什么是青花铁线描——你必须知道 / 四六文摘

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什么是铁线描技法？

铁线描，其特征为双勾线条相对较粗，而且不需要在双勾线内填彩。“铁线描”就是用细线表现图案画，比如表现大面积颜色的时候，不平涂，而是一道接一道地画线，形成平涂的概念，绘画风格潇洒流畅，其绘画方式对后世有很大影响。这种线描绘画，源头从何而来呢？让我们从古论起。

一、铁线描技法的时代背景（绢纸之上铁线描）

“铁线描”是中国画中所称的“高古十八描”笔法之一，此种描法产生于魏晋隋唐之际。为表现硬质布料重要技法，在古代绢本绘画里常出现在较为庄重的题材中。

铁线描绘画讲究方直挺进，行笔凝重，让衣纹有沉重之感。此种绘画描法产生于魏晋隋唐之际，由铁线描钩勒成形的衣纹线条常常稠叠下坠，为表现硬质布料重要技法。

用中锋，行笔凝重、圆劲，无丝毫柔弱之迹。

唐代阎立本绘《晋武帝司马炎》

唐时出现多以壁画为主，内容尤以佛教为最，勾勒多以中锋高古游丝盛行（即铁线描）。

唐代著名画家顾恺之创作的《女史箴图》，笔法如春蚕吐丝，形神兼备。他所采用的铁线描手法，使得画面典雅、宁静又不失明丽、活泼。画面中的线条循环婉转，均匀优美，人物衣带飘洒，形象生动。女史们下摆宽大的衣裙修长飘逸，每款都配以形态各异、颜色艳丽的飘带，显现出飘飘欲仙、雍容华贵的气派。

唐代顾恺之《女史箴图》

中国古代人物衣服褶纹画法，线条外形状如铁丝。是一种没有粗细变化，遒劲有力的圆笔线条，由铁线描钩勒成形的衣纹线条常常稠叠下坠，有若“曹衣出水”。

清·王瀛：“用中锋圆劲之笔描写，没有丝毫柔弱之迹，方为合作。”从绘画作品看，顾恺之、阎立本、李公麟等画家在作品中的勾线，都是“铁线描”的经典范例。

二、陶瓷上的明代铁线描

受此影响，陶瓷上也出现了铁线描作品。

在万历时期，由于青花料枯竭等原因，开始出现了一种独具有时代特点的瓷器绘画技法，就是铁线描。不同青花料平涂渲染，开始大范围的用线条来绘画复杂的图形。

早期万历青花的绘画技法采用类似隆庆朝的手法，线条有阴阳深浅之分；后期绘画简单潦草，笔法稚嫩。晚期有代表性的技法是青花淡描、铁线描和淡水点染，构图时用线条加极淡的青料单线或双线勾出图案的轮廓，线条流畅简洁，再加以渲染填色，画面颇有水墨画的效果。“铁线描”就是用细线表现图案画，线条外形状如铁丝。比如表现大面积颜色的时候，它不平涂，而是一道接一道地画线，形成平涂的概念，绘画风格比较粗犷，其绘画方式对后世有很大影响。釉面线条外形状如铁丝，清雅秀美。在运笔上，铁线描行笔慢，压力匀，中锋用笔，线条变化小，实起实收。粗细一致、细劲有力，这种线条的特点画面制作简练而工致，运用流利而挺劲的线条。

明万历青花百鹤纹罐苏格兰国家博物馆藏

Ming Wanli blue and white crane pattern pot No. : A.1919.414 Date: Ming Wanli (1573-July 1620) Official description: A pot of porcelain decorated with flying cranes. He Yun: China, Ming Dynasty, Wanli Period, 1573-1620. Ceramic, blue and white; A hundred storks cut through the cloud decoration.（明万历青花百鹤纹罐编号：A.1919.414日期:明万历（公元1573年-公元1620年7月）官方描述:一罐瓷器，装饰着飞行中的鹤.和云朵：中国，明朝，万历年间， 1573-1620年.陶瓷，蓝色和白色；百只鹳穿过云层的装饰.）

明万历青花花卉纹瓜棱提梁壶阿姆斯特丹国立博物馆藏

Ming Wanli blue and white flower pattern melon edge handle girder pot object number NG-1977-174-W Date: Ming Wanli (AD 1573-AD 1620 July) before 1613. Dimensions: Height 19 cm Edge: Diameter 6.7 cm Base: Diameter 9.7 cm. Official description: 'Witte Leeuw' is 100% present on the porcelain boiler ships of VOC. Kettle with slightly raised shape, S-shaped nozzle, upright handle and bell lid with cover handle. Decorated in underglaze blue, the walls feature flowering plants (peonies) and lucky symbols (mugwort leaves, scrolls), as well as small flower fields in the AST characters on the shoulders and LIDS. Instead of being completely filled in with blue, the decorative case is shaded with parallel lines. The fragments are glassy white with little ingrained dirt. The bottom is glazed and the foot rings are straight and faceted.（明万历青花花卉纹瓜棱提梁壶对象编号NG-1977-174-W日期:明万历（公元1573年-公元1620年7月）1613年之前.尺寸:高度19厘米边缘：直径6.7厘米底座：直径9.7厘米.官方描述:VOC的瓷制锅炉船上有100％存在的“ Witte Leeuw”。水壶，带有略微凸起的形状，S形喷嘴，直立的手柄和带盖把手的钟形盖。用釉下蓝色装饰，壁上有开花植物（牡丹）和幸运符号（艾蒿叶，卷轴），以及在肩膀和盖子上的ast字小花田。装饰图案没有完全用蓝色填充，而是用平行线阴影显示。碎片是玻璃状的白色，几乎没有根深蒂固的污垢。底部上釉，脚环笔直且刻面。在蓝色和白色的高明的瓷器。）

明万历青花老子骑牛图方瓷砖大英博物馆藏

Ming Wanli blue and white Laozi riding a bull figure square tile museum number frank 814 description with underglaze blue decoration square tile. The structure of the square tile is similar to that of BM 1947.0712.194, with opaque stepped edges with cut corners. It has a raised double-ridged ring in which the philosopher Lao Tzu, shown in underglaze blue, rides a buffalo, with 'ruyi' swirls of clouds at each corner. Otherwise, there is no glaze. Culture/period Ming Dynasty Wan Li (approximately) Date of production 1573-1620 (approximately) Dimensions Length: 20cm Width: 20cm. Lao Tzu (604-531 BC), a famous founder of Taoism, is traditionally believed to have been born in Hu County, near Luyi City, Anhui Province. According to legend, he was born with white hair and was eighty-one years old, so his name was translated into English as 'old son'. He is believed to have conveyed 5, 000 words 'on the way' to frontier officers in the sixth century BC. He taught that people should not strive to achieve, but should do nothing, because everything will turn out all right in the end, and it is often better to let it go. This Taoist sagacity was highly esteemed in the late sixteenth century. A hanging paper scroll in the National Palace Museum in Taipei, painted in ink and light colors on paper, shown by the famous master of the philosophy school Zhang Lu (c.1490-c.1563), has a similar image of Lao Tzu riding a bull. Donor: Sir Augustus Wollaston Franks.（明万历青花老子骑牛图方瓷砖博物馆编号坦率的814 描述带有釉下蓝色装饰的方形瓷砖。该正方形瓷砖的结构与BM 1947.0712.194类似，具有不透明的阶梯状边缘，带有切角。它有一个凸起的双脊环，其中的哲学家老子以釉下蓝色显示，骑着水牛，每个角落都有“如意”云卷。反之则无釉。文化/时期明代万里（大概）生产日期 1573-1620 （大约）外型尺寸长度：20厘米宽度：20厘米.老子（公元前604-531年），道教的著名创始人，传统上被认为出生于安徽省鹿邑市附近的胡县。根据传说，他出生时白发，已经八十一岁，因此他的名字被翻译成英语“老儿子”。据信他传达了五千字公元前六世纪向边防官员“道途经”。他教导人们不要为取得成就而奋斗，而应该无所事事，因为万事万物最终都会好起来的，而且往往更好地任其发展。道家的这种睿智在十六世纪后期备受推崇。台北国立故宫博物院的一幅悬挂着的纸卷，用墨水和浅色在纸上作画，由哲学派的著名大师张露（c.1490-c.1563）显示，类似的图像是老子骑牛。.捐赠者：奥古斯都·沃拉斯顿·弗兰克斯爵士）

明万历青花人物方瓷砖大英博物馆藏

Ming Wanli Blue and White Characters Square Tile Museum No. 1947,0712.194 Describes square tiles with underglaze blue decoration. This square tile has opaque glazed step edges with cut corners. It is painted with an underglaze blue outline on the upper surface of the underglaze, showing the scholar inspecting the floor. He wore a loose, crossed robe tied to the front and tied to the scholar's cap. He was sitting cross-legged on a rattan greenhouse in front of a large, undecorated upright screen. Beside him was the equipment of a dapper scholar: a zither and a pile of books. The back of the tile is unglazed, meaning it can only be seen from one side. Culture/Period Ming Dynasty Wanli (approximately) Production Date 1600-1644 (approximately) Dimensions Length: 22cm Width: 22cm. It is difficult to identify the scholar, but it has been suggested that he may have been the Yuan Dynasty playwright of Guan Hanqing (c.1240 -- c.1320) of Beijing, who was known as 'Father'. Traditional Chinese Drama. Thanks to his sixty plays, including his most famous play, Dou E Yuan. Bequest: Henry J. Oppenheim.（明万历青花人物方瓷砖博物馆编号 1947,0712.194 描述带有釉下蓝色装饰的方形瓷砖。这款方形瓷砖的釉面台阶边缘不透明，带有切角。它以釉下蓝色轮廓画在上表面的釉下，显示出学者在检查地板。他穿着一件宽松的交叉长袍，绑在前面，绑在学者的帽子上。他是盘腿坐在一个未经装饰的大立屏前的藤制大棚上。在他旁边是一位精干的学者的装备：“琴”和一堆书。磁贴的背面未上釉，表示仅从一侧可以看到。文化/时期明代万历（大概）生产日期 1600-1644 （约）外型尺寸长度：22厘米宽度：22厘米.很难确定这位学者是谁，但有人暗示他可能是北京的关汉卿（c.1240-c.1320）的元代剧作家，他被称为“父亲”。[中国传统戏剧]。归功于他六十部戏剧，包括他最著名的戏剧《窦娥冤》。.遗赠：亨利·J·奥本海姆）

明万历青花八宝纹碗大英博物馆藏

Ming Wanli blue and white eight treasure pattern bowl museum number 1973,0622.1 describes a porcelain bowl with underglaze blue decoration. The bowl has rounded sides, inverted edges and high straight feet. The interior and exterior are designed with only underglaze blue contours. Inside, there are seven calligraph-rendered Tibetan characters arranged around a central character, such as the petal of a flower, with a spiral border. Outside are eight Buddhist treasures, painted between stylized scroll works. In the base of the double ring appears a pseudo - six - character Xuan - De mark. Culture/Period Ming Dynasty Wanli (approx.) Production Date 1600-1628 (approx.) Dimensions Diameter: 10.50 cm Height: 6 cm. Transliteration of the inscription: Xuande year of Da Ming Dynasty. In both Chinese and Tibetan Buddhism, such chants are an important aspect of prayer. Perhaps spinning the bowl would have the same effect as spinning the prayer wheel with the inscription on the outside, thus transmitting the prayer to the spirit world. Part of this bowl was excavated at Zhushan Mountain in Jingdezhen from Wanli to Late Tianqi, confirming the style of 1600-28 years ago.（明万历青花八宝纹碗博物馆编号 1973,0622.1 描述有釉下的蓝色装饰的瓷碗。这个碗有圆的侧面，外翻的边缘和高的直脚。内部和外部的设计仅采用釉下蓝色轮廓。里面有七个书法渲染的藏族字符，它们围绕一个中心字符排列，例如花朵的花瓣，并带有螺旋形边框。外面是八佛教宝藏，涂在风格化的卷轴作品之间。在基部的双环中出现了一个伪六字的轩德标记。文化/时期明代万历（大概）生产日期 1600-1628 （约）外型尺寸直径：10.50厘米高度：6厘米.铭文音译：大明宣德年制.在中国和藏传佛教中，这样的圣歌是祈祷的重要方面。可能旋转碗的效果与在外部旋转带有铭文的祈祷轮相同，从而将祈祷传递到精神世界。这种碗的一部分是在万历至天启晚期的景德镇竹山发掘的，确认1600-28年的风格。）