{"id":"buncheong","no":510,"name":"Buncheong","ja":"粉青沙器","era":"14th–16th century","family":"陶磁の様式","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Getty Research Institute — Art & Architecture Thesaurus: buncheong (ceramic style) (300018699)","url":"https://vocab.getty.edu/page/aat/300018699"},"reference":{"status":"verified","pageUrl":"https://vocab.getty.edu/page/aat/300018699","credit":"Getty Research Institute — Art & Architecture Thesaurus: buncheong (ceramic style) (300018699)","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/%EB%B6%84%EC%B2%AD%EC%82%AC%EA%B8%B0%20%EB%B0%95%EC%A7%80%20%EB%AA%A8%EB%9E%80%20%EB%AC%B4%EB%8A%AC%20%ED%95%AD%EC%95%84%EB%A6%AC%20%EC%A1%B0%EC%84%A0-%E7%B2%89%E9%9D%91%E6%B2%99%E5%99%A8%E5%89%9D%E5%9C%B0%E7%89%A1%E4%B8%B9%E6%96%87%E5%A3%BA%20%E6%9C%9D%E9%AE%AE-Large%20jar%20with%20peony%20decoration%20MET%20DP102312.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:%EB%B6%84%EC%B2%AD%EC%82%AC%EA%B8%B0%20%EB%B0%95%EC%A7%80%20%EB%AA%A8%EB%9E%80%20%EB%AC%B4%EB%8A%AC%20%ED%95%AD%EC%95%84%EB%A6%AC%20%EC%A1%B0%EC%84%A0-%E7%B2%89%E9%9D%91%E6%B2%99%E5%99%A8%E5%89%9D%E5%9C%B0%E7%89%A1%E4%B8%B9%E6%96%87%E5%A3%BA%20%E6%9C%9D%E9%AE%AE-Large%20jar%20with%20peony%20decoration%20MET%20DP102312.jpg","credit":"粉青沙器 剥地牡丹文壺 朝鮮時代 15世紀後半 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Buncheong%20Barrel-shaped%20Vessel%20with%20Underglaze%20Iron%20Arabesque%20Design.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Buncheong%20Barrel-shaped%20Vessel%20with%20Underglaze%20Iron%20Arabesque%20Design.jpg","credit":"粉青沙器 鉄絵唐草文 俵形瓶 朝鮮時代 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/%EB%B6%84%EC%B2%AD%EC%82%AC%EA%B8%B0%20%EC%9D%B8%ED%99%94%20%EA%B5%AD%ED%99%94%20%EA%B1%B0%EB%B6%81%EB%93%B1%20%EB%AC%B4%EB%8A%AC%20-%EB%82%B4%EC%84%AC-%EB%AA%85%20%EB%8C%80%EC%A0%91%20%EC%A1%B0%EC%84%A0-%E7%B2%89%E9%9D%91%E6%B2%99%E5%99%A8%E5%8D%B0%E8%8A%B1%E8%8F%8A%E8%8A%B1%E9%BE%9C%E7%94%B2%E6%96%87%E2%80%98%E5%85%A7%E8%B4%8D%E2%80%99%E9%8A%98%E5%A4%A7%E6%A5%AA%20%E6%9C%9D%E9%AE%AE-Bowl%20with%20inscription%20and%20chrysanthemums%20and%20tortoiseshell%20decoration%20MET%20DP253533.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:%EB%B6%84%EC%B2%AD%EC%82%AC%EA%B8%B0%20%EC%9D%B8%ED%99%94%20%EA%B5%AD%ED%99%94%20%EA%B1%B0%EB%B6%81%EB%93%B1%20%EB%AC%B4%EB%8A%AC%20-%EB%82%B4%EC%84%AC-%EB%AA%85%20%EB%8C%80%EC%A0%91%20%EC%A1%B0%EC%84%A0-%E7%B2%89%E9%9D%91%E6%B2%99%E5%99%A8%E5%8D%B0%E8%8A%B1%E8%8F%8A%E8%8A%B1%E9%BE%9C%E7%94%B2%E6%96%87%E2%80%98%E5%85%A7%E8%B4%8D%E2%80%99%E9%8A%98%E5%A4%A7%E6%A5%AA%20%E6%9C%9D%E9%AE%AE-Bowl%20with%20inscription%20and%20chrysanthemums%20and%20tortoiseshell%20decoration%20MET%20DP253533.jpg","credit":"粉青沙器 印花菊花亀甲文「内贍」銘大楪 朝鮮時代 15世紀半ば — Wikimedia Commons / CC0"}]},"essence":"灰青色の素地を白い化粧土で覆った朝鮮の陶で、名は美術史家の高裕燮が用いた語の略。象嵌、印花、掻き落とし、鉄絵、刷毛塗り、浸し掛けと掛け方が分かれ、白の掛かりむらと刷毛の走りが器ごとに違う顔をつくる。","cues":["灰青色の素地の上に白い化粧土が掛かり、掛かりむらがそのまま模様になる","刷毛塗りの器では、毛筋が一方向に走った跡が白い帯として残る","印花の器では、小さな菊花を隙間なく押した跡に白土が詰まり、白い粒が並ぶ","浸し掛けの器では、白土に浸けた高さで境目が一本できて、その下は素地の灰色が出る"],"intents":["静けさ","親密","遊び"],"works":["同じ形の食器や酒器を、一点ずつ違う表面に焼き分けたいとき","型押しの反復と手の崩れを、白と灰の二色だけで一つの器に同居させたいとき"],"recipe":{"type":"文字は器の主役ではない。銘や年記を入れるなら、白土を埋めた細い線彫りにして、文様の線と同じ太さに収める。","layout":"文様は見える面だけに置き、底と高台は無地で残す。口縁に一本の帯、胴に主文様、あとは白のままという三段で組む。","material":"灰青色の陶土を轆轤で挽き、白化粧土を刷毛で塗るか器ごと浸けて掛ける。彫りと押しと掻き落としで白を出し入れし、透明釉を掛けて焼く。白は完全な白まで詰めず、素地の灰が透ける濃さに留める。"},"avoid":"刷毛目を均一に揃えると、速度の痕跡が消えてただの白い器になる。","colors":["#6F7B72","#EDE6D6","#4B3B2A"],"motif":"graphic","pair":["mingei","sumi-e"],"study":["Getty AAT の buncheong sagi (300459835) が並べる7つの装飾技法の分類","V&A 所蔵の印花小皿 (O22348) に見る、型を押してから白土を拭き取る順序","15世紀末から16世紀初めに白磁の需要が増え、この様式が衰えていった経緯"],"en":{"essence":"Buncheong is Korean stoneware whose bluish grey body is covered with white slip, and its name shortens a phrase used by the art historian Go Yuseop. The group is sorted by how the slip is applied, through inlay, stamping, sgraffito, incising, iron painting, brushed slip and dipped slip. Because the coating is never even, the marks of the hand stay on the finished pot.","cues":["White slip lies over a bluish grey body, and the unevenness of the coating is the pattern","On brushed pieces the bristle tracks run in one direction as a white band","On stamped pieces small chrysanthemums are pressed edge to edge and filled with white slip, leaving rows of white dots","On dipped pieces one hard line marks how deep the pot went into the slip, with grey body showing below it"],"works":["When tableware or bottles of one shape should each carry a different surface","When stamped repetition and loose handwork have to share one pot in only white and grey"],"recipe":{"type":"Lettering is not the subject. Put a mark or a date in as a thin incised line filled with white slip, at the same weight as the drawn lines.","layout":"Decorate only the faces that are seen and leave the base and footring bare. Build in three bands: one line at the rim, the main motif on the body, and white left alone.","material":"Throw a bluish grey clay body, then brush the white slip on or dip the whole pot. Carve, stamp and scrape the slip away to move the white around, then glaze clear and fire. Stop short of a full white so the grey body still shows through."},"avoid":"Even out the brush marks and the record of speed disappears, leaving a merely white pot.","study":["the seven decorative techniques set out under buncheong sagi (300459835) in the Getty AAT","the order of stamping and then wiping the white slip back, seen on the stamped small dish in the V&A (O22348)","how demand for white porcelain rose from the late fifteenth into the early sixteenth century and this style declined"]}}