宋代筆記 vol.146 東京富士美術館：白地鉄絵牡丹文瓶 - Fuji Art Museum, Vase with Painted Black Design of Peony, Northern Song Dynasty

白地鐵繪牡丹文瓶

金代，十二世紀

高21.0公分；口徑7.2公分；腹徑20.2公分；底徑12.0公分

東京富士美術館藏

白地鐵繪技法的出現，是金代陶工在黑白對比效果上的一項革新，它比此前的掻落技法更為簡便靈活。本品即屬一例：通體先施白化妝土，隨後以鐵繪於瓶身兩側繪出折枝牡丹。花瓣以櫛描刻劃，花之輪廓及葉脈則以線刻加強。鐵繪之上再輔以刻劃，使得紋飾細部更為清晰，整體效果顯得生動而輕快。

此瓶之器形，似自梅瓶下半部截去而成，在中國又稱「太白尊」或「吐魯瓶」。

磁州窯系

磁州窯系始燒於五代晚期，延續至近代，主要分佈於河北邯鄲一帶。其基本工藝為以灰色胎土為體，施白化妝土，再罩透明釉燒成。裝飾手法多端，包括素白、白地掻落、白地黑掻落、白地鐵繪、白地紅綠彩、黑釉、翡翠釉等，器類亦極其豐富。類似製品之窯址廣泛分佈於河北、北京、河南、安徽、山西、山東、陝西等地，統稱「磁州窯系」。

北宋時期始見白地掻落，至北宋晚期白地黑掻落最為盛行。金代以後，以筆彩繪飾之白地鐵繪成為主流。同時期亦出現了多彩上彩裝飾的白地紅綠彩，為後世所稱「宋赤繪」，可視為中國陶瓷以複彩釉上彩表現紋樣的濫觴。

Vase with Painted Black Design of Peony, White Slip

Jin dynasty, 12th century

Height 21.0 cm; mouth diameter 7.2 cm; body diameter 20.2 cm; base diameter 12.0 cm

Fuji Art Museum, Tokyo

The technique of iron-painted decoration on a white slip (白地鉄絵) emerged during the Jin dynasty, providing a more direct and versatile means of achieving the striking visual contrast between black and white previously explored in sgraffito (掻落) wares. In this vessel, after the application of a white slip, peony sprays were painted in iron pigment on two sides of the body. Combed lines were employed to articulate the petals, while incised lines were added to define the contours of the blossoms and the veins of the leaves. The combination of painting and incision over the iron pigment enhanced the refinement of the design, giving the overall decoration a vivid and light quality.

The form of this vase—resembling the lower half of a meiping truncated and adapted—is also known in Chinese terminology as Tai bai zun (太白尊) or Tuolu ping (吐魯瓶).

Cizhou-type Wares

The Cizhou kilns, active from the late Five Dynasties period through the modern era, were primarily located around Handan, Hebei province. Their characteristic technique consisted of applying a white slip over a grayish body, then coating it with a transparent glaze before firing. The decorative repertoire was remarkably diverse: plain white wares, white-ground sgraffito, black-and-white sgraffito, iron-painted decoration, polychrome overglaze enamels in red and green (the so-called Song red-and-green in Japan), as well as black-glazed and jade-green glazed types. The range of forms was equally abundant.

Kilns producing comparable wares were widely distributed across Hebei, Beijing, Henan, Anhui, Shanxi, Shandong, and Shaanxi, collectively referred to as the “Cizhou-type kilns.” Sgraffito decoration on white slip first appeared in the Northern Song period, and by the late Northern Song, the black-on-white sgraffito became particularly popular. From the Jin dynasty onwards, iron-painted designs became the dominant style, while the red-and-green overglaze wares, later known in Japan as Song aka-e, represented the earliest experiments with polychrome enamel decoration on ceramics.

白地鉄絵牡丹文瓶

Vase with Painted Black Design of Peony,White Slip

金（12世紀）／

高21.0cm、口径7.2cm、胴径20.2cm、底径12.0cm

白地黒掻落の白と黒の視覚効果をより簡単に可能としたのが、金時代に登場する白地鉄絵の技法である。この作品は、白化粧の後、鉄絵で2面に牡丹折枝文を描き、花弁には櫛描きを、花の輪郭と葉脈には線刻を加えている。文様の細部を表現するために、鉄絵の上に線刻を施すことによって、より全体が引き立ち、軽快な仕上がりとなっている。梅瓶の下半分を切り落としたような形のこの瓶は、「太白尊（たいはくそん）」や「吐魯瓶（とろびん）」などとも呼称される。

磁州窯系

A Type of Ci-zhou Ware

五代時代末期から近代の窯。窯跡は、河北省邯鄲市に分布。灰色の胎土に白化粧を施し、透明釉をかけて焼成するのが基本的な技法。文様装飾は白無地、白地掻落、白地黒掻落、白地鉄絵、白地紅緑彩、黒釉、翡翠釉など多彩で、器種も豊富。同種の製品を焼造する窯跡は、河北省、北京市、河南省、安徽省、山西省、山東省、陝西省に広く分布し、磁州窯系と総称。北宋時代には白地掻落が出現し、北宋時代末期には白地黒掻落が盛行。金時代以降は、筆彩で文様を表す白地鉄絵などが主流となる。また、同じ頃に作られた、わが国で「宋赤絵」と呼ばれる白地紅緑彩は、複数色の上絵付による文様表現の嚆矢。