Four museum records offer a starting point. Each object has its own date, construction and conservation history.
The diagrams below explain structure; they are not images of the objects. Follow each museum record to view the work. 下方为结构示意，作品照片请见馆藏链接。
25.9
Retained wooden core Structural diagram · 结构示意
Buddha
佛像
Date
c. 590
Collection
Walters Art Museum
Material
Lacquer, wood and paint
Accession number
25.9
An assembled wooden core supports this early Chinese figure. Technical study helps explain the construction beneath the lacquer surface.
这件早期佛像保留组合木胎，可结合技术研究理解内部结构。
Object details / 作品说明
The museum describes a core assembled from twelve pieces of wood. This work is a useful counterpart to hollow examples, rather than a model for all dry-lacquer sculpture.
This figure connects an early Tang museum record with scientific examination of its textile and lacquer construction.
这件唐代早期佛像既有馆藏记录，也有针对漆布结构的科学研究。
Object details / 作品说明
The identification as Amitabha is probable, not certain. Material analysis of this and three other early Chinese sculptures identified hemp fibres; that finding should not be rewritten as ramie.
Conservation work reveals how later surface treatments can change the appearance of a surviving sculpture.
修复研究说明后来的表面处理如何改变我们今天所见的作品。
Object details / 作品说明
The museum’s conservation account describes the removal of overpainting and the recovery of earlier surface decoration. This object is distinct from the privately owned bodhisattva head discussed in the Smithsonian technical study.
A seated Guanyin provides a later example of a hollow cloth-and-lacquer body, with a pose described as tranquil ease.
自在坐姿的观音像，提供较晚时期中空漆布胎的实例。
Object details / 作品说明
The present museum record dates this figure to the late fourteenth to fifteenth century. Its identity and date should be followed separately from older secondary descriptions.