头部的画法
Drawing of the head
依照「三十二相」和「八十种好」的要求，佛像顶骨坚实圆满，面门不长不短，不大不少，如量端严。额广平正，面如满月，颜貌舒泰，面貌光泽无有颦蹙。颜容常少不老。
According to the requirements of "32 Phases" and "80 Kinds of Good", the Buddha statue has a solid and complete parietal bone, no short face, not much, such as strict measurement. The forehead is broad and plain, with a full moon and a comfortable and smooth face. A young face is never old.
正面头像
Positive head portrait
常见的佛陀在禅定、说法时多为凝然不动的正面形象，目光下视，容貌和姿仪皆祥和、宁静、庄严。
The common Buddha in meditation and speaking is mostly a positive image of staring at nothing, looking down, with peaceful, tranquil and solemn appearance and posture.
四分三面
Four points and three faces
在许多经变图中，特别是《西方净土变》中，用恢宏的场景渲染一派歌舞升平的景象，此中不免需要各种角度的佛像，四分三面在其中是最常见的角度之一。画侧面形象应注意**关系，线条的转折及弧度，不能忘记要表现出佛陀庄严慈悲之容貌。发髻的画法
In many pictures of Sutras and Variations, especially in the Western Pure Land Change, the magnificent scenes are used to render the scene of a school of singing and dancing, in which Buddha statues from various angles are inevitably needed. One of the most common angles is the four-quarters and three-sides. In drawing profile images, attention should be paid to the relationship, the turning of lines and the curvature. We should not forget to show the dignity and compassion of the Buddha. The drawing method of bun
螺发
Snail hair
佛发修长绀青，密而不白。发齐不交杂，光滑殊妙，尘垢不著。早期佛像头部多为束发式高肉髻，螺发有分绺式、水波式、螺纹式等几种类型。画螺发时应注意线条的疏密、穿插，因它直接关系到佛的头形，切忌平而呆板。
The Buddha's hair is long and cyanotic, dense but not white. Hair is not mixed, smooth and wonderful, no dirt. In the early period, the head of Buddha statues was mostly bun-haired high-meat bun, and the screw hair was divided into several types, such as braid, water wave, thread and so on. When drawing snail hair, we should pay attention to the density and intersection of lines, because it is directly related to the head shape of Buddha, and avoid flat and rigid.
肉髻
Meat bun
肉髻，梵名为乌瑟腻沙，也称作肉髻相、髻、顶髻、佛顶，故称肉髻，乃尊贵之相，是佛三十二相之一。宋代以后头顶肉髻趋于平缓，螺发与肉髻之间的髻珠更加明显。
Meat bun, named as Uther's greasy sand, is also known as meat bun, bun, top bun, Buddha top. Therefore, it is called meat bun, which is one of the 32 phases of Buddha. After the Song Dynasty, the meat bun on the head tended to be gentle, and the beads between the snail hair and the meat bun became more obvious.
发髻的画法
The drawing method of bun
正面眉眼
Positive eyebrow
佛陀眉眼，应注意双眉长而细软，呈绀琉璃色（墨中透红为之绀）。眉高显形如初月，眼相修广，眼净青白分明，眼睫齐整稠密。
Buddha's eyebrows should be long, thin and soft, with glazed color (red in ink). The eyebrows appear as the first month, with wide eyes, clear blue and white eyes, neat and dense eyelashes.
侧面眉眼
Side eyebrow
画侧面眉眼时，除了要注意表现佛陀内观、慈悲的眼神外，在形体上要注意**关系，眉眼的长短与转折。
When drawing side eyebrows, besides expressing Buddha's inner outlook and compassionate eyes, we should pay attention to the physical relationship, the length and turning point of eyebrows.
鼻嘴的画法
Painting of nose and mouth
正面鼻嘴
Front nose mouth
佛鼻高且直，其孔不见。唇色光润丹晖，齿方整鲜白，舌相软薄广长。
The Buddha's nose is tall and straight with no holes in it. The lips are glossy, the teeth are white, and the tongue is soft, thin and long.
侧面鼻嘴
Lateral nose mouth
画侧面鼻嘴时，应注意表现出鼻唇饱满圆润的感觉。有的佛像留有小龇，在勾勒时应表现出不同的质感。（注：髭须是汉传佛造像的一个重要标志）
When drawing the side nose and mouth, attention should be paid to the feeling of full and round nose and lip. Some Buddha statues have small gorges, which should show different texture when outlining. (Note: The beard is an important symbol of Buddhist statues in the Han Dynasty)
耳的画法
Drawing of the ear
佛陀耳厚广大修长。两耳齐平，耳廓、耳轮、耳屏、耳垂了了分明。佛陀耳垂广大，是佛愿力广大的象征。手的画法
The Buddha's ears are thick and slender. The ears were flat and the ears, ear wheels, tragus and lobes were distinct. The wide earlobe of Buddha is a symbol of the vast power of Buddha's will. Hand painting
手与足皆为肢节，形象相仿，可作一类归纳。佛陀手指狭长，薄润光洁，指圆柔软。手足各等无差，诸指尖皆充密，光泽红润。筋骨隐而不见。肢节均匀圆妙，手掌柔软，手纹深长明直。
Both hands and feet are limbs, similar in image, which can be summarized. The Buddha's fingers are long and thin, smooth and soft. Hands and feet are all equal, fingertips are full and lustrous. The bones and muscles are invisible. The limbs are even and round, the palms are soft, and the wrinkles are deep, long and straight.
手印的画法
The way of handprint
佛像很重视手的刻画和塑造，佛像的手有各种不同的姿势，即各种不同的手印、印相或印契。
Buddha statues attach great importance to the portrayal and shaping of hands. The hands of Buddha statues have different gestures, i.e. different handprints, prints or seals.
禅定印
Dhyana Mudra
禅定印是佛陀入于禅定时所结的手印。含义是心绪宁静专一，深入思虑义理。其姿态是两手相对平放于腿上，仰放于下腹前，右手置左手上，两拇指相接。
The seal of meditation is the fingerprint of Buddha when he enters meditation. Meaning is quiet and single-minded mind, in-depth thinking of righteousness. Its posture is to put both hands on the legs relative to each other, lean up in front of the lower abdomen, the right hand on the left hand, and the two thumbs meet.
降魔印
Demon seal
降魔印含义是用法力来降服恶魔。佛陀结跏趺坐在莲花座上，左手置膝上或手捧钵盂，右手覆于右膝，指头触地，以示降伏魔众，表明释迦在成佛前经过无数磨难，降服了破环修法的恶魔，因此，此印相称为降魔印。又因以手指触地，所以又称触地印。
The signature of demon surrender means that the demon is surrendered by mana. The Buddha sits on the lotus pedestal with his left hand on his knee or holding a bowl, his right hand on his right knee and his finger touching the ground to show his surrender to the demons. This shows that Sakya subdued the demons who had broken the ring before he became Buddha. Therefore, this seal is called the seal of surrender to the demons. Because it touches the ground with its finger, it is also called touch mark.
说法印
Statement printing
说法印以拇指与中指（或食指、无名指）相捻，其余各指自然舒散的印相。这一手印象征佛说法之意，所以称为说法印。
It is said that the impression is twisted between the thumb and the middle finger (or index finger, ring finger), while the rest of the fingers are naturally relaxed and dispersed. This handprint symbolizes the meaning of Buddha's saying, so it is called saying seal.
与愿印
Willing to print
与愿印又作施愿印、满愿印。象征佛陀顺应众生的祈求所作的印相。此手印自然下伸，五指指端下垂于膝前，掌心向外。
The wish seal is also used as the wish seal and the full wish seal. It symbolizes the impression made by Buddha in response to the prayers of all living beings. This fingerprint naturally stretches down. The fingertips of the five fingers hang down in front of the knees and the palms are outward.
施无畏印
Fear-not Sign
施无畏印象征佛法的威力去除众生的恐惧，布施无怖给众生。右手屈臂上举于胸前，略成直角，手旋向外，开掌，手指向上伸直。足的画法
The stamp of fearlessness symbolizes the power of Buddhism to remove the fear of all living beings and to give fearlessness to all living beings. Lift your right arm up to your chest at a slightly right angle, turn your hand outward, open your palm, and stretch your fingers upward. Painting of feet
佛立于地上时，脚底与地面贴合、没有空隙。脚后跟宽而丰满。足趺高满，两踝俱稳，骨节交结犹若龙盘，膝轮圆满。
When the Buddha stands on the ground, the soles of his feet are close to the ground and there is no gap. The heels are wide and plump. The feet are tall and full, the ankles are stable, the joints are still like dragon plates, and the knee wheels are perfect.
结跏趺坐的画法
The Painting Method of Knotty Sitting
结跏趺坐又称全跏趺坐、大坐、莲花坐，此为圆满安坐之相，诸佛皆依此而坐。即两足交迭、两足相交置于左右股上、脚心向上的坐姿。
Knotted sitting is also called full sitting, big sitting and lotus sitting. This is the phase of satisfactorily sitting. All Buddhas sit on it accordingly. That is, the sitting position of the two feet overlapping, the two feet overlapping on the left and right thighs, and the foot upward.
善跏趺坐的画法
Good sitting painting
善跏趺坐就是在座上端坐，双足自然垂下的坐式。唐以后的佛像特别是大佛像多采用这种坐式，这种佛像又称为倚坐佛交一足为半跏趺坐、半跏坐。
Good sitting is sitting on the top of the seat, with both feet hanging down naturally. After the Tang Dynasty, Buddha statues, especially the big ones, mostly used this kind of sitting style. This kind of Buddha statue is also called "sitting on Buddha" and "sitting on Buddha" and "sitting on one foot is half-awkward and half-awkward.
文章转载自：故宫画谱
Articles reprinted from: The Imperial Palace Painting Spectrum