用于泥塑像的胶泥必须是上好的塑泥，要求胶泥光滑细腻，有足够的粘度，在塑像风干的过程中不致于发生皱裂和变形。和泥前，先用筛子把土筛一遍，筛去小石子。当然为了避免笨重，塑像一般都是空心的，并且为了加固塑像的外壳，使得塑像有一种内在的粘着力，不会散架，和泥时要加进一定量的毛边纸（类似现在用的蒲毛之类——译者注），纸的用量是整个塑像外壳用料的三分之一。最后将捣碎的石渣和木质纤维同掺有毛边纸的胶泥揉合在一起。 Used for clay cement must be good plastic clay, require cement smooth and exquisite, have enough viscosity, in the process of sculpture dry not happen knit crack and deformation. Sift the earth in a sieve and sift the pebbles first. Statue, of course, in order to avoid heavy, usually is hollow, and in order to reinforce the statue's shell, makes the statue has an inherent adhesion and not apart, and to add a certain amount of mud deckle-edged PuMao (similar to use now and so on), the amount of paper is the third of the statue of the shell material. Finally, the crushed stone and wood fibers are combined with a mixture of mulled plaster. 　　大多数的泥塑都是用一个厚木板作为塑像的“脊柱”来支承重力。塑像时一般从下部开始塑起，塑像泥壳的厚度大约是1厘米，当然有时也是根据塑像尺寸的大小来决定泥壳的厚度。大的塑像使之干燥的办法是在刚塑的湿塑像腹腔里放置一盆大小能容于其中的炭火盆。按照塑像的惯例，在整个塑像尚在塑造的过程中，常常用一块湿布盖住尚未完工的塑像，一直盖到这座塑像最后完工时为止。这样做一是为了防止塑像干裂，二是为了隔天再塑时，塑像表层也是潮湿的，有利于新旧茬口的粘接。 Most of the clay is used as a "spine" to support gravity using a thick board. The statue usually starts from the lower part of the statue, which is about 1cm thick and is sometimes the size of a statue to determine the thickness of the shell. The large statues make it dry by placing a basin of carbon in the abdominal cavity of a freshly molded, wet statue. According to the statue of practice, in the whole statue is still in the process of shaping, often with a damp cloth to cover the statue of unfinished, cover until the statue the final completion. The first is to prevent the statue from cracking, and the second is to make the other day, the surface of the statue is also wet, which is conducive to the adhesion of the old and the new.