{"id":"chinese-blue-and-white","no":506,"name":"Chinese Blue-and-White Porcelain","ja":"青花（中国の染付）","era":"14th century–","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 — Chinese blue-and-white ceramics","url":"https://www.vam.ac.uk/articles/chinese-blue-and-white-ceramics"},"reference":{"status":"verified","pageUrl":"https://www.vam.ac.uk/articles/chinese-blue-and-white-ceramics","credit":"Victoria and Albert Museum — Chinese blue-and-white ceramics","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Foliated%20plate%20with%20rocks%2C%20plants%2C%20and%20melons%20MET%20DP-14609-106.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Foliated%20plate%20with%20rocks%2C%20plants%2C%20and%20melons%20MET%20DP-14609-106.jpg","credit":"青花 岩と草花・瓜文 稜花大皿 元代 14世紀 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Clevelandart%201962.154.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Clevelandart%201962.154.jpg","credit":"青花 花卉文 壺 元代 14世紀 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Blue%20and%20white%20vase%20Jingdezhen%20Ming%20Yongle%201403%201424.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Blue%20and%20white%20vase%20Jingdezhen%20Ming%20Yongle%201403%201424.jpg","credit":"青花 唐草文 瓶 景徳鎮窯 明代・永楽年間 1403-1424 — Wikimedia Commons / CC BY-SA 3.0"}]},"essence":"白い磁胎に酸化コバルトを筆で置き、透明釉をかけて焼き上げる釉下彩の体系。江西の景徳鎮が元代に磁土へカオリンを加え、焼成を改めたことで成立した。色をひとつに絞ったぶん、濃淡と白抜きだけで絵の階調をつくる。","cues":["白磁の地に青一色。ほかの色が一切入らない","濃い青で輪郭を引き、その内側を薄い青の刷きで埋めて墨絵のような段階をつくる","青を密に塗り込んだ地に、素地の白をそのまま残して文様を抜く","絵が釉の下にあるため、筆跡に段差がなく面が平滑に光る"],"intents":["技術","高級","静けさ"],"works":["一色刷りの図版で階調を出したいとき、輪郭の線と面の刷きを二段階に分けて設計する","白を背景ではなく図として使いたいとき、地を塗り込んで文字や形のほうを抜く版を組む"],"recipe":{"type":"銘や添え書きは絵付けと同じ青、同じ筆致で入れる。活字のような均一な線に置き換えない。","layout":"器の曲面を口縁・胴・高台の帯に分け、帯ごとに文様の密度を変える。胴の主文様のまわりには白を大きく残す。","material":"白い素地に酸化コバルト一種だけ。濃い線と薄い刷きの二段階を作り、青で伏せた地には白抜きで文様を起こす。すべて透明釉の下に置いて焼く。"},"avoid":"青をひとつの平らな色として塗り、濃淡の段階を作らないと、筆の跡が消えて印刷の平網のように見える。","colors":["#F4F1E8","#1E3A76","#6E8FC0"],"motif":"graphic","pair":["delftware","iznik"],"study":["元代の作例と康熙期の作例を並べ、薄い刷きが何段階に分かれているか数える","中東向けの大皿とヨーロッパ向けの輸出磁器で、余白の量と文様の詰まり方がどう変わるか比べる","同じ青一色でも delftware と iznik では地の白さと線の太さがどう違うか確かめる"],"en":{"essence":"Cobalt blue brushed onto a white porcelain body, sealed under a clear glaze and fired once. Potters at Jingdezhen in Jiangxi established it during the Yuan dynasty by adding kaolin to the clay and improving their firing technology. Because the palette is held to a single colour, every gradation has to come from thin and thick washes and from shapes reserved in white.","cues":["One blue on a white porcelain ground, with no second colour anywhere","A dark outline drawn first, then filled with paler washes that grade like ink painting","Motifs reserved in white against a densely painted blue ground","The painting sits under the glaze, so the surface stays smooth and no brushstroke stands proud"],"works":["Building tone in a one colour print by splitting the drawing into a dark outline pass and a pale wash pass","Making white read as figure rather than background by flooding the ground and reserving the letterforms"],"recipe":{"type":"Set any inscription in the same blue and the same brush weight as the painting, never in an even mechanical line.","layout":"Divide the curved wall into bands at rim, body and foot, and vary density band by band. Leave a wide white margin around the main motif on the body.","material":"A white body and cobalt oxide alone. Build two values, a dark drawn line and a pale wash, and lift motifs out of a flooded blue ground in reserve. All of it goes under a clear glaze and fires once."},"avoid":"Treating the blue as one flat tone and skipping the graded washes turns the drawing into a printed screen tint and erases the brush.","study":["a Yuan piece and a Kangxi piece placed side by side, counting how many steps the thin washes divide into","comparing how much ground is left empty and how densely the pattern packs, on large dishes for the Middle East and on export porcelain for Europe","checking how the whiteness of the ground and the weight of the line differ between delftware and Iznik under the same single blue"]}}