{"id":"blanc-de-chine","no":508,"name":"Blanc de Chine","ja":"ブラン・ド・シーヌ（徳化白磁）","era":"Ming dynasty–","family":"陶磁の様式","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Victoria and Albert Museum — Blanc de Chine: white porcelain from China","url":"https://www.vam.ac.uk/articles/blanc-de-chine-white-porcelain-from-china"},"reference":{"status":"verified","pageUrl":"https://www.vam.ac.uk/articles/blanc-de-chine-white-porcelain-from-china","credit":"Victoria and Albert Museum — Blanc de Chine: white porcelain from China","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Guanyin%20doorkruist%20de%20zee%20Beeld%20van%20een%20staande%20Guanyin%2C%20AK-MAK-594.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Guanyin%20doorkruist%20de%20zee%20Beeld%20van%20een%20staande%20Guanyin%2C%20AK-MAK-594.jpg","credit":"徳化窯 白磁 観音立像 17世紀後半 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Chinese%20-%20Brush%20Holder%20-%20Walters%2049337.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Chinese%20-%20Brush%20Holder%20-%20Walters%2049337.jpg","credit":"徳化窯 白磁 鶴蓮文 筆筒 17-18世紀 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/BLW%20White%20Teapot.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:BLW%20White%20Teapot.jpg","credit":"徳化窯 白磁 急須 1690-1720年頃 — Wikimedia Commons / CC BY-SA 2.0 UK"}]},"essence":"福建省徳化の窯が焼いた白磁に、欧州の収集家が「中国の白」の名を与えた様式。絵付けを一切置かず、乳白から青みを帯びる厚い釉と、型で抜いた体に手作りの細部を貼り足す造形だけで見せる。観音像と犀角を写した杯が代表格になった。","cues":["絵付けがまったくなく、器面は白一色で通っている","乳白色から青みへ振れる厚い釉。薄い部分は光を透かす","型で抜いた本体に、指や衣の襞を別に作って貼った継ぎ目が残る","口が広く底のすぼまる杯。角を輪切りにした形をそのまま磁器に写している"],"intents":["静けさ","高級","技術"],"works":["白磁の食器や照明を、印刷も彩色も足さずに釉の厚みだけで仕上げるとき","陶製の人形やフィギュアを、型抜きと手仕事の併用で数を作るとき"],"recipe":{"type":"文字を面に置かない。入れるとしても底裏の小さな印にとどめる。","layout":"正面性の強い立像。台座から頭頂までを一本の軸に通し、周囲は何も置かず空ける。","material":"きめの細かい白磁土。透明釉を厚めにかけ、絵具を使わず、釉のたまりと薄れだけで明暗を作る。"},"avoid":"白ければ上品になると考えて稜線を丸く均すと、釉のたまる場所が消えて陰影が出ず、ただの白い塊に見える。","colors":["#F6F1E7","#E4EBE8","#D6C7AE"],"motif":"graphic","pair":["delftware","iznik"],"study":["徳化窯の出土品と、海路で輸出された白磁の作りの差","アウグスト強王がドレスデンに集めた千点規模の収集品","マイセンやサンクルーが白磁を写した初期の作例"],"en":{"essence":"Blanc de Chine is the European name for the white porcelain fired at the Dehua kilns in Fujian. Nothing is painted on it, so the whole effect rests on a milky, faintly bluish glaze and on bodies pressed in piece moulds with details modelled separately and applied by hand. Guanyin figures and libation cups copied from carved rhinoceros horn became its signature pieces.","cues":["No painted decoration anywhere, so the surface stays a single white","A thick glaze that shifts from milky to faintly blue, translucent where it thins","Seams where separately modelled hands, fingers or drapery were pressed onto a moulded body","Libation cups with a wide mouth and narrow base, copying a section of carved horn"],"works":["Finishing porcelain tableware or lighting with glaze depth alone, no print and no colour","Producing ceramic figures in quantity by combining piece moulds with hand-modelled details"],"recipe":{"type":"Keep lettering off the surface, and put at most a small mark under the foot.","layout":"Frontal standing figures on one vertical axis from base to crown, with empty space left around them.","material":"Fine white porcelain clay under a thick clear glaze with no pigment, so light and shade come only from where the glaze pools and thins."},"avoid":"Softening every ridge in the belief that white alone reads as refined removes the places where glaze pools, and the object flattens into a blank white lump.","study":["the difference in make between pieces excavated at the Dehua kilns and the white porcelain exported by sea","the collection of a thousand or so pieces Augustus the Strong gathered in Dresden","the early attempts at Meissen and Saint Cloud to copy white porcelain"]}}