?P107～111