|KEY WORD :@art history / sculptures|
kanshitsuzou £½, kanshitsu-zukuri £½’. Dry lacquer technique.
A technique used to produce Buddhist images brought from China in the late
7c and in Japan throughout the Nara period. In documents from the Nara period
kanshitsu was refered to as *soku
¦, or the Chinese term *kyoucho
ργI. There were two types of dry lacquer technique. One was the hollow dry
lacquer method *dakkatsu
kanshitsu E£½, and the other was the wood-core dry lacquer method
ΨS£½. The hollow dry lacquer technique was the first to be used in Japan,
and was popular during the Hakuhou and Nara periods. A rough core was first
modelled in clay and then layers of hemp cloth soaked in lacquer were applied
over the surface, each layer being left to dry before the next layer was
added. The clay core was then removed, forming a lightweight hollow statue.
A wooden framework was often fitted inside the statue to prevent it warping.
Surface details were modelled with a thick paste known as *kokuso-urushi
Ψ½: a mixture of lacquer, flour, and wood-powder. In wood-core dry lacquer
statues the basic shape of the statue was first carved in wood, and then
lacquer was applied over the wood. Layers of hemp cloth were used as for
the hollow dry lacquer statue, and surface details were added using kokuso-urushi.
The lacquer layer tended to be between 1-3cm thick; as the technique developed
during the Nara period, the wooden core was carved to an increasing degree
of precision and the lacquer layer was made gradually thinner.
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