地域観光資源の 多言語解説文データベース

Sometsuke Blue and White

Sometsuke is a style of Japanese ceramics decorated solely with blue images on a field of white. The blue color is traditionally produced using asbolite, a cobalt-rich mineral aggregate. Originally, artists brush-painted designs by hand, as seen in the Nemoto examples. However, in the early twentieth century, techniques such as stenciling and copper-plate transfer were introduced to facilitate mass production.

To make stencils, the artist cuts designs into pieces of washi paper and then treats them with an astringent dye made from persimmons. This treatment strengthens and waterproofs the stencil for repeated use. (The photograph below shows a treated stencil.) The next step is to place a prepared stencil on the surface of an unglazed work and brush pigment over the top. The bowls below are decorated with stencils of Mt. Fuji (left) and a cherry-blossom shape (right).

Copper-plate transfer utilizes an intaglio, which functions like a stamp. The artist applies pigment to a copper sheet engraved with a design, then wipes off the excess. A thin sheet of absorbent paper is laid atop the prepared plate, which is run through a press, transferring the design to the paper. This print is molded to the surface of a piece of bisqueware using a soap wash and rubbed firmly against the piece to transfer the pigment to the porcelain. Finally, the fragile paper is rinsed away, leaving the colored design behind. This method was used to create the stone lantern, peonies, and motifs from the traditional karuta card game on the dishes below.

染付（青花瓷）

「染付」，即日本青花瓷，白底青花，被視為受中國元青花的影響發展而來。傳統的青色顏料是富含鈷的鈷土。和「根本燒」一樣，最初藝術家採用的都是手繪青花的方式。20世紀初期後，為實現量產，引入了型紙折繪（紙模）和銅板轉印技術。

型紙折繪，是將圖案鏤刻在和紙（日本紙）上，再用柿子加工成的收斂性染料進行處理，這可以增強紙模的強度和防水性，以便重複使用。下面的照片中就是一張處理過的紙模。下一步，是將準備好的紙模貼在未上釉的素燒器具上，刷上顏料。下面這個碗上的富士山（左）和櫻花（右）就是使用型紙折繪技術繪製的。

銅板轉印為凹版，類似印章。在刻好圖案的銅板上塗抹顏料，抹去多餘顏料後在銅板上鋪一張吸水薄紙，用壓力機將圖案轉印到紙上。然後，用肥皂將圖案洗印到素燒器具表面，再用力揉搓，讓顏料附著到器具上。最後，用水漂清薄紙，只留下彩色圖案。下列盤子上的石燈籠、牡丹和傳統紙牌圖案就是用這種方法製作的。

染付（青花瓷）

“染付”，即日本青花瓷，白底青花，被视为受中国元青花的影响发展而来。传统的青色颜料是富含钴的钴土。和“根本烧”一样，最初艺术家采用的都是手绘青花的方式。进入20世纪初期后，为实现量产，引入了型纸折绘（纸模）和铜板转印技术。

型纸折绘，是将图案镂刻在和纸（日本纸）上，再用柿子加工成的收敛性染料进行处理，这可以增强纸模的强度和防水性，以便重复使用。下面的照片中就是一张处理过的纸模。下一步，是将准备好的纸模贴在未上釉的素烧器具上，刷上颜料。下面这个碗上的富士山（左）和樱花（右）就是使用型纸折绘技术绘制的。

铜板转印为凹版，类似印章。在刻好图案的铜板上涂抹颜料，抹去多余颜料后在铜板上铺一张吸水薄纸，用压力机将图案转印到纸上。然后，用肥皂将图案洗印到素烧器具表面，再用力揉搓，让颜料附着到器具上。最后，用水漂清薄纸，只留下彩色图案。下列盘子上的石灯笼、牡丹和传统纸牌图案就是用这种方法制作的。