This page is a placeholder. It exists so that the structure does; the
text will follow, and will be checked by a teacher of the field before
it is called finished.
Tibetan sculpture works in three materials. Clay, mixed with paper or fibre and modelled over an armature, for the great images of the temple halls. Bronze and copper alloys, cast by the lost-wax method, for images from the size of a hand to the size of a room. Sheet metal, hammered from behind in repoussé, for the largest figures of all. All are worked to the same proportions as painting, gilded, painted at the face, and consecrated with rolled texts placed inside.
The pages here will present the materials, the workshops of Nepal and Tibet, the casting process and the finishing.