脱胎夹纻漆器十八罗汉像
脱胎夹纻漆器的作法
夹纻漆像又称为「脱胎夹纻」，是传统漆工艺中构成方式之一，大多用来塑造雕像，可以说是最早的翻模技术，「夹纻」，是以麻布与漆层层相叠，利用布的张力结构与漆的粘性，待所塑的器形干固，凝结为坚固的形象后，再加工塑造，由此可知夹纻制作必先有胎。
脱胎夹纻是先将完整的造形以泥塑作成，再以纻麻（夏布）及生漆调瓦灰层层交错。由于生漆加细瓦灰具有水泥般的坚固强度，加上纻麻的张力，犹如建造房子，纻麻就是钢筋，生漆瓦灰即水泥。当纻麻与生漆纵横交错五至六层后，待其干固，便将泥形土胎挖出，而成为内部中空的生漆造像基形，表面再以生漆调色、打磨装饰。
「脱胎夹纻」与「木胎夹纻」最大的不同，是脱胎夹纻必须经过脱模的工序。
中台十八罗汉以传统夹纻脱胎技法为主，并加上石膏翻制外模的技术。
描金彩绘完成的十八罗汉圣像，供奉于中台禅寺四天王殿内。
Hollow-Dry Lacquer Statues of the Eighteen Arhats
The process of making hollow dry lacquer statues
Ramee-lacquer statues and hollow-dry lacquer statues are two forms of traditional lacquer craftsmanship, mainly used for sculptures. They are considered among the oldest molding techniques.
Ramee-lacquer refers to the layering of linen cloth and lacquer, which is achieved by utilizing the tension of linen cloth and the adhesive properties of lacquer. Once the molded shape is dry and solidified, it forms a sturdy base, which is then further processed and sculpted. Therefore, the production of ramee-lacquer sculptures must start with molding.
The process of creating hollow-dry lacquer sculptures begins by making a complete shape with clay, then layering linen and raw lacquer mixed with tile ash. Similar to constructing a house using steel bars and cement, the linen acts as reinforcement, while the lacquer and tile-ash mixture acts as cement. After the base is five to six layers thick and the lacquer has dried, the clay mold is removed, leaving behind the hollow interior of the sculpture. The surface is then colored, polished, and decorated with more lacquer.
The biggest difference between ramee-lacquer and hollow dry lacquer is that ramee-lacquer must undergo a demolding process.