The bodiless statue, also known as the ramie statue or dry lacquer statue, bodiless lacquerware statue, etc., is a unique statue-making method in my country that emerged with the development of Buddhism. It is the development of the ancient Chinese lacquerware production process. It began in the Han and Wei dynasties, matured in the Jin Dynasty, and prevailed in the Tang Dynasty. The main material of bodiless lacquerware statues is "raw lacquer", that is, natural lacquer. It is the sap collected from the lacquer tree. The lacquer tree is a plant native to China. It is a perennial deciduous tree with rich liquid fat under the skin. Using it as a coating has special functions such as moisture resistance, high temperature resistance, and corrosion resistance. It can also be formulated into different colored lacquers, which are dazzling. Chinese lacquerware has a history of more than 2,000 years. Bodiless lacquerware is made of cloth and lacquer to form an embryo, and then painted on the surface. A bodiless lacquerware craftwork has as many as forty or fifty processes. Its characteristics are light weight and very strong, not afraid of strong acid or alkali erosion, moisture-proof, moth-proof, anti-corrosion, anti-cracking, durable and widely promoted. Lacquerware, bronzeware and porcelain are the three treasures of ancient Chinese traditional crafts. The art of raw lacquer sculpture has a history of thousands of years. The artistic attainments of the inheritors represented by Lin Shengbiao are highly respected by the industry. He founded Xingsheng Crafts Trading Co., Ltd. to continuously carry forward this traditional craft in the form of productive protection. The production process of raw lacquer sculpture is very complicated. After careful research by Mr. Lin Shengbiao of Xingsheng Craft Factory and the inheritance of ancestral skills, he finally came up with a series of advanced production concepts and processes. Raw lacquer sculpture is divided into two steps: making clay sculptures (models made for raw lacquer sculpture) preparing clay materials: taking soil from the ground and removing impurities. Use a wooden mallet or a wooden stick to manually pound and refine. Too wet soil should be placed in a ventilated place first to let the soil dry to reach the appropriate humidity. Too dry soil should be smashed and soaked in water, and then pounded and refined. Finally, the soil should be made moderately soft and hard and not sticky. Build a skeleton: Clay statues can be large or small, and large statues need to build a skeleton. The skeleton must be firm to ensure the stability of the clay sculpture, so that it will not tilt or collapse after the clay is applied. After the clay is piled, it should not fall off and the frame should not be exposed. The skeleton should be simple and easy to change. Stacking large: After the clay and skeleton are prepared, you can start the large-scale sculpture. First spray water on the skeleton so that the mud blocks and the skeleton are more firmly combined and not easy to fall off. When applying the clay, pile the mud blocks on the skeleton one by one, press them tightly with your hands, and add mud layer by layer after patting them. Use a mallet and a clay board to pound the mud to make it firm and firm. When you are doing the large-scale sculpture, you should start from the big picture and avoid shaping the local details. Shaping: Sculptures are three-dimensional. When the large-scale sculpture is piled up, you can start the detailed depiction. Every time you add or reduce a part, you should consider the overall perspective, and you should often move the sculpture table and observe and compare continuously. Image protection: When the clay sculpture is completely shaped, take corresponding protective measures. Spray a little water on the clay sculpture and cover it with a transparent wet cloth. The purpose of doing this is to make it have enough water but not too much to cause the mud to fall off, and it can effectively protect the clay sculpture from cracking due to dry weather. Raw lacquer removal (carried out on the basis of the clay sculpture being completed and dried) 1. Prepare lacquer: Take the raw lacquer from the trunk of a century-old lacquer tree, place it in a bucket-shaped container, and mix it manually with a mallet or a wooden stick. The best way to mix raw lacquer is to make it liquid, like water, crystal clear but not sticky. After the raw lacquer is mixed, you can start painting. 2. Paint and mount: Before painting, you need to wear a gas mask and a relatively heavy canvas work clothes to avoid the consequences of inhaling odor into the nasal cavity and causing poisoning and raw lacquer "biting" the skin. Take brushes of different sizes, dip a little prepared raw lacquer on the brush, and apply it repeatedly and evenly on the clay sculpture, and apply it layer by layer to ensure its stickiness. The first layer of paint is called primer. After the primer is applied, the cut summer cloth, silk cloth and other materials are pasted. Each layer needs to be coated with raw lacquer once or even three times. Make it completely bonded to the clay sculpture, and then mount it layer by layer. When the thickness reaches 3-5 cm, you can stop mounting. At this time, you need to apply two coats of lacquer ash, which can play a protective role. 3. Digging out the mud: Take out the Buddha statue that has been mounted and dried in a cool place and place it in a water tank. Because the clay sculpture inside has also dried after drying, and the process of removing the body, as the name suggests, is to remove the inner tube and keep the raw lacquer mounting on the outside. After soaking in the water tank for an hour and a half, you will find that the clay sculpture in the inner tube feels moist, and then you can start the process of digging out the mud. To dig out the mud, you need to prepare a wooden mallet, a wooden stick and some sharp spoon-shaped objects to effectively dig out the mud. Digging out the mud is a delicate job. Do not be reckless and forceful. Dig out patiently little by little. Only in this way can the raw lacquer mold on the surface be effectively protected and the mold be prevented from being punctured due to excessive force. 4. Polishing: When the inside of the clay sculpture is cleaned and the surface of the mold is dried, you can start polishing. Polishing is an extremely important part of the traditional technique of raw lacquer casting. The quality of the finished product is directly determined by the polishing of the Buddha statue. Sandpaper, resin soft pat, lacquer ash are required for polishing. Large Buddha statues can be polished with a hand-held grinder under appropriate circumstances. The main function of sandpaper is to grind off the surface edges and some rougher parts. The force should not be too heavy when polishing to avoid damaging the surface of the mold. When small holes are found, lacquer ash can be used to fill them and resin soft pats can be used for more delicate ash filling. When the Buddha statue is polished smooth, that is, it is smooth and delicate when polished by hand, it can be painted again. At this time, the paint should be applied evenly so that the surface of the Buddha statue has a certain degree of adhesion. It can stick to some patterns, decorations and other items printed by molds. 5. Gilding coloring: After the Buddha statue is polished and evenly painted and the patterns and decorations are pasted, the last process can be started. Gilding coloring uses a wide variety of tools, the most common of which are brushes and brushes. The surface of the Buddha statue made of raw lacquer has a strong adsorption capacity, which can absorb the pigment to a large extent, and it is difficult to fade even after being washed by rain. Therefore, in coloring, the pigment should not be too thin. If the pigment is too thin, it will not feel heavy, and it should not be too viscous, otherwise it will be too rough and gorgeous. Before coloring, a layer of base color should be applied, and the base color is generally rice flower color, which is the well-known thickening. Thickening needs to be done with a resin soft pat, and it should be ground over and over again until it is smooth and uniform. After completion, you can start coloring. Coloring needs to start from the overall situation and be in place step by step. Because the coloring pigment cannot be covered by other pigments on a large area, there should not be a trace of negligence, otherwise it will lose the big picture. After coloring, it is gilding. The current gilding process is basically to paste gold paper. In order to achieve bright colors and thickness, but not to give people a sense of vulgarity due to the dazzling gold light. Therefore, the traditional gilding process inherited from ancestors is still used. The common gold paper is crushed and the gold water is prepared with several chemical drugs to maximize the color sense during gilding, and it will not make the Buddha statue too vulgar. 6. Image protection: The finished Buddha statue needs to be wrapped from head to toe with transparent plastic film. This measure can not only prevent dust, but also be viewed by people, which is light and practical. The placement of the Buddha statue is also particular. It cannot be placed directly on the ground to prevent the water on the ground from corroding the pigment. It needs to be placed at a certain height and supported by a table or wooden frame. Only after such complicated and trivial processes can a Buddha statue completed by the raw lacquer casting technique be made. The Buddha statue created by this technique is even known as one of the "three treasures of Chinese handicrafts". In inheriting and carrying forward the traditional Chinese lacquerware statues, Mr. Lin Shengbiao, with a brand-new mind, original first-class techniques and extraordinary imagination, has promoted the artistic charm of ancient traditions, preached the true meaning of religious principles, and brought people the influence of truth, goodness, beauty and art. Its characteristics: First, the craftsmanship is exquisite, the statues have delicate features, and the folds of clothes are distinct. Second, the statues are natural in shape, appropriate in proportion, harmonious in movement, and smooth in lines. Third, it is a perfect combination of traditional statue techniques and lacquerware craftsmanship. This is rarely done in the sculpture world. Fourth, it is bold and innovative, and works hard on design and production technology to sculpt super-large lacquerware statues. The lacquerware statue craftsmanship of Xingsheng Craft Factory is a cultural form and cultural space created by our ancestors and inherited by history. It has distinct historical, folk religious, artistic and extensive characteristics. It is unique in the field of traditional statues and has formed a regional economic industry with distinctive characteristics.