"Kanshitsu" ( Dry lacquer)
Many of the masterpieces of Buddha representing Japan were created during the Tenping period. The technique of forming a Buddhist image unique to this period is dry lacquer. It is a technique in which the outline of the statue is made by wood carving, and several layers of Azabu and lacquer are applied and molded on top of it. Hardening of lacquer requires a drying room that can maintain high humidity conditions called lacquer bath, and the production took a lot of effort and time. In addition, the dry lacquer technique ceased during the Heian period because a large amount of expensive lacquer was used next to gold, and the technique of producing Buddha statues changed to wood carving.
  The dry lacquer statues that exist today are rare in the world, and none in China and Southeast Asia. Even in Japan, there are only a few works left.　His work is a cat produced using the technique.

乾漆

日本を代表する仏像の傑作の多くは天平時代に創られました。この時代特有の仏像の造形技法が乾漆です。像の概形を木彫でつくり、その上に麻布と漆を何層も塗り重ね、成形していく技法です。漆の硬化には漆風呂と呼ばれる高湿度条件を保てる乾燥室が必要で、その制作は手間と時間が非常にかかりました。そのうえ金の次に高価だった漆を大量に使うので、乾漆技法は平安時代には途絶し、仏像の制作技法は木彫へと変化していきました。
現在実存する乾漆像は世界的に希少で、中国、東南アジアには皆無です。日本においても「聖林寺　十一面観音像」「唐招提寺　千手観音像　薬師如来像」など数点が残されているだけです。