关于本站与资料来源
This is a reference site about Chinese dry-lacquer sculpture. Every statement on it is meant to be traceable to one of the records below.
A short, cited introduction to the technique: how these sculptures are built, what survives, and how the craft is practised today. It is written for readers meeting the subject for the first time, and it keeps to what the published record supports.
一份带来源的简要介绍：造像如何构成、有哪些存世实物、这门技艺今天如何实践。只写现有出版记录支持的内容。
Sources last checked 7 October 2026.
It holds no objects and speaks for no museum, temple or workshop. The structural diagrams are schematic drawings, not photographs, and are not to scale; follow each museum record to see the work itself.
本站不收藏作品，也不代表任何博物馆、寺院或工坊。结构图为示意图，非作品照片，亦非实际比例；作品请见各馆藏记录。
English-language scholarship calls the technique dry lacquer. The Chinese term isjiazhu (夹纻) and the Japanese term is kanshitsu (乾漆). These are not exact equivalents, and the Chinese name has changed meaning over time, so this site uses the English term for the technique and names the others where they belong.
英文学术写作称这一技法为 dry lacquer，中文作“夹纻”，日文作“乾漆”。三者并非精确对应，中文名称在历史上含义亦有变化。
The technical study of four early Chinese sculptures identified hemp. The official Tiantai record specifies ramie. These are different fibres, and this site reports each where its own source applies rather than merging them.
早期四件中国造像的技术研究识别出大麻纤维，天台官方档案记载苎麻。两者是不同纤维，本站按各自来源分别表述，不作合并。
Dry lacquer also covers sculpture that keeps a wooden core, so the term should not be read as meaning hollow construction in every case.
馆藏记录
沃尔特斯艺术博物馆藏佛像，馆藏编号 25.9。
大都会艺术博物馆藏佛像，馆藏编号 19.186。
克利夫兰艺术博物馆藏菩萨像，馆藏编号 1983.86。
沃尔特斯艺术博物馆藏观音像，馆藏编号 25.256。
历史与技术研究
National Museum of Asian Art, Smithsonian Institution. An online research essay, not a journal article. X-radiography, computed tomography and chemical analysis of four sixth- to eighth-century sculptures; distinguishes wooden-core from hollow construction and identifies lacquer layers, hemp fibres and bone filler. The source of most technical statements on this site.
史密森国家亚洲艺术博物馆在线研究文章。本站技术性陈述主要依据这一篇。
National Museum of Asian Art, Smithsonian Institution. Places the technique in its Buddhist and regional context across East Asia.
史密森国家亚洲艺术博物馆在线研究文章，提供东亚佛教与区域背景。
Archetype and Smithsonian, 2023. ISBN 9781909492943. Publication details and contents confirmed; the individual chapters have not been read in full, so this site does not draw statements from them.
2023 年论文集。已核实出版信息与目录，各章未逐篇精读，故本站未据其行文。
Compares excavated objects, inscriptions and tomb inventories, and argues that the historical term jiazhu cannot be treated as equivalent to the modern term tuotai. The main source for the terminology note below.
对照出土器物、铭文与遣策，论证“夹纻”的历史含义不能等同现代“脱胎”。下文术语说明据此。
Sets out a method for reading classical texts against material analysis. Its subject is Chinese lacquer technology generally, not dry-lacquer sculpture specifically.
提出古代文献与材料检测相互验证的方法；范围是中国漆工艺，非夹纻专论。
An early published observation of a wooden armature, clay-core traces and hollow construction. Useful for the history of scholarship; its dating should be read alongside later research.
早期观察记录，适合作学术史参考；年代判断须结合后续研究。
An outline of how lacquer bodies developed, including Han-period names and later innovations. Read its terminology alongside the Palace Museum Journal article above.
梳理胎骨发展与称谓变化；术语解释宜与上条对读。
当代传承
China Intangible Cultural Heritage Network, the official record for the craft listed in 2006. The source for the figure of 48 stages and for the specification of ramie.
中国非物质文化遗产网官方项目档案。本站“48 道工艺流程”与“苎麻”均据此。
China Intangible Cultural Heritage Network. The source for his year of birth, his apprenticeship under the monk-artisan Shi Guanghong at Huading Temple, and his recorded work on documentation and training.
中国非物质文化遗产网代表性传承人档案。本站关于其生年、师承与教学实践的陈述均据此。
An institutional report describing the unveiling of Hehe Erxian and its jiazhu construction, vermilion, turquoise green and gold leaf.
清华美院机构报道，记述《和合二仙》的展出及其材料与装饰。
Early lacquer vessels with cloth bodies do not by themselves date the beginning of dry-lacquer Buddhist images. The fourth-century images associated with Dai Kui are known only through later texts and do not survive. Material analysis of early objects describes those objects, and does not establish the recipe or durability of any present-day workshop.
早期织物胎漆器不能直接当作干漆佛像的起源年代；戴逵的四世纪造像仅见于后世文献，作品不存；古物的材料检测只说明该批作品，不能证明今日任何工坊的配方或耐久性。