Notes on Techniques
工藝概述
Statue
造像
Metal has been the preferred material of Himalayan sculptors for centuries. The two primary techniques are lost wax casting and repoussé.
數百年來，喜馬拉雅山脈一帶工匠多以金屬造像，其中以失蠟法鑄造和錘揲法鍛造為主。
Lost Wax Casting
失蠟鑄造
Most of the smaller statues are cast using the lost wax technique. The figure is initially sculpted in wax and then carefully covered with layers of clay. Molten metal is poured in through channels to the interior of the mould, which takes the place of the wax that melts and flows out through vent holes. The different elements of a statue—the stand, pedestal, figures, arms and heads—are usually made separately and fastened together with metal clasps, dovetails or rivets.
體積較小的造像多以失蠟法鑄造。先雕出蠟模，再覆以數層泥土。熔煉金屬後，將液態金屬倒進模具內，融化蠟模並取而代之，蠟液則經孔道流出。造像的各部分，如支架、底座、身軀、四肢、頭部等，多為個別鑄造，再以金屬扣、榫或鉚釘接駁。
Chasing
鏨刻
Works that are cast or created through repoussé are finished with a chisel, including the ornamental details of the clothing and plinths, as well as any facial expressions.
鑄造及鍛造造像最後皆經鏨刻加工，工匠以鏨刀刻劃造像衣著和底座的紋飾，以及面部輪廓。
Inlay
鑲嵌
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
工匠先以鏨刀在金屬表面鑿出洞痕，金屬或寶石經仔細切割，再以錘打的方式嵌入洞內。西藏工匠喜用綠松石及紅寶石。
Gilding
鎏金
Many statues are gilded. An early method of gilding consisted of using a brush to apply gold mixed with resin or honey. Gilding with mercury, or fire-gilding, was later introduced to Nepal and Tibet around the 10th century. This is also known as amalgamated gilding, which involves mixing gold into a mercury solution and then placing the gold onto metal surfaces after the mercury evaporates. In Tibet and Mongolia, some metallic statues are completely painted, though generally just the face and hair are highlighted with paint.
大部分造像皆有鎏金。早期鎏金技術是將黃金混入樹脂或蜜糖，再塗於像上。約於10世紀，汞（水銀）鍍金技術傳入尼泊爾及西藏，原理是將黃金和水銀混合，溶液塗於造像之上，待水銀揮發後，黃金即附於金屬表面。西藏和蒙古的金屬造像會於面部和頭髮鎏金，部分則通體鎏金。
Thangkas
唐卡
Thangkas are religious images painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution. Before and during the painting process, the artist will sometimes chant specific mantras, as well as the painting instructions.
唐卡為宗教圖像，其顏料具水溶性，源自植物和礦物（包括黃金），混和黏合物料後，繪於布帛上。製作唐卡之前及期間，畫師會念誦咒語和師承的繪畫要訣。
Consecration
開光
After completion of the statue or thangka, it is consecrated with a ritual blessing by a person of high spiritual quality who invites the deity to inhabit the completed work. In some statues, sacred objects are installed within and then the base is sealed. The covering metal sheets are usually chased with an icon of crossed-vajras, symbolising the immovable state of Buddha’s enlightenment, and to fend off evil forces. For thangkas, sometimes a blessing will also include the writing of special mantras, or a high lama’s handprints on the back.
造像和唐卡完成後，會經高僧開光加持，祈請神祇降臨安住。部分造像經裝藏，即將聖物置於其中並封底，封板多刻有十字金剛杵，象徵佛陀修行圓滿，不可撼動，免受諸邪侵擾。而唐卡儀式有時還包括在背面寫下咒文或印上高僧的手印。