脫胎夾紵漆器十八羅漢像
脫胎夾紵漆器的作法
夾紵漆像又稱為「脫胎夾紵」，是傳統漆工藝中構成方式之一，大多用來塑造雕像，可以說是最早的翻模技術，「夾紵」，是以麻布與漆層層相疊，利用布的張力結構與漆的黏性，待所塑的器形乾固，凝結為堅固的形象後，再加工塑造，由此可知夾紵製作必先有胎。
脫胎夾紵是先將完整的造形以泥塑作成，再以紵麻（夏布）及生漆調瓦灰層層交錯。由於生漆加細瓦灰具有水泥般的堅固強度，加上紵麻的張力，猶如建造房子，紵麻就是鋼筋，生漆瓦灰即水泥。當紵麻與生漆縱橫交錯五至六層後，待其乾固，便將泥形土胎挖出，而成為內部中空的生漆造像基形，表面再以生漆調色、打磨裝飾。
「脫胎夾紵」與「木胎夾紵」最大的不同，是脫胎夾紵必須經過脫模的工序。
中台十八羅漢以傳統夾紵脫胎技法為主，並加上石膏翻製外模的技術。
描金彩繪完成的十八羅漢聖像，供奉於中台禪寺四天王殿內。
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.