{"title":"松川和弘","description":"\u003cp\u003e1977年、大阪府河内長野市生まれ\u003cbr\u003e2006年、独立・河内長野市にて開窯\u003cbr\u003e受賞歴\u003cbr\u003e第36回日本伝統工芸近畿展（大阪府教育委員会賞）\u003cbr\u003e第55回日本伝統工芸展（日本工芸会総裁賞）\u003c\/p\u003e","products":[{"product_id":"１白磁香器","title":"White porcelain incense burner by Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"70\"\u003e White porcelain incense burner by Kazuhiro Matsukawa (diameter: 15.4cm, height: 8.9cm)\u003cbr data-start=\"30\" data-end=\"33\"\u003e --\"In the silence of white, the path of fragrance opens up. A tripod sets the shape of purity afloat.\" \u003c\/p\u003e\n\n\u003chr data-start=\"72\" data-end=\"75\"\u003e\n\n\u003ch2 data-section-id=\"1x8p5zi\" data-start=\"77\" data-end=\"97\"\u003e Ⅰ Incense vessels: vessels from the invisible world\u003c\/h2\u003e\n\n\u003cp data-start=\"98\" data-end=\"302\"\u003e An incense burner is not only a tool for burning incense, but also \u003cstrong data-start=\"118\" data-end=\"144\"\u003ea vessel that regulates the flow of the invisible fragrance as a \"place.\"\u003c\/strong\u003e Incense rises and disappears, but that fleeting presence conveys the dignity of the room, the changing of the seasons, and the host's thoughtfulness. \u003cbr data-start=\"196\" data-end=\"199\"\u003eThis piece, \"White Porcelain Incense Burner,\" fulfills its function of dispensing incense, while at the same time possessing a presence \u003cstrong data-start=\"227\" data-end=\"249\"\u003ethat changes the density of the space it is placed in\u003c\/strong\u003e . The silence of the white porcelain absorbs the colors and textures of its surroundings, and the \"preparation of silence\" begins even before the incense is released. \u003c\/p\u003e\n\n\u003chr data-start=\"304\" data-end=\"307\"\u003e\n\n\u003ch2 data-section-id=\"b27eyn\" data-start=\"309\" data-end=\"335\"\u003e II. The Beauty of White Porcelain: White is the Most Eloquent and the Most Ascetic\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"jxewrq\" data-start=\"336\" data-end=\"357\"\u003e 2-1 Depth of White: Porcelain Surface that Captures Light\u003c\/h3\u003e\n\n \u003cp data-start=\"358\" data-end=\"542\"\u003eThe white of this piece is not simply a uniformly bright white. The porcelain surface \u003cstrong data-start=\"384\" data-end=\"396\"\u003esoftly diffuses light\u003c\/strong\u003e , and the shadows shift smoothly according to the gradient of the surface, creating a subtle depth within the tranquility. Because white porcelain has little color information, the slight differences in shape and surface directly express the piece's expression. Rather than treating white as \"colorless,\" Matsukawa Kazuhiro sees it as \u003cstrong data-start=\"501\" data-end=\"515\"\u003ea material for designing the quality of light\u003c\/strong\u003e , crystallizing a rich tranquility on the vessel.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"525m2g\" data-start=\"544\" data-end=\"564\"\u003e 2-2 A very faint scene appears on the rim\u003c\/h3\u003e\n\n \u003cp data-start=\"565\" data-end=\"690\"\u003eThe faint pattern that appears around the rim (a fluctuation caused by firing) maintains the tension of the white porcelain while giving the vessel a slight warmth. It is not completely pure, but only a trace of the flame and the hand remains. This \"slight fluctuation\" creates an evocative \u003cstrong data-start=\"673\" data-end=\"682\"\u003esense of wabi\u003c\/strong\u003e , a style befitting a tool like an incense burner. \u003c\/p\u003e\n\n\u003chr data-start=\"692\" data-end=\"695\"\u003e\n\n\u003ch2 data-section-id=\"c6ca09\" data-start=\"697\" data-end=\"723\"\u003e III. Shape and Design: Giving shape to the incense path\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1vew4qk\" data-start=\"724\" data-end=\"749\"\u003e 3-1 The floating sensation created by the tripod: a structure for purity\u003c\/h3\u003e\n\n\u003cp data-start=\"750\" data-end=\"897\"\u003e A distinctive feature of this piece is that the tripod slightly raises the vessel, lifting it off the floor. This \u003cstrong data-start=\"816\" data-end=\"879\"\u003egives the incense vessel a \"layer of purity\" both visually and functionally. The scent of incense is most beautiful when it rises quietly from a low position. The tripod is not merely a design element; it also gives the vessel a sense of elevation, a necessary element for the act of burning incense\u003c\/strong\u003e .\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"ywq0f0\" data-start=\"899\" data-end=\"930\"\u003e3-2 Openwork on the lid: To ensure the incense stands out in a balanced manner\u003c\/h3\u003e\n\n\u003cp data-start=\"931\" data-end=\"1083\"\u003e The fire shed, which is set into the interior, has radial openwork. It is not enough for the incense to spray out forcefully; it is important that it rises \u003cstrong data-start=\"978\" data-end=\"996\"\u003equietly, yet surely and evenly\u003c\/strong\u003e . The rhythm of the openwork regulates the flow of the fragrance, gently tuning the speed and intensity at which the incense spreads through the space. It can be said that the composition presents the \"pathway\" of the incense itself as a design.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"11yzaod\" data-start=\"1085\" data-end=\"1115\"\u003e 3-3 The shape of the knob: A single upward point tightens the whole piece\u003c\/h3\u003e\n\n\u003cp data-start=\"1116\" data-end=\"1227\"\u003e The central knob stands out as a small protrusion reminiscent of a bud or drop, giving the white world an \"upward will.\" This single point connects the expanse of the vessel (horizontal) with the rising of the incense (vertical), visualizing its meaning as an incense vessel.\u003c\/p\u003e\n\n\u003chr data-start=\"1229\" data-end=\"1232\"\u003e\n\n \u003ch2 data-section-id=\"p6cwox\" data-start=\"1234\" data-end=\"1263\"\u003eIV. Resonating with History: The Lineage of White Porcelain and the \"White\" of the Tea Ceremony\u003c\/h2\u003e\n\n\u003cp data-start=\"1264\" data-end=\"1422\"\u003e White porcelain is established as a symbol of purity and elegance in the history of Chinese ceramics, and has also earned a unique place in the Japanese tea ceremony. White is not flashy, but functions as \u003cstrong data-start=\"1326\" data-end=\"1337\"\u003ea power to organize space\u003c\/strong\u003e . Black creates tension, and white allows breathing—among the utensils, this piece can become the \"main character of the white space.\" The space is already clear even before the fragrance rises. This clarity is the aesthetic of white porcelain. \u003c\/p\u003e\n\n\u003chr data-start=\"1424\" data-end=\"1427\"\u003e\n\n\u003ch2 data-section-id=\"1cnb8bd\" data-start=\"1429\" data-end=\"1459\"\u003e V. About the artist - Kazuhiro Matsukawa Biography, exhibition history, and awards\u003c\/h2\u003e\n\n \u003cp data-start=\"1460\" data-end=\"1663\"\u003eKazuhiro Matsukawa studied ceramics at Nara College of Arts and Music, and after graduating from the Kyoto Prefectural Pottery Technical College, \u003cstrong data-start=\"1500\" data-end=\"1512\"\u003ehe studied under Takahiro Kondo\u003c\/strong\u003e . In 2006, he went independent and opened a kiln in Kawachinagano City. Since then, he has held numerous solo exhibitions, including at department stores and art museums, and has built a solid reputation, winning \u003cstrong data-start=\"1571\" data-end=\"1583\"\u003ethe Japan Crafts Council President's Award\u003c\/strong\u003e at the 55th Japan Traditional Crafts Exhibition. This work beautifully embodies his approach to honing the precision of form and rationality of use in white porcelain, the most unmistakable material.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n \u003cp data-start=\"1810\" data-end=\"2520\"\u003e2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka) \u003cbr data-start=\"2231\" data-end=\"2234\"\u003e2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art \u003c\/p\u003e\n\n\u003chr data-start=\"2612\" data-end=\"2615\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"2617\" data-end=\"2623\"\u003e summary\u003c\/h2\u003e\n\n \u003cp data-start=\"2624\" data-end=\"2761\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe white porcelain incense burner by Matsukawa Kazuhiro is a masterpiece that perfectly combines the functional beauty of burning incense with the serenity of white porcelain. The tripod creates a floating feeling, the openwork fire sill balances the fragrance, and the white color clarifies the space. Simply placing it at a tea ceremony will not only bring about a sense of incense, but will also quietly harmonize the atmosphere and gently open the senses of guests.\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51720770158872,"sku":null,"price":143000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_mkawa_01-01.jpg?v=1773465832"},{"product_id":"2青白磁銀彩香器","title":"Blue and white porcelain silver-glazed incense burner by Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"75\"\u003e Blue-and-white porcelain silver-glazed incense burner by Kazuhiro Matsukawa (diameter: 11.2 cm, height: 12.0 cm)\u003cbr data-start=\"34\" data-end=\"37\"\u003e -- \"A silver nebula dwells in the pale tranquility. A modern purity, with the scent of fragrance sealed within a sphere.\" \u003c\/p\u003e\n\n\u003chr data-start=\"77\" data-end=\"80\"\u003e\n\n\u003ch2 data-section-id=\"1u0cyfv\" data-start=\"82\" data-end=\"99\"\u003e Ⅰ Incense vessels as \"sculptures of presence\"\u003c\/h2\u003e\n\n \u003cp data-start=\"100\" data-end=\"302\"\u003eAn incense burner is not only a tool for burning incense, but also \u003cstrong data-start=\"121\" data-end=\"155\"\u003ea device that gives the invisible fragrance a \"shape\" in space\u003c\/strong\u003e . Incense rises as smoke and eventually disappears. However, the incense burner captures this fleeting phenomenon, adjusting the intensity, spread, and lingering aftertaste of the fragrance, and determining the rhythm of the tea ceremony.\u003cbr data-start=\"223\" data-end=\"226\"\u003e Matsukawa Kazuhiro's \"Blue and White Porcelain Silver-Decorated Incense Burner\" not only has the functionality required of an incense burner, but also displays a high level of perfection in its form - it is truly a work that could be called a \"sculpture of presence.\" \u003c\/p\u003e\n\n\u003chr data-start=\"304\" data-end=\"307\"\u003e\n\n\u003ch2 data-section-id=\"1206nny\" data-start=\"309\" data-end=\"333\"\u003e II. Blue-and-white porcelain: A \"deeper, quieter white\" than white porcelain\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1vzwe41\" data-start=\"334\" data-end=\"364\"\u003e 2-1 Pale-white color: not cold, but clear and transparent\u003c\/h3\u003e\n\n \u003cp data-start=\"365\" data-end=\"568\"\u003eThe pale blue porcelain in this piece is a white with a slight blue tinge, which is different from pure white porcelain. Rather than being cold, it has \u003cstrong data-start=\"414\" data-end=\"432\"\u003ea crystal clear transparency like the surface of water\u003c\/strong\u003e . When light hits the piece, faint shadows slide along the gradient of the surface, and the body of the vessel stands out as a layer of light rather than as a simple \"white\" piece.\u003cbr data-start=\"493\" data-end=\"496\"\u003e The clarity of blue-and-white porcelain is an excellent match for tools that handle the invisible substance of incense, and the moment it is placed in the room, it subtly lowers the temperature and creates a sense of calm.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1k0xvzy\" data-start=\"570\" data-end=\"594\"\u003e 2-2 The spherical volume creates stable breathing\u003c\/h3\u003e\n\n \u003cp data-start=\"595\" data-end=\"754\"\u003eWhat is striking about this piece is the rounded, almost spherical body. Its angular volume draws the eye and soothes the senses. In the tea ceremony, roundness often symbolizes \"softness,\" but Matsukawa Kazuhiro's roundness is not sweet, but rather \u003cstrong data-start=\"688\" data-end=\"701\"\u003ea balance that contains tension\u003c\/strong\u003e . Even before the incense rises, the vessel itself is already a reference point of tranquility—the power of its design is palpable. \u003c\/p\u003e\n\n\u003chr data-start=\"756\" data-end=\"759\"\u003e\n\n\u003ch2 data-section-id=\"1ca7k9p\" data-start=\"761\" data-end=\"790\"\u003e III. Ginsai - \"Another skin\" that glows quietly like moonlight\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"10loffk\" data-start=\"791\" data-end=\"819\"\u003e 3-1 The role of Ginsai: not just decoration, but a film that reflects the passage of time\u003c\/h3\u003e\n\n \u003cp data-start=\"820\" data-end=\"1031\"\u003eThe silver glaze on this piece is not simply a gorgeous decoration. While silver strongly reflects light, its appearance changes dramatically depending on the light source and the angle from which it is viewed, sometimes appearing subdued and sometimes sparkling. In other words, the silver glaze \u003cstrong data-start=\"904\" data-end=\"977\"\u003e\u003cstrong data-start=\"920\" data-end=\"968\"\u003eis a film that reflects the time of day (illumination, twilight, night light) on the vessel.\u003cbr data-start=\"932\" data-end=\"935\"\u003e The silver glaze creates a \"faint light\" that resonates with the serenity of the pale blue porcelain, giving the entire incense vessel\u003c\/strong\u003e a moon-like presence\u003c\/strong\u003e . Clear in the day, mysterious at night. The fact that its appearance changes depending on the conditions of the setting is also one of the reasons why this piece never gets old as a tool.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1x3aed2\" data-start=\"1033\" data-end=\"1059\"\u003e 3-2 A nebula-like landscape created by delicate unevenness\u003c\/h3\u003e\n\n \u003cp data-start=\"1060\" data-end=\"1203\"\u003eThe silver glaze surface has an extremely fine, granular appearance. Rather than a uniform mirror surface, the subtle undulations cause light to scatter in spots, giving it \u003cstrong data-start=\"1118\" data-end=\"1131\"\u003ea nebula-like expanse\u003c\/strong\u003e . In contrast to the smooth stillness of the pale blue porcelain, the silver glaze has a murmuring (however extremely minimal) presence on all sides, and the work simultaneously embraces two periods of time: stillness and slight movement. \u003c\/p\u003e\n\n\u003chr data-start=\"1205\" data-end=\"1208\"\u003e\n\n\u003ch2 data-section-id=\"1rj67ax\" data-start=\"1210\" data-end=\"1237\"\u003e IV. Shape and Function - To ensure a well-balanced fragrance\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"o84s8t\" data-start=\"1238\" data-end=\"1262\"\u003e 4-1 Lid and watermark: Adjusting the flow of aroma\u003c\/h3\u003e\n\n\u003cp data-start=\"1263\" data-end=\"1445\"\u003e The top is fitted with a lid with a knob, and the openwork (opening in the fire pit) guides the incense to escape. Incense is not best when it is sprayed forcefully; it is most beautiful when it rises \u003cstrong data-start=\"1321\" data-end=\"1335\"\u003equietly, evenly, and in a thin stream\u003c\/strong\u003e . The openwork in this piece regulates the flow of the incense, slowing the rate at which it spreads throughout the space. \u003cbr data-start=\"1385\" data-end=\"1388\"\u003eAn incense burner is not the \"fragrance itself\" but a tool that controls \"how the fragrance is released.\" In that sense, this design makes perfect sense.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bp72an\" data-start=\"1447\" data-end=\"1476\"\u003e 4-2 Three legs: Cleanliness obtained by slightly lifting it off the floor\u003c\/h3\u003e\n\n\u003cp data-start=\"1477\" data-end=\"1670\"\u003e The base is supported by three legs, allowing the vessel to float slightly off the floor. This \"slight floating\" is a crucial feature of the incense vessel. Fragrances tend to rise upwards, and by having the vessel raised from the floor, the incense rises more naturally, both visually and psychologically.\u003cbr data-start=\"1592\" data-end=\"1595\"\u003e At the same time, the legs cast a shadow, giving the spherical volume \u003cstrong data-start=\"1613\" data-end=\"1627\"\u003ea sense of light and sharpness\u003c\/strong\u003e . Quiet yet strong—this balance is supported by the design of the legs. \u003c\/p\u003e\n\n\u003chr data-start=\"1672\" data-end=\"1675\"\u003e\n\n\u003ch2 data-section-id=\"t630fl\" data-start=\"1677\" data-end=\"1702\"\u003e V. Echoing with History - Pale and Silver, the Lineage of Purity\u003c\/h2\u003e\n\n \u003cp data-start=\"1703\" data-end=\"1930\"\u003eEven within the lineage of white porcelain, pale blue porcelain exudes a particularly clear quality. By adding the modern element of silver glaze to this work, it maintains the purity of the classics while achieving a tension befitting a modern space.\u003cbr data-start=\"1798\" data-end=\"1801\"\u003e The tea ceremony is not a world where gold and silver are needlessly flaunted. However, allowing the minimum amount of light—such as moonlight—to be concentrated in a single point actually deepens the sense of serenity. The silver glaze on this piece is exactly that, letting a ray of light shine into the stillness without disturbing the silence of the pale blue porcelain. \u003c\/p\u003e\n\n\u003chr data-start=\"1932\" data-end=\"1935\"\u003e\n\n\u003ch2 data-section-id=\"8hd73t\" data-start=\"1937\" data-end=\"1968\"\u003e VI About the artist: Kazuhiro Matsukawa (biography, exhibition history, awards)\u003c\/h2\u003e\n\n \u003cp data-start=\"1969\" data-end=\"2175\"\u003eKazuhiro Matsukawa studied ceramics at Nara College of Arts, and after graduating from the Kyoto Prefectural Pottery Technical College, he \u003cstrong data-start=\"2009\" data-end=\"2021\"\u003estudied under Takahiro Kondo\u003c\/strong\u003e . In 2006, he went independent and opened a kiln in Kawachinagano City. Since then, he has held numerous solo exhibitions, including at department stores and art museums, and has built a solid reputation, winning \u003cstrong data-start=\"2080\" data-end=\"2092\"\u003ethe Japan Crafts Council President's Award\u003c\/strong\u003e at the 55th Japan Traditional Crafts Exhibition. The tranquility of blue-and-white porcelain, the subtle glow of silver glaze, and the precision of form—his ability to perfectly combine these elements is the culmination of years of study and discerning aesthetic sense.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"2177\" data-end=\"2185\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"2186\" data-end=\"2305\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"2202\" data-end=\"2205\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"2225\" data-end=\"2228\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"2246\" data-end=\"2249\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"2283\" data-end=\"2286\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"2307\" data-end=\"2321\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n \u003cp data-start=\"2322\" data-end=\"3032\"\u003e2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"2348\" data-end=\"2351\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2374\" data-end=\"2377\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"2399\" data-end=\"2402\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"2421\" data-end=\"2424\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"2450\" data-end=\"2453\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"2475\" data-end=\"2478\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"2502\" data-end=\"2505\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2527\" data-end=\"2530\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2552\" data-end=\"2555\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2581\" data-end=\"2584\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2614\" data-end=\"2617\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2646\" data-end=\"2649\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2683\" data-end=\"2686\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2721\" data-end=\"2724\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka) \u003cbr data-start=\"2743\" data-end=\"2746\"\u003e2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2773\" data-end=\"2776\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2804\" data-end=\"2807\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2823\" data-end=\"2826\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2852\" data-end=\"2855\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2893\" data-end=\"2896\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2912\" data-end=\"2915\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2949\" data-end=\"2952\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2969\" data-end=\"2972\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2991\" data-end=\"2994\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"3011\" data-end=\"3014\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"3034\" data-end=\"3043\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"3044\" data-end=\"3094\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"3068\" data-end=\"3071\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"3096\" data-end=\"3113\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"3114\" data-end=\"3122\"\u003e Midorigaoka Museum of Art \u003c\/p\u003e\n\n\u003chr data-start=\"3124\" data-end=\"3127\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"3129\" data-end=\"3135\"\u003e summary\u003c\/h2\u003e\n\n \u003cp data-start=\"3136\" data-end=\"3270\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe blue-and-white porcelain silver-glazed incense burner by Matsukawa Kazuhiro combines the purity of the blue-and-white color with the faint light of the silver glaze into a nearly spherical shape. It deepens the sense of serenity, reflects the light, and regulates the release of the incense. When placed at a tea ceremony, the scent will not overpower the space, but will certainly clarify the contours of the space and gently awaken the senses of your guests.\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51720770191640,"sku":null,"price":198000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_kaa_02-01.jpg?v=1773466235"},{"product_id":"3青白磁銀彩香器","title":"Blue and white porcelain silver-glazed incense burner by Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"73\"\u003e Blue-and-white porcelain silver-glazed incense burner by Kazuhiro Matsukawa (diameter: 7.1 cm, height: 6.6 cm)\u003cbr data-start=\"32\" data-end=\"35\"\u003e -- \"A pale blue in the palm of your hand, a single sliver of incense on a silver lid. This small vessel achieves the ultimate in 'density of silence.'\" \u003c\/p\u003e\n\n\u003chr data-start=\"75\" data-end=\"78\"\u003e\n\n\u003ch2 data-section-id=\"tbhhcw\" data-start=\"80\" data-end=\"97\"\u003e Ⅰ The “smallest universe” of incense vessels\u003c\/h2\u003e\n\n \u003cp data-start=\"98\" data-end=\"314\"\u003eAn incense burner is not only a tool for burning incense, but also a vessel that transforms the invisible scent into \u003cstrong data-start=\"128\" data-end=\"137\"\u003espatial order\u003c\/strong\u003e . In particular, for a small piece like this one, measuring 7.1cm in diameter and 6.6cm in height, even a flaw in the shape, texture, or function immediately disrupts the overall tension.\u003cbr data-start=\"226\" data-end=\"229\"\u003e However, this incense burner by Matsukawa Kazuhiro is small enough to fit in the palm of your hand, yet it combines \u003cstrong data-start=\"259\" data-end=\"272\"\u003ea structure that allows the incense to rise\u003c\/strong\u003e and \u003cstrong data-start=\"284\" data-end=\"294\"\u003ea design that creates a tranquil atmosphere that\u003c\/strong\u003e helps the viewer to regulate their breathing, all with an astonishingly high level of density. \u003c\/p\u003e\n\n\u003chr data-start=\"316\" data-end=\"319\"\u003e\n\n\u003ch2 data-section-id=\"1r8juu0\" data-start=\"321\" data-end=\"345\"\u003e II. Blue-and-white porcelain: a clear blue deeper than \"white\"\u003c\/h2\u003e\n\n \u003cp data-start=\"346\" data-end=\"563\"\u003eThe appeal of pale blue porcelain lies not simply in the beauty of its color, but in \u003cstrong data-start=\"379\" data-end=\"388\"\u003ethe gentle gradations\u003c\/strong\u003e it creates when exposed to light. The body of this piece is based on a rounded bulge, tapering slightly at the bottom and gently sloping down to three legs.\u003cbr data-start=\"446\" data-end=\"449\"\u003e The pale blue glaze is not a cold blue, but \u003cstrong data-start=\"465\" data-end=\"480\"\u003ea clear blue like the surface of water\u003c\/strong\u003e . Depending on the angle of the light, the pale blue may sink slightly deeper or suddenly become brighter. This subtle change creates a \"tranquil expression\" that is appropriate for vessels that handle the invisible substance of incense. \u003c\/p\u003e\n\n\u003chr data-start=\"565\" data-end=\"568\"\u003e\n\n\u003ch2 data-section-id=\"14ekucr\" data-start=\"570\" data-end=\"595\"\u003e III. Silver-painted lid: Showing the incense outlet with a \"faint light\"\u003c\/h2\u003e\n\n\u003cp data-start=\"596\" data-end=\"786\"\u003e The silver glaze in this work is concentrated on the top part of the vessel (the lid), and the faint light of the silver adds a point of tension to the soft silence of the pale blue porcelain. \u003cbr data-start=\"649\" data-end=\"652\"\u003eThe lid has gentle, concentric wheel marks and a small, elegant central knob. Even more noteworthy is the narrow opening (openwork) in the lid. The more beautiful the incense, the \u003cstrong data-start=\"729\" data-end=\"743\"\u003emore subtle, even, and quiet\u003c\/strong\u003e it rises, rather than erupting forcefully. In this piece, the \"path of incense\" is elegantly engraved into the silver-colored surface.\u003c\/p\u003e\n\n\u003cp data-start=\"788\" data-end=\"899\"\u003e Silver reflects light, sometimes changing color depending on the angle from which it is viewed, sometimes softly dull - in other words, Ginsai is a film that reflects \u003cstrong data-start=\"826\" data-end=\"836\"\u003ethe passage of time\u003c\/strong\u003e on the vessel. Clear in the day, mysterious at night. Although it is a small incense vessel, it changes its appearance depending on the light of the place, and quietly responds to the scent of the fragrance. \u003c\/p\u003e\n\n\u003chr data-start=\"901\" data-end=\"904\"\u003e\n\n\u003ch2 data-section-id=\"44d19c\" data-start=\"906\" data-end=\"930\"\u003e IV. Form and Function - The \"Pure Floating\" Feeling Created by a Tripod\u003c\/h2\u003e\n\n \u003cp data-start=\"931\" data-end=\"1132\"\u003eThe body is round and has a rich volume, but it is slightly raised off the floor by three legs. This \"slightly floating\" design is a crucial factor in the quality of the incense burner.\u003cbr data-start=\"1004\" data-end=\"1007\"\u003e Incense rises upwards, but by not placing the vessel in direct contact with the floor, the incense rises more naturally, both visually and psychologically. The small shadow cast by the legs tightens the roundness of the vessel, giving \u003cstrong data-start=\"1091\" data-end=\"1101\"\u003ea dignified outline\u003c\/strong\u003e to the softness of the pale blue porcelain. The smaller the piece, the more effective this tightness of the shadow is. \u003c\/p\u003e\n\n\u003chr data-start=\"1134\" data-end=\"1137\"\u003e\n\n\u003ch2 data-section-id=\"1itkycq\" data-start=\"1139\" data-end=\"1171\"\u003e V. Echoing History - Pale-white and Silver, a Combination that Enhances Serenity\u003c\/h2\u003e\n\n \u003cp data-start=\"1172\" data-end=\"1349\"\u003eWhile the tea ceremony discourages extravagance, it deepens the sense of serenity by allowing only the minimum amount of light—such as moonlight—to shine in a single point. The silver glaze on this piece does not disrupt the silence of the pale blue porcelain, but instead lets a \"core of faint light\" shine through the quiet space.\u003cbr data-start=\"1278\" data-end=\"1281\"\u003e The aftertaste of incense is more of a lingering feeling than a flashy scent. This piece can be said to be an incense burner that embodies the aesthetics of that aftertaste on a minimal scale. \u003c\/p\u003e\n\n\u003chr data-start=\"1351\" data-end=\"1354\"\u003e\n\n\u003ch2 data-section-id=\"8hd73t\" data-start=\"1356\" data-end=\"1387\"\u003e VI About the artist: Kazuhiro Matsukawa (biography, exhibition history, awards)\u003c\/h2\u003e\n\n \u003cp data-start=\"1388\" data-end=\"1610\"\u003eKazuhiro Matsukawa studied ceramics at Nara College of Arts, and after graduating from the Kyoto Prefectural Pottery Technical College, he \u003cstrong data-start=\"1428\" data-end=\"1440\"\u003estudied under Takahiro Kondo\u003c\/strong\u003e . In 2006, he went independent and opened a kiln in Kawachinagano City. Since then, he has held numerous solo exhibitions, including at department stores and art museums, and has built a solid reputation, winning \u003cstrong data-start=\"1499\" data-end=\"1511\"\u003ethe Japan Crafts Council President's Award\u003c\/strong\u003e at the 55th Japan Traditional Crafts Exhibition.\u003cbr data-start=\"1536\" data-end=\"1539\"\u003e This incense burner also perfectly combines the clarity of the blue-and-white porcelain, the moderation of the silver glaze, and the precision of the design, and its small size, which fits in the palm of your hand, embodies Matsukawa Kazuhiro's mature aesthetic sense.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo \u003cbr data-start=\"1718\" data-end=\"1721\"\u003e2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11) \u003cbr data-start=\"2118\" data-end=\"2121\"\u003e2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art \u003c\/p\u003e\n\n\u003chr data-start=\"2559\" data-end=\"2562\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"2564\" data-end=\"2570\"\u003e summary\u003c\/h2\u003e\n\n \u003cp data-start=\"2571\" data-end=\"2726\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe pale blue porcelain silver-glazed incense burner by Kazuhiro Matsukawa (7.1cm diameter, 6.6cm height) condenses the pure serenity of pale blue porcelain and the faint light of silver into a microcosm that fits in the palm of your hand. The narrow opening of the incense outlet and the tripod create a pure, floating effect, with light and time reflected on the lid. When placed at a tea ceremony, the scent does not overpower, but certainly clarifies the contours of the space and deepens the sense of serenity.\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51720770519320,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsawa_03-01.jpg?v=1773466578"},{"product_id":"4青白磁香器","title":"Blue and white porcelain incense ware Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"65\"\u003e Blue and white porcelain incense burner by Kazuhiro Matsukawa (Φ: 8.2cm H: 7.0cm)\u003cbr data-start=\"29\" data-end=\"32\"\u003e -- \"The tranquility of the color of water. The fragrance rising from the watermark is as soft as morning mist.\" \u003c\/p\u003e\n\n\u003chr data-start=\"67\" data-end=\"70\"\u003e\n\n\u003ch2 data-section-id=\"4sqmki\" data-start=\"72\" data-end=\"90\"\u003e Ⅰ The incense vessel as the \"starting point of tranquility\"\u003c\/h2\u003e\n\n\u003cp data-start=\"92\" data-end=\"318\"\u003e An incense burner is not only a tool for burning incense, but also the starting point for adjusting the atmosphere during a tea ceremony. Although the incense is invisible, as it rises, it clarifies the contours of the space and quietly harmonizes the breathing of the guests. \u003cbr data-start=\"172\" data-end=\"175\"\u003eThis \"Blue and White Porcelain Incense Burner\" embodies in its easy-to-handle dimensions of Φ8.2 x H7.0 the ideal requirements of an incense burner - that the incense should gently release, not disturb the space, yet leave a lasting impression - in a neat and tidy form. Though it is small, it brings a space to a tranquil state the moment it is placed in the room. This incense burner begins the \"preparation for tranquility\" even before the incense is burned. \u003c\/p\u003e\n\n\u003chr data-start=\"320\" data-end=\"323\"\u003e\n\n\u003ch2 data-section-id=\"1hff9bw\" data-start=\"325\" data-end=\"353\"\u003e II. The appeal of pale blue porcelain: \"Clearer than white, softer than blue\"\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"uwn19b\" data-start=\"355\" data-end=\"375\"\u003e 2-1 Pale blue porcelain surface: Still water containing light\u003c\/h3\u003e\n\n\u003cp data-start=\"376\" data-end=\"551\"\u003e Blue-and-white porcelain is a world based on the purity of white porcelain, with hints of very pale blue. The pale blue in this piece does not assert itself as a color, but rather softly captures light, and the smooth transition of shadows along the gradient of the surface creates \u003cstrong data-start=\"467\" data-end=\"480\"\u003ea tranquility like the surface of water\u003c\/strong\u003e . \u003cbr data-start=\"490\" data-end=\"493\"\u003eA clear temperature somewhere between the tension of white and the coolness of blue. Its exquisite thinness creates a space that is appropriate for a tool such as an incense vessel.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1ak39pq\" data-start=\"553\" data-end=\"578\"\u003e 2-2 Contrast with the White Fire House: Purity becomes two-tiered\u003c\/h3\u003e\n\n\u003cp data-start=\"579\" data-end=\"693\"\u003e The body of the incense vessel is pale blue, while the fire lid (the white lid on top) is white. The intersection of these two whites prevents the vessel from being monotonous, and deepens its purity in two layers. Pale blue represents air, and white represents light. The contrast between the two echoes the incense's invisible nature, elevating its status as a vessel for receiving something invisible. \u003c\/p\u003e\n\n\u003chr data-start=\"695\" data-end=\"698\"\u003e\n\n\u003ch2 data-section-id=\"c6ca09\" data-start=\"700\" data-end=\"726\"\u003e III. Shape and Design: Giving shape to the incense path\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"5odmtf\" data-start=\"728\" data-end=\"758\"\u003e 3-1 The floating feeling of a tripod: the purity that comes from being away from the floor\u003c\/h3\u003e\n\n \u003cp data-start=\"759\" data-end=\"956\"\u003eThe greatest appeal of this piece is the way the vessel is slightly elevated by the tripod. While an incense vessel is a tool that uses fire, it also symbolizes \"purity\" in the tea ceremony. As the vessel floats above the floor and a shadow is cast beneath it, the vessel acquires \u003cstrong data-start=\"863\" data-end=\"871\"\u003ea layer of visual purity\u003c\/strong\u003e .\u003cbr data-start=\"878\" data-end=\"881\"\u003e Furthermore, the more the scent rises quietly from a low position, the more beautiful it is. The tripod is not just a design element; it also prepares the vessel for a story of the scent rising up.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"37optc\" data-start=\"958\" data-end=\"985\"\u003e 3-2 Openwork design: To ensure the fragrance stands out in a balanced way\u003c\/h3\u003e\n\n\u003cp data-start=\"986\" data-end=\"1157\"\u003e The openworks on the fire shed are arranged in a rhythmic radial pattern, and serve to regulate the flow of incense. It is not enough for the incense to spray out strongly; it is important that it rises quietly, evenly, yet surely. \u003cbr data-start=\"1074\" data-end=\"1077\"\u003eThe rhythm of the openwork gently regulates the speed and intensity of the fragrance, adjusting the \"quality\" of the fragrance as it spreads through the space.It can be said that this composition presents the invisible path of the fragrance as a visible design.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"17n0nzq\" data-start=\"1159\" data-end=\"1188\"\u003e 3-3 Picking point: Upward will tightens the whole\u003c\/h3\u003e\n\n\u003cp data-start=\"1189\" data-end=\"1318\"\u003e The knob in the center stands out as a small protrusion reminiscent of a bud or drop, providing a point of tension in the white world. This point connects the horizontality (stability) of the vessel and the verticality (ascent) of the incense, visualizing its meaning as an incense vessel. Though small in size, it is the key element that determines the overall posture. \u003c\/p\u003e\n\n\u003chr data-start=\"1320\" data-end=\"1323\"\u003e\n\n\u003ch2 data-section-id=\"3vwn3d\" data-start=\"1325\" data-end=\"1352\"\u003e IV. Resonance with History: Incense and the Spirituality of White Porcelain and Blue-and-White Porcelain\u003c\/h2\u003e\n\n\u003cp data-start=\"1354\" data-end=\"1572\"\u003e Since ancient times, incense has been used to purify a space, calm the mind, and change the flow of time. The culture of incense respects the invisible, avoids excessive decoration, and seeks precision in its presence. \u003cbr data-start=\"1429\" data-end=\"1432\"\u003eThe pale blue porcelain material is not flashy, but rather contributes to the clarity of the space. The black creates tension, the white allows breath, and the pale blue creates the depth of still water. This piece captures the invisible world of incense with the power of the pale blue. The space becomes clear even before the incense is released. This clarity is the aesthetic of pale blue porcelain and the essence of an incense vessel. \u003c\/p\u003e\n\n\u003chr data-start=\"1574\" data-end=\"1577\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1579\" data-end=\"1585\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1587\" data-end=\"1770\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e This pale blue porcelain incense burner by Kazuhiro Matsukawa is a masterpiece that combines the functional beauty of an incense burner with the clear serenity of pale blue porcelain, all in its small dimensions of Φ8.2 x H7.0. The tripod creates a floating feeling, the openwork harmonizes the fragrance, and the two layers of purity created by the white husk and the pale blue body.\u003cbr data-start=\"1688\" data-end=\"1691\"\u003e Simply placing it in a tea ceremony setting quietly brings the space into order, and the moment the incense rises, the contours of the space become even clearer. This incense burner is a refined embodiment of the \"precise presence\" sought by incense culture.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture \u003cbr data-start=\"1637\" data-end=\"1640\"\u003e1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09) \u003cbr data-start=\"2049\" data-end=\"2052\"\u003e2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award) \u003cbr data-start=\"2503\" data-end=\"2506\"\u003e55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51720772288792,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matwa_04-01.jpg?v=1773466853"},{"product_id":"5青白磁銀彩陶筥","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"84\"\u003e Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 9.5cm D: 6.0cm H: 6.7cm)\u003cbr data-start=\"39\" data-end=\"42\"\u003e -- \"The pale blue still water is protected by the silvery rock surface. A dialogue of textures between the moon and the stone is encapsulated in a box of straight lines.\" \u003c\/p\u003e\n\n\u003chr data-start=\"86\" data-end=\"89\"\u003e\n\n\u003ch2 data-section-id=\"1edgdm4\" data-start=\"91\" data-end=\"111\"\u003e I. The ceramic box as a stage for storing things\u003c\/h2\u003e\n\n\u003cp data-start=\"113\" data-end=\"337\"\u003e A ceramic box is not only a container for storing something, but also \u003cstrong data-start=\"132\" data-end=\"156\"\u003ea tool that transforms the act of storing something into beauty\u003c\/strong\u003e . The moment the lid is slid on and the gaps fit together, the air becomes quieter. When opened, the space inside is revealed, revealing not only the contents stored inside but also the atmosphere that permeates it. \u003cbr data-start=\"228\" data-end=\"231\"\u003eThis piece, \"Blue and White Porcelain Silver-Decorated Ceramic Box,\" is easy to handle and fits in the palm of your hand, while its rectangular proportions give it a sense of stability when placed down. Though small, it stands tall and dignified—its appearance is captivating. \u003c\/p\u003e\n\n\u003chr data-start=\"339\" data-end=\"342\"\u003e\n\n\u003ch2 data-section-id=\"z4k9sc\" data-start=\"344\" data-end=\"374\"\u003e II. Blue-and-white porcelain: \"Clearer than white, softer than blue\" - inner space\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"qo5dmw\" data-start=\"376\" data-end=\"404\"\u003e 2-1 Pale blue spreading inside: A space to purify what you put away\u003c\/h3\u003e\n\n\u003cp data-start=\"405\" data-end=\"594\"\u003e When you remove the lid, the view is filled with the serenity of pale blue. The blue-and-white porcelain does not assert itself with color, but acts as \u003cstrong data-start=\"449\" data-end=\"470\"\u003ea skin that softly contains and quietly diffuses light\u003c\/strong\u003e .\u003cbr data-start=\"478\" data-end=\"481\"\u003e When incense, small tea ceremony utensils, sugar candy, or a seal is placed inside the box, the pale blue color does not disrupt the outline of the contents, but rather acts as a \"clean background\" to enhance them. The essence of a box lies not only in the design on the outside, but also in the white space on the inside. This box is one in which the white space is extremely beautiful.\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"d0fin8\" data-start=\"596\" data-end=\"613\"\u003e2-2 Temperature at the joint line\u003c\/h3\u003e\n\n\u003cp data-start=\"614\" data-end=\"712\"\u003e A pale orange hue resulting from the firing process can be seen faintly in the line that runs along the boundary between the body and lid. It is not completely pristine, and traces of the flame and the hands remain as slight warmth. This understatement further accentuates the purity of the pale blue porcelain. \u003c\/p\u003e\n\n\u003chr data-start=\"714\" data-end=\"717\"\u003e\n\n\u003ch2 data-section-id=\"12p85b8\" data-start=\"719\" data-end=\"743\"\u003e III. Ginsai - Not a mirror, but a \"rock-like light\"\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1qfhddu\" data-start=\"745\" data-end=\"768\"\u003e 3-1 Fine irregularities: Silver receives light in points\u003c\/h3\u003e\n\n\u003cp data-start=\"769\" data-end=\"929\"\u003e The silver glaze on this piece is not a smooth metallic glow. As you can see from the photo, the surface has fine grain and unevenness, and the light is not reflected all over the surface, but rather \u003cstrong data-start=\"836\" data-end=\"853\"\u003eit is received in points and scattered softly\u003c\/strong\u003e .\u003cbr data-start=\"860\" data-end=\"863\"\u003e The impression it gives is of moonlight, frost, snow, or the dull shine of stone. The silver stands out as a texture rather than a flashy look, giving the box an air of tranquility.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"d3rudg\" data-start=\"931\" data-end=\"960\"\u003e 3-2 Contrast of Silver and Blue: A duet of clarity, not coldness\u003c\/h3\u003e\n\n \u003cp data-start=\"961\" data-end=\"1109\"\u003eThe silver glaze represents the \"hard light\" on the outside, while the pale blue porcelain represents the \"still water\" on the inside. The roles of the outside and inside are clearly separated, giving the box a dual structure reminiscent of \"stone and water.\"\u003cbr data-start=\"1034\" data-end=\"1037\"\u003e The outside protects, the inside encases. A closed box creates tension, while an open box allows it to breathe - the interesting nature of the box form is made even more apparent by the contrast in materials. \u003c\/p\u003e\n\n\u003chr data-start=\"1111\" data-end=\"1114\"\u003e\n\n\u003ch2 data-section-id=\"12j4ffs\" data-start=\"1116\" data-end=\"1141\"\u003e IV. The Art of Form: The Direction of White Space Created by Rectangles\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1xb0wsi\" data-start=\"1143\" data-end=\"1164\"\u003e 4-1 It is rectangular, not square.\u003c\/h3\u003e\n\n\u003cp data-start=\"1165\" data-end=\"1313\"\u003e This box has the \"directionality\" of a rectangle, rather than the \"completeness\" of a square or cube. When placed, the eye naturally flows to the long side, creating a sense of spaciousness and open space, even though the box is small.\u003cbr data-start=\"1244\" data-end=\"1247\"\u003e In the tea ceremony utensil set, rectangular vessels easily match the vertical and horizontal relationships of the hanging scrolls and flower vases in the alcove, and are also a shape \u003cstrong data-start=\"1286\" data-end=\"1305\"\u003ethat is easy to use as a spatial component\u003c\/strong\u003e .\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"hqgfgj\" data-start=\"1315\" data-end=\"1336\"\u003e4-2 Corner treatment: Neat and gentle\u003c\/h3\u003e\n\n\u003cp data-start=\"1337\" data-end=\"1451\"\u003e The edges are neither too sharp nor too soft. The corners are softened slightly, preventing the roughness of the silver glaze from appearing too strong, giving the piece a neat and tidy appearance. Kazuhiro Matsukawa's sculptures always lie on the border between \"strength\" and \"restraint,\" and this piece also displays this merit well. \u003c\/p\u003e\n\n\u003chr data-start=\"1453\" data-end=\"1456\"\u003e\n\n\u003ch2 data-section-id=\"1l0983m\" data-start=\"1458\" data-end=\"1484\"\u003e V. Combinations and Uses: A Box of \"Purity\" and \"Texture\"\u003c\/h2\u003e\n\n\u003cp data-start=\"1486\" data-end=\"1683\"\u003e This piece shines particularly in times of cold transparency, such as the crisp winter air, the thin ice of early spring, or the clear night air of autumn. The silver glaze acts as frost and the moon, while the pale blue porcelain balances the atmosphere as water and air. \u003cbr data-start=\"1565\" data-end=\"1568\"\u003eIts uses are flexible. It can be used to store incense, sweets, or small items. Or it can even be left \u003cstrong data-start=\"1606\" data-end=\"1619\"\u003eempty, with nothing inside. Boxes are not just there to protect their contents\u003c\/strong\u003e , but also to slow the mind - and this piece certainly has that quiet effect. \u003c\/p\u003e\n\n\u003chr data-start=\"1685\" data-end=\"1688\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1690\" data-end=\"1696\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1698\" data-end=\"1875\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The Blue and White Porcelain Silver-glazed Ceramic Box is a tranquil, architectural piece that contrasts the pale, still water of the blue and white porcelain with the rock-like texture of the silver. When closed, the silver clarifies the space, and when opened, the pale blue white space appears, enhancing the atmosphere of the contents.\u003cbr data-start=\"1813\" data-end=\"1816\"\u003e This small masterpiece box harmonizes the space with \"light\" and \"texture,\" and will bring a dignified purity to both tea ceremonies and everyday life.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts \u003cbr data-start=\"1681\" data-end=\"1684\"\u003e2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka) \u003cbr data-start=\"2081\" data-end=\"2084\"\u003e2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003ePublic Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51720772485400,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_ukawa_05-01.jpg?v=1773467464"},{"product_id":"6青白磁銀彩陶筥","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"81\"\u003e Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (φ: 8.1cm H: 8.1cm)\u003cbr data-start=\"31\" data-end=\"34\"\u003e \"Silver falls on the pale blue still water. When the lid is closed, it reveals the moon; when it is opened, it reveals water—a box that contains two layers of scenery.\" \u003c\/p\u003e\n\n\u003chr data-start=\"83\" data-end=\"86\"\u003e\n\n\u003ch2 data-section-id=\"y4z3rg\" data-start=\"88\" data-end=\"110\"\u003e Ⅰ Ceramic box: a vessel that changes its appearance when opened or closed\u003c\/h2\u003e\n\n\u003cp data-start=\"112\" data-end=\"308\"\u003e A ceramic box is not simply a container for storing something. By fitting the lid, you close the atmosphere, and by opening it, you release the atmosphere - \u003cstrong data-start=\"163\" data-end=\"191\"\u003ethe act of opening and closing is itself a small ritual that adjusts the density of the space\u003c\/strong\u003e .\u003cbr data-start=\"194\" data-end=\"197\"\u003e This piece has a neat volume of φ8.1 x h8.1, and the expressions change clearly between the top (lid) and bottom (body). When closed, it is complete as a \"complete landscape,\" and the moment it is opened, another world appears. This is a piece that most beautifully demonstrates the appeal of the box form.\u003c\/p\u003e\n\n\u003chr data-start=\"310\" data-end=\"313\"\u003e\n\n \u003ch2 data-section-id=\"r3iz54\" data-start=\"315\" data-end=\"342\"\u003eII. Blue-and-white porcelain: \"Clearer than white, softer than blue\"\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"2xojr2\" data-start=\"344\" data-end=\"368\"\u003e 2-1 Pale blue porcelain surface: Designing light, not color\u003c\/h3\u003e\n\n\u003cp data-start=\"369\" data-end=\"519\"\u003e The blue-and-white porcelain body is not a uniform blue. It softly absorbs light, and the shadows change smoothly according to the slope of the surface, creating \u003cstrong data-start=\"418\" data-end=\"434\"\u003ea subtle depth within the stillness\u003c\/strong\u003e .\u003cbr data-start=\"443\" data-end=\"446\"\u003e Based on the purity of white porcelain, with a touch of pale blue, Kazuhiro Matsukawa's blue-and-white porcelain speaks more through the quality of its light than through its color. This restraint gives the box a dignity.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"ib8uhp\" data-start=\"521\" data-end=\"544\"\u003e 2-2 The \"subtle temperature\" seen in the joint line\u003c\/h3\u003e\n\n \u003cp data-start=\"545\" data-end=\"678\"\u003eA thin horizontal line appears at the boundary between the lid and the body. The pale orange color that peeks out there (a result of the firing process) \u003cstrong data-start=\"603\" data-end=\"623\"\u003einjects a touch of human warmth\u003c\/strong\u003e into the ascetic world of pale blue porcelain. It is not completely pristine, but rather bears \"modest\" traces of the flame and the hand. The traces are just the right amount, not compromising the dignified purity. \u003c\/p\u003e\n\n\u003chr data-start=\"680\" data-end=\"683\"\u003e\n\n\u003ch2 data-section-id=\"10yx6l7\" data-start=\"685\" data-end=\"708\"\u003e III. Ginsai - The upper lid as a \"skin that stores light\"\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"od8g7s\" data-start=\"710\" data-end=\"731\"\u003e 3-1 Silver is not a mirror, but a speck of moonlight\u003c\/h3\u003e\n\n\u003cp data-start=\"732\" data-end=\"887\"\u003e The silver glaze that covers the lid of this piece does not have a flashy, metallic shine. As you can see from the photo, the surface has fine grains that catch the light in points and scatter it softly. \u003cbr data-start=\"804\" data-end=\"807\"\u003eIts texture is similar to \u003cstrong data-start=\"827\" data-end=\"839\"\u003ethe cold, transparent brilliance\u003c\/strong\u003e of snow, frost, and moonlight. Because the silver is designed as a \"skin that stores light,\" the box's appearance changes subtly depending on the angle from which it is viewed.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1lyv6ml\" data-start=\"889\" data-end=\"916\"\u003e 3-2 Two-layer structure: upper (silver) and lower (blue): Visual poetry\u003c\/h3\u003e\n\n\u003cp data-start=\"917\" data-end=\"1056\"\u003e The lid is silver and the body is pale blue porcelain. The textures of the two materials overlap, creating a two-layered structure reminiscent of \"heaven and water.\"\u003cbr data-start=\"966\" data-end=\"969\"\u003e The silver glaze represents the \"light above,\" and the pale blue porcelain represents the \"clear surface of water.\" The closed vessel even evokes the serenity before the moon is reflected in the water. The smaller the vessel, the stronger this symbolism becomes, creating a clear tension in the space in which it is placed. \u003c\/p\u003e\n\n\u003chr data-start=\"1058\" data-end=\"1061\"\u003e\n\n\u003ch2 data-section-id=\"u3jbkc\" data-start=\"1063\" data-end=\"1090\"\u003e IV. The view inside – the “Pale Blue Room” that appears when opened\u003c\/h2\u003e\n\n\u003cp data-start=\"1092\" data-end=\"1314\"\u003e When you remove the lid, a pale blue space appears inside. The outside (silver glaze) collects light, while the inside (blue-white porcelain) quietly receives it. \u003cbr data-start=\"1142\" data-end=\"1145\"\u003eFurthermore, the soft, subtle coloring of the firing process appears on the inside and corners, giving a slight sense of turbulence to the still waters within. This \u003cstrong data-start=\"1222\" data-end=\"1298\"\u003eis not a flaw, but rather a breath of fresh air within the piece's perfection.\u003cbr data-start=\"1227\" data-end=\"1230\"\u003e You can store incense, sugar candy, small seals, or tea ceremony accessories in it. Or, even leaving it empty and leaving it blank can be beautiful. A box can also be a vessel for storing empty\u003c\/strong\u003e space. \u003c\/p\u003e\n\n\u003chr data-start=\"1316\" data-end=\"1319\"\u003e\n\n\u003ch2 data-section-id=\"1qljucd\" data-start=\"1321\" data-end=\"1347\"\u003e V. Combination - The cool brilliance of silver color for the tea ceremony season\u003c\/h2\u003e\n\n\u003cp data-start=\"1349\" data-end=\"1521\"\u003e This piece is well suited to the cold, transparent seasonal sensations of winter, the thin ice of early spring, and the clear night air of autumn. The silver glaze acts as the moon and frost, while the pale blue porcelain supports the scene as water and air. \u003cbr data-start=\"1430\" data-end=\"1433\"\u003ePlacing it on a black shelf or dark colored floorboard will highlight its contours, and combining it with white cloth or Japanese paper will enhance its purity.Among the tools, this box will not assert itself, but will act as the \"center of the white space\" and enhance the dignity of the entire space. \u003c\/p\u003e\n\n\u003chr data-start=\"1523\" data-end=\"1526\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1528\" data-end=\"1534\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1536\" data-end=\"1702\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The Blue and White Porcelain Silver-Glazed Ceramic Box is a tranquil and poetic piece that combines the clear silence of the blue and white porcelain with the sparkle of fine silver glitter. When closed, the silver clarifies the space like moonlight, and when opened, a pale blue space appears, and the scenery changes with every movement.\u003cbr data-start=\"1642\" data-end=\"1645\"\u003e This piece seems to contain \"light\" and \"water\" in two layers, and will bring a dignified purity to both tea ceremonies and everyday life.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003eMajor solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12) \u003cbr data-start=\"2156\" data-end=\"2159\"\u003eThree-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51720772845848,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsa_06-01_9b66045.jpg?v=1773468009"},{"product_id":"7青白磁陶筥","title":"Blue and white porcelain pot Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"75\"\u003e Blue and white porcelain box by Kazuhiro Matsukawa (φ: 8.1cm H: 8.1cm) \u003cbr data-start=\"29\" data-end=\"32\"\u003e-- \"White ridges carve into the pale blue silence. The shadows created by the carvings give the box a silent rhythm.\" \u003c\/p\u003e\n\n\u003chr data-start=\"77\" data-end=\"80\"\u003e\n\n\u003ch2 data-section-id=\"izc3sc\" data-start=\"82\" data-end=\"101\"\u003e Ⅰ Ceramic boxes as \"vessels that refine your behavior\"\u003c\/h2\u003e\n\n\u003cp data-start=\"103\" data-end=\"308\"\u003e The ceramic box is a container for storing things, but at the same time it is \u003cstrong data-start=\"124\" data-end=\"141\"\u003ea tool that transforms the act of opening and closing into beauty\u003c\/strong\u003e . The moment the lid is lifted and the air is slightly replaced, the density of the space changes. The \"space\" that has been valued in the tea ceremony is manifested here in the structure of the box itself.\u003cbr data-start=\"217\" data-end=\"220\"\u003e This piece, \"Blue and White Porcelain Box,\" has a volume that is almost cubic, and its center of gravity is stable when picked up. It is easy to handle, but not light. It is a box that feels \"settled\" in the palm of your hand. \u003c\/p\u003e\n\n\u003chr data-start=\"310\" data-end=\"313\"\u003e\n\n\u003ch2 data-section-id=\"r3iz54\" data-start=\"315\" data-end=\"342\"\u003e II. Blue-and-white porcelain: \"Clearer than white, softer than blue\"\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"wlkh1a\" data-start=\"344\" data-end=\"366\"\u003e 2-1 Blue as a quality of light, not a color\u003c\/h3\u003e\n\n \u003cp data-start=\"367\" data-end=\"518\"\u003eThe appeal of pale blue porcelain lies not just in its pale blue color, but in \u003cstrong data-start=\"389\" data-end=\"406\"\u003eits texture, which absorbs and diffuses light\u003c\/strong\u003e . The purity of the white porcelain is enhanced by the subtle hint of blue, which prevents the vessel from appearing cold, but rather gives it a clear, breathing quality.\u003cbr data-start=\"462\" data-end=\"465\"\u003e The slope of the surface creates a smooth transition in shadow, and the corners appear to rise softly, creating a sense of depth within the stillness.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1uvpeep\" data-start=\"520\" data-end=\"542\"\u003e 2-2 The subtle warmth that resides in the joint line\u003c\/h3\u003e\n\n\u003cp data-start=\"543\" data-end=\"670\"\u003e A thin horizontal line appears at the boundary between the lid and the body. The pale color (a faint orange) that peeks through there, resulting from the firing process, adds \u003cstrong data-start=\"604\" data-end=\"615\"\u003ea touch of warmth\u003c\/strong\u003e to the ascetic world of pale blue porcelain. It is not a perfect, pure piece, but only a \"single trace\" of the flame and the hand remains. This understatement gives the box a sense of elegance.\u003c\/p\u003e\n\n\u003chr data-start=\"672\" data-end=\"675\"\u003e\n\n \u003ch2 data-section-id=\"1ifdc6v\" data-start=\"677\" data-end=\"709\"\u003eIII. Highlights of the Design: The Contrast Between \"Carved\" and \"Plain\" Surfaces\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"31ilr5\" data-start=\"711\" data-end=\"739\"\u003e 3-1 Shadows created by carvings: A quiet design that can be felt by touch\u003c\/h3\u003e\n\n\u003cp data-start=\"740\" data-end=\"889\"\u003e The most distinctive feature of this piece is the vertical carvings (ridge-like ribs) on one side (or one corner). The evenly arranged grooves catch the light as \"lines\" and carve out regular shadows.\u003cbr data-start=\"817\" data-end=\"820\"\u003e If the smooth surface of the blue-and-white porcelain represents still water, then the carved surface represents a windy shore. By designing the box to reflect the movement of light rather than decoration, it does not become monotonous, even though it is small.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"xqv2f3\" data-start=\"891\" data-end=\"916\"\u003e 3-2 Diagonally Falling Ridge: Movement in Silence\u003c\/h3\u003e\n\n\u003cp data-start=\"917\" data-end=\"1070\"\u003e The carved surface changes diagonally at the top, creating a stepped rhythm. This is an effective feature. Repeated straight lines tend to be stiff, but the diagonal cuts draw the eye naturally and create a sense of movement in the vessel. \u003cbr data-start=\"1019\" data-end=\"1022\"\u003eIt's not just that the scenery is neatly arranged, but that it moves within that arrangement - Matsukawa Kazuhiro's sense of form is neatly displayed. \u003c\/p\u003e\n\n\u003chr data-start=\"1072\" data-end=\"1075\"\u003e\n\n\u003ch2 data-section-id=\"pw80hv\" data-start=\"1077\" data-end=\"1102\"\u003e IV Inside with the lid open - Putting away the \"pale blue space\"\u003c\/h2\u003e\n\n\u003cp data-start=\"1104\" data-end=\"1304\"\u003e When the lid is removed, a pale blue interior is revealed. While the carvings on the exterior capture the light, the interior is a blank, \"inner\" view.\u003cbr data-start=\"1163\" data-end=\"1166\"\u003e It can hold anything: incense, sugar candy, small seals, tea ceremony accessories... But at the same time, it can also hold nothing. A ceramic box can also be \u003cstrong data-start=\"1223\" data-end=\"1239\"\u003ea vessel for storing blank space\u003c\/strong\u003e itself.\u003cbr data-start=\"1246\" data-end=\"1249\"\u003e This box has a rhythm of shadows on the outside and a space of still water on the inside. The double serenity makes the act of opening and closing even more beautiful. \u003c\/p\u003e\n\n\u003chr data-start=\"1306\" data-end=\"1309\"\u003e\n\n\u003ch2 data-section-id=\"srm0g4\" data-start=\"1311\" data-end=\"1339\"\u003e V. Combination Suggestions: Making the Most of \"Cleanliness\" and \"Shadows\"\u003c\/h2\u003e\n\n \u003cp data-start=\"1341\" data-end=\"1493\"\u003eThis piece is based on the clear blue-and-white porcelain, with the carved shadows providing a strong accent. When placed on a black shelf or dark floorboard, the outline stands out, and when combined with white cloth or Japanese paper, the purity is enhanced.\u003cbr data-start=\"1421\" data-end=\"1424\"\u003e In terms of seasonal sensations, it looks particularly beautiful in seasons with high transparency, such as thin ice, the light of early spring, and the clarity of winter. On the other hand, the carved shadows stand up to the strong light of summer and act as a cool sensation. \u003c\/p\u003e\n\n\u003chr data-start=\"1495\" data-end=\"1498\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1500\" data-end=\"1506\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1508\" data-end=\"1687\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The pale blue porcelain box is a refined, architectural piece that combines the clear silence of pale blue porcelain with the rhythm of shadows created by the carved surface. The smooth surface contrasts with the ridged carvings, and the light rearranges depending on the angle from which it is viewed. Opening the lid reveals a pale blue space, and the space is arranged with your movements.\u003cbr data-start=\"1633\" data-end=\"1636\"\u003e This work combines purity and shadow, stillness and movement in a small box - it is the crystallization of Matsukawa Kazuhiro's unique \"design of tranquility.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture \u003cbr data-start=\"1637\" data-end=\"1640\"\u003e1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09) \u003cbr data-start=\"2049\" data-end=\"2052\"\u003e2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award) \u003cbr data-start=\"2503\" data-end=\"2506\"\u003e55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51720773173528,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_07-01.jpg?v=1773722191"},{"product_id":"8青白磁陶筥","title":"Blue and white porcelain pot Kazuhiro Matsukawa ","description":"\u003cdiv class=\"flex flex-col text-sm pb-25\"\u003e\n\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:079fe350-02ce-474e-a47d-6c01759b4585-3\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"5bc3a99e-878d-4fec-af7b-8c95f7521ac8\" dir=\"auto\" data-message-model-slug=\"gpt-5-2-thinking\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\"\u003e\n\n\u003cp data-start=\"0\" data-end=\"67\"\u003e Blue and white porcelain box by Kazuhiro Matsukawa (Φ: 7.4cm H: 7.9cm)\u003cbr data-start=\"29\" data-end=\"32\"\u003e -- \"A pale blue cube contains a blank space. The divided surfaces create a lattice of tranquility.\" \u003c\/p\u003e\n\n\u003chr data-start=\"69\" data-end=\"72\"\u003e\n\n\u003ch2 data-section-id=\"12p8khm\" data-start=\"74\" data-end=\"92\"\u003e Ⅰ A small alcove called a ceramic box\u003c\/h2\u003e\n\n\u003cp data-start=\"94\" data-end=\"310\"\u003e A ceramic box is not just a container for storing things, but also \u003cstrong data-start=\"112\" data-end=\"135\"\u003ea tool that changes the air with the action of opening and closing it\u003c\/strong\u003e . The tension that is created the moment the lid is closed, and the space that appears the moment it is removed. There, the idea of ​​\"ma\" (space) that has been valued in the tea ceremony is embodied.\u003cbr data-start=\"205\" data-end=\"208\"\u003e This work, \"Blue and White Porcelain Box,\" is a palm-sized piece that condenses the clarity of blue and white porcelain and the intricate design of its form. Just by placing it, the space is brought into order, and picking it up brings calm and refinement to one's movements - the essence of the box is neatly embodied in this work.\u003c\/p\u003e\n\n\u003chr data-start=\"312\" data-end=\"315\"\u003e\n\n \u003ch2 data-section-id=\"841qfg\" data-start=\"317\" data-end=\"344\"\u003eII. The Beauty of Blue-and-White Porcelain: \"Clearer than white, softer than blue\"\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1n6v292\" data-start=\"346\" data-end=\"369\"\u003e 2-1 A hint of pale blue: not the color, but the quality of light\u003c\/h3\u003e\n\n\u003cp data-start=\"370\" data-end=\"523\"\u003e The appeal of pale blue porcelain lies not in the strength of its color, but in \u003cstrong data-start=\"388\" data-end=\"404\"\u003ethe delicate quality with which it absorbs light\u003c\/strong\u003e . By incorporating the purity of white porcelain into the base, the vessel stands out as \"clear\" rather than cold.\u003cbr data-start=\"465\" data-end=\"468\"\u003e The shadows change smoothly according to the angle of the surface, and the gradation that gathers at the corners makes the outline of the vessel appear softer and deeper.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"57xd3e\" data-start=\"525\" data-end=\"552\"\u003e 2-2 Magnetic Silence: The less information you have, the more calm your mind becomes\u003c\/h3\u003e\n\n \u003cp data-start=\"553\" data-end=\"663\"\u003eThe less decoration there is, the more the viewer will listen closely to the smallest differences. The pale blue porcelain in this work is precisely the material for that silence. The absence of conspicuous colors or patterns allows \u003cstrong data-start=\"619\" data-end=\"637\"\u003ethe precision of the form, the tension of the surfaces, and the lines of the joints\u003c\/strong\u003e to emerge as expressive features, quietly enhancing the density of the space. \u003c\/p\u003e\n\n\u003chr data-start=\"665\" data-end=\"668\"\u003e\n\n\u003ch2 data-section-id=\"13ndq5i\" data-start=\"670\" data-end=\"696\"\u003e III. The core of the design: surfaces divided like a lattice\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"enej83\" data-start=\"698\" data-end=\"720\"\u003e 3-1 Quiet rhythm created by dividing lines\u003c\/h3\u003e\n\n\u003cp data-start=\"721\" data-end=\"914\"\u003e What characterizes this piece is \u003cstrong data-start=\"746\" data-end=\"762\"\u003ethe ridges and grooves that separate the surfaces\u003c\/strong\u003e within its cubic volume. A cross-shaped section appears on the top surface, and the side surfaces continue to show the same neat divisions. \u003cbr data-start=\"805\" data-end=\"808\"\u003eThis is not decoration, but the breath of the form. Rather than relying on a plain flat surface, slight undulations give the box a \"quiet rhythm,\" preventing it from becoming monotonous even though it is small. The shadows rearrange depending on the viewing angle, and the vessel quietly changes its appearance within itself.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"gmhrld\" data-start=\"916\" data-end=\"937\"\u003e 3-2 The difficulty of being minimal\u003c\/h3\u003e\n\n\u003cp data-start=\"938\" data-end=\"1082\"\u003e The square form and division of the surfaces immediately reveal any slight distortion or imperfection in precision. Under these strict conditions, Matsukawa Kazuhiro has managed to create a neat yet lively shape without compromising the contours or making them rigid. The more ascetic the design, the more the artist's skill is imprinted directly on the vessel - this piece is a testament to that. \u003c\/p\u003e\n\n\u003chr data-start=\"1084\" data-end=\"1087\"\u003e\n\n\u003ch2 data-section-id=\"173b0ow\" data-start=\"1089\" data-end=\"1117\"\u003e IV. The lid and body – the lines of the joint create a sense of unity\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1p90aif\" data-start=\"1119\" data-end=\"1141\"\u003e 4-1 The joint creates a \"single horizontal line\"\u003c\/h3\u003e\n\n \u003cp data-start=\"1142\" data-end=\"1314\"\u003eA thin horizontal line appears at the boundary between the lid and the body. This horizontal line tightens the center of gravity of the vessel and gives it an elegant appearance. Furthermore, a very pale scarlet (a soft orange color that comes from the firing process) is faintly cast along this line, adding a slight warmth to the pure blue-and-white porcelain.\u003cbr data-start=\"1257\" data-end=\"1260\"\u003e It is not a strong color, but it gives off \u003cstrong data-start=\"1275\" data-end=\"1295\"\u003ethe impression that the box is not completely pure\u003c\/strong\u003e , and adds a layer of depth to the box's appearance.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1aoye7b\" data-start=\"1316\" data-end=\"1334\"\u003e 4-2 The inner \"pale blue space\"\u003c\/h3\u003e\n\n\u003cp data-start=\"1335\" data-end=\"1468\"\u003e When the lid is removed, a pale blue space appears within. If the outside is the \"front\" that organizes the space, the inside is the \"back\" that quietly encases the items inside. It can hold anything - incense, sugar candy, a small seal, tea ceremony props - but at the same time, it can also be complete without putting anything inside. A ceramic box can also sometimes be \u003cstrong data-start=\"1446\" data-end=\"1461\"\u003ea container that stores empty space itself\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003chr data-start=\"1470\" data-end=\"1473\"\u003e\n\n \u003ch2 data-section-id=\"nlqx2l\" data-start=\"1475\" data-end=\"1498\"\u003eV. Combination - A box that focuses on \"purity\"\u003c\/h2\u003e\n\n\u003cp data-start=\"1500\" data-end=\"1651\"\u003e This piece, based on the clear blue-and-white porcelain, can be combined with a wide range of items, while naturally elevating the status of the space it is placed in. When placed on a black shelf or dark floorboard, its outline stands out, and when combined with white cloth or Japanese paper, its purity is enhanced.\u003cbr data-start=\"1589\" data-end=\"1592\"\u003e In terms of the seasons, it goes well with thin ice, spring haze, and clear air - such a \"transparent seasonal feeling\" and can become the \"main character of the white space\" among the tools. \u003c\/p\u003e\n\n\u003chr data-start=\"1653\" data-end=\"1656\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1658\" data-end=\"1664\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1666\" data-end=\"1800\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The blue and white porcelain box is a masterpiece that has a rhythmic interior, based on the clear and tranquil nature of blue and white porcelain, with the grid-like shadows created by the division of the surface. A single line at the joint tightens the appearance, and the act of opening and closing it is a gesture of courtesy.\u003cbr data-start=\"1756\" data-end=\"1759\"\u003e Small and neat, but by no means inorganic - a ceramic box that holds a tranquil architecture in the palm of your hand.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course \u003cbr data-start=\"1660\" data-end=\"1663\"\u003e2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09) \u003cbr data-start=\"2049\" data-end=\"2052\"\u003e2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award) \u003cbr data-start=\"2503\" data-end=\"2506\"\u003e55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art \u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"mt-3 w-full empty:hidden\"\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003c\/article\u003e\n\n\u003c\/div\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51720775762200,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_08-01.jpg?v=1773722641"},{"product_id":"9青白磁緋流陶筥","title":"Blue and white porcelain Hiryu porcelain bowl Kazuhiro Matsukawa","description":"\u003cp data-end=\"73\" data-start=\"0\"\u003e Blue and white porcelain box with red flow design by Kazuhiro Matsukawa (Φ: 7.9cm H: 7.6cm)\u003cbr data-end=\"34\" data-start=\"31\"\u003e -- \"A stream of scarlet breathes into the still pale blue water. Every time you open the lid, the scenery changes in this ceramic box.\" \u003c\/p\u003e\n\n\u003chr data-end=\"78\" data-start=\"75\"\u003e\n\n\u003ch2 data-end=\"97\" data-start=\"80\" data-section-id=\"5qwc2m\"\u003e Ⅰ The Ceramic Box Opening and Closing Ceremony\u003c\/h2\u003e\n\n\u003cp data-end=\"319\" data-start=\"99\"\u003e A ceramic box is not only a container for storing things, but also \u003cstrong data-end=\"146\" data-start=\"118\"\u003ea tool that transforms the act of opening and closing itself into beauty\u003c\/strong\u003e . The tension at the moment the lid is closed, the release at the moment it is removed. Even before what is stored inside, the box plays a role in changing the atmosphere. \u003cbr data-end=\"202\" data-start=\"199\"\u003eThis \"Blue and White Porcelain Scarlet Ceramic Box\" has a neat rise and a precise joint between the lid and the body, making it feel very quiet when you hold it in your hand. Even the sound is modest, and the movement itself becomes a sign of courtesy. This is why the spirit of the tea ceremony naturally resides in this small box. \u003c\/p\u003e\n\n\u003chr data-end=\"324\" data-start=\"321\"\u003e\n\n\u003ch2 data-end=\"353\" data-start=\"326\" data-section-id=\"r3iz54\"\u003e II. Blue-and-white porcelain: Clearer than white, softer than blue\u003c\/h2\u003e\n\n\u003ch3 data-end=\"380\" data-start=\"355\" data-section-id=\"1spd4nv\"\u003e 2-1 Porcelain skin that collects light: A tranquil, unclouded white\u003c\/h3\u003e\n\n\u003cp data-end=\"566\" data-start=\"381\"\u003e The appeal of pale blue porcelain lies not in the strength of the color itself, but in \u003cstrong data-end=\"417\" data-start=\"402\"\u003ethe elegance of how it catches light\u003c\/strong\u003e . By incorporating the purity of white porcelain into the base tone, and adding a touch of pale blue, the vessel stands out as \"clear\" rather than \"cold.\" \u003cbr data-end=\"483\" data-start=\"480\"\u003eShadows shift smoothly along the gradient of the surface, and the gradations that converge at the corners highlight the precision of the form. With less unnecessary information, the viewer's senses are sharpened, and the density of the stillness increases.\u003c\/p\u003e\n\n\u003ch3 data-end=\"592\" data-start=\"568\" data-section-id=\"rpz0c7\"\u003e 2-2 The shape speaks: A presence that transcends the box's dimensions\u003c\/h3\u003e\n\n\u003cp data-end=\"713\" data-start=\"593\"\u003e The palm-sized size is like a condensed stage. Its small size is not modest, but rather a focus. The shape is clean, the contours clear, and \u003cstrong data-end=\"676\" data-start=\"657\"\u003ethe space is brought to order simply by being placed there\u003c\/strong\u003e —the spatial harmony of blue-and-white porcelain is more clearly expressed in the form of a box. \u003c\/p\u003e\n\n\u003chr data-end=\"718\" data-start=\"715\"\u003e\n\n\u003ch2 data-end=\"746\" data-start=\"720\" data-section-id=\"13u08i5\"\u003e III. Hinagare - A \"scent of crimson\" running through still water\u003c\/h2\u003e\n\n\u003ch3 data-end=\"770\" data-start=\"748\" data-section-id=\"x64pl2\"\u003e 3-1 Scarlet is not a decoration, but a part of the scenery\u003c\/h3\u003e\n\n \u003cp data-end=\"957\" data-start=\"771\"\u003eThe greatest appeal of this piece is the flow of scarlet that runs continuously from surface to surface across the pale blue porcelain surface. The scarlet does not scream red, but rather \u003cstrong data-end=\"847\" data-start=\"825\"\u003egently but surely injects warmth\u003c\/strong\u003e .\u003cbr data-end=\"851\" data-start=\"848\"\u003e The flow does not stay in one place, but flows from the top of the lid to the side, and then over the gap to the body. This is what makes a box so interesting. When closed, the lines are continuous, but when opened, the lines are divided. In other words, a box is a vessel with a changing appearance.\u003c\/p\u003e\n\n\u003ch3 data-end=\"986\" data-start=\"959\" data-section-id=\"1u17kd2\"\u003e 3-2 Flames and Handprints: The Sophistication of Designing Chance\u003c\/h3\u003e\n\n\u003cp data-end=\"1172\" data-start=\"987\"\u003e The beauty of Hiryu is not simply a \"pattern,\" but rather the way the firing process remains intact. Shades, bleeding, fading, thin branches - these fluctuations give a slight breath to the ascetic orderliness of the pale blue porcelain. \u003cbr data-end=\"1081\" data-start=\"1078\"\u003eIf it is too tidy, it will die, and if it is too rough, it will lose its elegance. At that boundary, Kazuhiro Matsukawa exercises \u003cstrong data-end=\"1133\" data-start=\"1111\"\u003ethe minimum amount of control to turn chance into beauty\u003c\/strong\u003e . This is why scarlet is vivid, but never vulgar. \u003c\/p\u003e\n\n\u003chr data-end=\"1177\" data-start=\"1174\"\u003e\n\n\u003ch2 data-end=\"1205\" data-start=\"1179\" data-section-id=\"utfv9k\"\u003e IV. The structural beauty of the lid and body – the tension created by the “joint line”\u003c\/h2\u003e\n\n\u003cp data-end=\"1438\" data-start=\"1207\"\u003e The beauty of the box is not limited to the top surface of the lid. The line at the joint tightens the vessel. The thin division visible in the photo acts as a functional boundary as well as \u003cstrong data-end=\"1281\" data-start=\"1270\"\u003ea visual horizon\u003c\/strong\u003e . \u003cbr data-end=\"1292\" data-start=\"1289\"\u003eThe diagonal flow (movement) of the red flow intersects with the horizontal line (stillness) of the joint, giving the vessel a unique appearance. Moving your eyes further inward, a pale blue still water spreads across the interior, creating a \"space in the depths\" that is different from the exterior. It is the space that encases the items stored inside, and the purity of the space itself is valuable - the essence of the ceramic box is neatly displayed here. \u003c\/p\u003e\n\n\u003chr data-end=\"1443\" data-start=\"1440\"\u003e\n\n\u003ch2 data-end=\"1470\" data-start=\"1445\" data-section-id=\"vkh428\"\u003e V. Combinations and Uses - The Benefits of Adding a Point of \"Scarlet\"\u003c\/h2\u003e\n\n\u003cp data-end=\"1735\" data-start=\"1472\"\u003e This piece is based on the tranquility of pale blue, so it can be combined with a wide range of items, yet the addition of a single scarlet piece brings out a sense of the season.\u003cbr data-end=\"1532\" data-start=\"1529\"\u003e For example, in early spring, when the sun shines faintly into the still-cold air, pale blue evokes images of thin ice and spring mist, while scarlet is a sign of young sunlight and flowers. In autumn and winter, pale blue porcelain conveys clarity, while scarlet conveys the warmth of the hearth. \u003cbr data-end=\"1622\" data-start=\"1619\"\u003eIt can be used to store incense, small sweets, or other decorative items. It can also be used to store empty space. Boxes are not just there to protect their contents, but also to slow down the mind - this piece is one of the most beautiful answers to that question. \u003c\/p\u003e\n\n\u003chr data-end=\"1740\" data-start=\"1737\"\u003e\n\n\u003ch2 data-end=\"1748\" data-start=\"1742\" data-section-id=\"1huqhjm\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1923\" data-start=\"1750\"\u003e The blue-and-white porcelain box with its scarlet flow creates a scene in the palm of your hand, where the pure silence of the blue-and-white porcelain is given a ray of life by the scarlet. The scarlet flow runs continuously across the lid and body, coming together when the box is closed and separating when it is opened, bringing beauty to the very act of holding the box.\u003cbr data-end=\"1853\" data-start=\"1850\"\u003e Purity and warmth, stillness and movement, space and presence. These elements coexist in a small vessel, and simply placing it there changes the density of the space - this is a neat and poetic ceramic box that is unique to Kazuhiro Matsukawa.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1620\" data-start=\"1612\" data-section-id=\"1bs35mf\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-end=\"1740\" data-start=\"1621\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-end=\"1640\" data-start=\"1637\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-end=\"1663\" data-start=\"1660\"\u003e 2000 Graduated from Nara College of Arts \u003cbr data-end=\"1684\" data-start=\"1681\"\u003e2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-end=\"1721\" data-start=\"1718\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-end=\"1756\" data-start=\"1742\" data-section-id=\"vx22u2\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-end=\"2467\" data-start=\"1757\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-end=\"1786\" data-start=\"1783\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1812\" data-start=\"1809\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-end=\"1837\" data-start=\"1834\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-end=\"1859\" data-start=\"1856\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-end=\"1888\" data-start=\"1885\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-end=\"1913\" data-start=\"1910\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-end=\"1940\" data-start=\"1937\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1965\" data-start=\"1962\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-end=\"1990\" data-start=\"1987\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-end=\"2019\" data-start=\"2016\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-end=\"2052\" data-start=\"2049\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka) \u003cbr data-end=\"2084\" data-start=\"2081\"\u003e2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-end=\"2121\" data-start=\"2118\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-end=\"2159\" data-start=\"2156\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-end=\"2181\" data-start=\"2178\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-end=\"2211\" data-start=\"2208\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-end=\"2242\" data-start=\"2239\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2261\" data-start=\"2258\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-end=\"2290\" data-start=\"2287\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-end=\"2331\" data-start=\"2328\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2350\" data-start=\"2347\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-end=\"2387\" data-start=\"2384\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2407\" data-start=\"2404\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2429\" data-start=\"2426\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2449\" data-start=\"2446\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2478\" data-start=\"2469\" data-section-id=\"1t7yy2j\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-end=\"2529\" data-start=\"2479\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-end=\"2506\" data-start=\"2503\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n \u003ch3 data-end=\"2548\" data-start=\"2531\" data-section-id=\"33d0d0\"\u003ePublic Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51737092292888,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuawa_09-01.jpg?v=1773723622"},{"product_id":"10青白磁銀彩陶筥","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa","description":"\u003cp data-end=\"80\" data-start=\"0\"\u003e Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 4.5cm D: 4.5cm H: 2.9cm)\u003cbr data-end=\"42\" data-start=\"39\"\u003e --\"Silver falls quietly in the stillness of pale blue. A small alcove that fits in the palm of your hand.\" \u003c\/p\u003e\n\n\u003chr data-end=\"85\" data-start=\"82\"\u003e\n\n\u003ch2 data-end=\"107\" data-start=\"87\" data-section-id=\"1dnddgf\"\u003e Ⅰ The ceramic box: a “scenery for storage”\u003c\/h2\u003e\n\n\u003cp data-end=\"359\" data-start=\"109\"\u003e A ceramic box is not just a container for storing things. The act of fitting the lid and gently opening it is a tool that regulates the density of space and the speed of the mind. Similar to an incense container, but with a stronger meaning of \"storage,\" the toubako's meaning \u003cstrong data-end=\"239\" data-start=\"205\"\u003eis enhanced by the imagination of what will be placed inside, which further enriches the expression of the container\u003c\/strong\u003e . \u003cbr data-end=\"243\" data-start=\"240\"\u003eThis piece has extremely small dimensions of W4.5 x D4.5 x H2.9, yet it has the power to bring a sense of tranquility to any space the moment it is placed. Its small size, which fits in the palm of your hand, is actually a powerful expression of its condensed power. The more you look at it, the more the \"universe of small things\" beloved by the tea ceremony emerges. \u003c\/p\u003e\n\n\u003chr data-end=\"364\" data-start=\"361\"\u003e\n\n\u003ch2 data-end=\"394\" data-start=\"366\" data-section-id=\"1hff9bw\"\u003e II. The Charm of Blue-and-White Porcelain: Clearer than White, Softer than Blue\u003c\/h2\u003e\n\n\u003ch3 data-end=\"416\" data-start=\"396\" data-section-id=\"1t1ikol\"\u003e 2-1 The \"breathing\" of the color of blue-and-white porcelain\u003c\/h3\u003e\n\n\u003cp data-end=\"618\" data-start=\"417\"\u003e Blue-and-white porcelain is a world based on the clarity of white porcelain, with hints of very pale blue. It is not a strong color, but \u003cstrong data-end=\"486\" data-start=\"475\"\u003ea blue that fluctuates like temperature\u003c\/strong\u003e depending on how the light hits it. The light blue surface seen in the photo is by no means assertive, but serves as a subtle difference that deepens the tranquility. \u003cbr data-end=\"537\" data-start=\"534\"\u003eThe light glides smoothly along the ridges of the surface, and the shadows that gather at the corners create a sense of depth that exceeds the vessel's small size. The pale color of the pale blue porcelain sharpens the viewer's senses because it provides little information.\u003c\/p\u003e\n\n\u003ch3 data-end=\"645\" data-start=\"620\" data-section-id=\"1ez1t2x\"\u003e 2-2 Speaking on two levels: The strength of minimalism\u003c\/h3\u003e\n\n\u003cp data-end=\"811\" data-start=\"646\"\u003e The form of this piece is almost devoid of decoration. However, it is not that there is nothing there; rather, \u003cstrong data-end=\"695\" data-start=\"680\"\u003ethe precision of the surface itself is the design\u003c\/strong\u003e . The square form immediately reveals even the slightest distortion or irregularity in thickness. Despite these strict conditions, Matsukawa Kazuhiro has managed to achieve a tranquil outline. The more minimalist a piece is, the more the breath of the maker is directly reflected in the vessel - this piece is a good example of this. \u003c\/p\u003e\n\n\u003chr data-end=\"816\" data-start=\"813\"\u003e\n\n\u003ch2 data-end=\"846\" data-start=\"818\" data-section-id=\"d9uefo\"\u003e Ⅲ Silver-colored scenery - the light falling is cut diagonally\u003c\/h2\u003e\n\n\u003ch3 data-end=\"871\" data-start=\"848\" data-section-id=\"1viqbxu\"\u003e 3-1 Silver is not a mirror, but like snow and frost\u003c\/h3\u003e\n\n \u003cp data-end=\"1047\" data-start=\"872\"\u003eThe silver glaze on one corner of the lid is not flashy or reflective. It has fine grains that catch the light in spots and scatter it softly, giving it a texture reminiscent of \u003cstrong data-end=\"949\" data-start=\"936\"\u003efrost pillars or thin snow\u003c\/strong\u003e .\u003cbr data-end=\"961\" data-start=\"958\"\u003e This grainy surface contrasts with the calm surface of the pale blue porcelain, and the vessel itself is filled with two different weather conditions: one is the calm surface of water, the other is a cold sparkle. The atmosphere of the seasons intersects on this small box.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1074\" data-start=\"1049\" data-section-id=\"5t2oue\"\u003e 3-2 Diagonal composition: Adding tension to stillness\u003c\/h3\u003e\n\n\u003cp data-end=\"1251\" data-start=\"1075\"\u003e What separates Ginsai and Seihakuji is the clear diagonal line. By adding a diagonal line to a square lid, the eye naturally runs from corner to corner, giving the vessel a sense of movement even though it is small. \u003cbr data-end=\"1146\" data-start=\"1143\"\u003eYet strangely, this movement is not noisy. Rather, it creates \u003cstrong data-end=\"1187\" data-start=\"1176\"\u003etension in the silence\u003c\/strong\u003e , tightening the atmosphere when the box is placed there. Just as a row of hanging scrolls at a tea ceremony straightens the air, this work tidies up the space with the \"sensation of line.\" \u003c\/p\u003e\n\n\u003chr data-end=\"1256\" data-start=\"1253\"\u003e\n\n\u003ch2 data-end=\"1286\" data-start=\"1258\" data-section-id=\"mgvn76\"\u003e IV. Design of the lid and body: To ensure the beautiful opening and closing action\u003c\/h2\u003e\n\n\u003ch3 data-end=\"1310\" data-start=\"1288\" data-section-id=\"fue2ha\"\u003e 4-1 Neat shadows created by steps and ridges\u003c\/h3\u003e\n\n\u003cp data-end=\"1475\" data-start=\"1311\"\u003e There is a thin, linear step at the boundary between the body and the lid. The shadow cast there sharply accentuates the contours of the vessel, creating a \"complete landscape\" even when the vessel is closed.\u003cbr data-end=\"1391\" data-start=\"1388\"\u003e Furthermore, the sides of the piece show a quiet texture that differs from the density of the silver glaze. Rather than a smooth, uniform finish, a subtle fluctuation is left, allowing the warmth of the human hand to overlap with the coolness and purity of the blue-and-white porcelain.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1504\" data-start=\"1477\" data-section-id=\"6rs6k8\"\u003e 4-2 Light blue interior: A space for \"purifying\" stored items\u003c\/h3\u003e\n\n \u003cp data-end=\"1670\" data-start=\"1505\"\u003eWhen you remove the lid, the inside is enveloped in a pale blue layer. This is important. If the outside is the \"front\" that sets the atmosphere, then the inside is the \"back\" that receives the presence of what is contained within.\u003cbr data-end=\"1584\" data-start=\"1581\"\u003e You can store incense, small ornaments, or even choose to leave it empty. Empty is beautiful—a ceramic box can also be \u003cstrong data-end=\"1663\" data-start=\"1651\"\u003ea vessel for storing emptiness\u003c\/strong\u003e . \u003c\/p\u003e\n\n\u003chr data-end=\"1675\" data-start=\"1672\"\u003e\n\n\u003ch2 data-end=\"1705\" data-start=\"1677\" data-section-id=\"1695fcj\"\u003e V. Combination Suggestions: A small box for the tea ceremony season\u003c\/h2\u003e\n\n\u003cp data-end=\"1892\" data-start=\"1707\"\u003e This piece is well suited to the cold, transparent seasonal sensations of spring's light snow, summer's thin ice, autumn's clear skies, and winter's frost. The silver glaze acts as the sparkle of moonlight and frost, while the pale blue porcelain supports the scene with the stillness of water and air. \u003cbr data-end=\"1800\" data-start=\"1797\"\u003eIf you place it on a shelf, placing it on a black or dark shelf will make it stand out, and combining it with a white paper box or white cloth will enhance its purity. \u003cstrong data-end=\"1877\" data-start=\"1849\"\u003eBecause it is small, it absorbs the colors of its surroundings and adds elegance to the space\u003c\/strong\u003e - that is the strength of this ceramic box. \u003c\/p\u003e\n\n\u003chr data-end=\"1897\" data-start=\"1894\"\u003e\n\n\u003ch2 data-end=\"1905\" data-start=\"1899\" data-section-id=\"1huqhjm\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"2102\" data-start=\"1907\"\u003e The blue-and-white porcelain box with silver glaze is a tranquil microcosm that condenses the clarity of blue-and-white porcelain and the cool brilliance of silver glaze into a palm-sized piece. The diagonally changing surface of the box is minimal yet possesses a clear poetic sentiment, transforming even the act of opening the lid into a \"scenery.\"\u003cbr data-end=\"2038\" data-start=\"2035\"\u003e More than just a container for storage, it is also \u003cstrong data-end=\"2070\" data-start=\"2052\"\u003ea container for organizing the space and calming the mind.It\u003c\/strong\u003e is an excellent piece that brings a certain sense of space and elegance to both everyday life and the tea ceremony.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts \u003cbr data-start=\"1734\" data-end=\"1737\"\u003e2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka) \u003cbr data-start=\"2134\" data-end=\"2137\"\u003e2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003ePublic Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51737092456728,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuwa_10-01.jpg?v=1773724493"},{"product_id":"11青白磁銀彩陶筥","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"82\"\u003e Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 11.7cm D: 3.5cm H: 4.2cm)\u003cbr data-start=\"40\" data-end=\"43\"\u003e -- \"A layer of silver embraces the pale blue still water. Light and space are contained within a long, narrow box.\" \u003c\/p\u003e\n\n\u003chr data-start=\"84\" data-end=\"87\"\u003e\n\n\u003ch2 data-section-id=\"io2jnx\" data-start=\"89\" data-end=\"105\"\u003e Ⅰ The ceramic box: a tool of lines\u003c\/h2\u003e\n\n\u003cp data-start=\"107\" data-end=\"325\"\u003e Before being a container for storing things, a ceramic box is a container for regulating one's behavior. The moment the lid is shifted and the opening fits together, the air becomes still. When opened, the empty space inside is revealed, and even the presence of the contents inside becomes clear.\u003cbr data-start=\"183\" data-end=\"186\"\u003e What is particularly striking about this piece is its proportions: a long, slender rectangle (W11.7 x D3.5). The box defines the space with lines rather than surfaces. Although it is a small box, the moment it is placed, it gives direction to the space, drawing the eye smoothly through it. The \"modest yet definite presence\" of tea ceremony implements is neatly embodied in this shape. \u003c\/p\u003e\n\n\u003chr data-start=\"327\" data-end=\"330\"\u003e\n\n\u003ch2 data-section-id=\"z4k9sc\" data-start=\"332\" data-end=\"362\"\u003e II. Blue-and-white porcelain: \"Clearer than white, softer than blue\" - inner space\u003c\/h2\u003e\n\n \u003ch3 data-section-id=\"48gg16\" data-start=\"364\" data-end=\"390\"\u003e2-1 Pale blue that spreads inside: Purifies what is stored inside\u003c\/h3\u003e\n\n\u003cp data-start=\"391\" data-end=\"570\"\u003e Removing the lid reveals a pale blue still water. The blue-and-white porcelain does not speak through color, but rather softly absorbs and gently diffuses light, creating \u003cstrong data-start=\"447\" data-end=\"456\"\u003ea pure background\u003c\/strong\u003e .\u003cbr data-start=\"463\" data-end=\"466\"\u003e The long, slender shape gives the interior space a sense of flow, further accentuating the tranquility of the pale blue. When delicate items such as fragrant wood, small tea utensils, seals, or crafts are placed inside, the vessel subtly highlights them rather than making a strong statement.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1iwizml\" data-start=\"572\" data-end=\"594\"\u003e 2-2 Slight temperature visible at the joint line\u003c\/h3\u003e\n\n\u003cp data-start=\"595\" data-end=\"704\"\u003e A line running along the boundary between the body and lid reveals a subtle, pale orange hue resulting from the firing process. Rather than being completely pristine, traces of the flame and the hands remain as a \"single ray of heat.\" This subtle difference breathes life into the ascetic world of blue-and-white porcelain, making the box a living thing.\u003c\/p\u003e\n\n\u003chr data-start=\"706\" data-end=\"709\"\u003e\n\n \u003ch2 data-section-id=\"r7kv3t\" data-start=\"711\" data-end=\"731\"\u003eIII. Ginsai: The Outside as a \"Layer of Light\"\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"dxipsa\" data-start=\"733\" data-end=\"757\"\u003e 3-1 Silver is not a mirror, but a brushstroke-like shine\u003c\/h3\u003e\n\n\u003cp data-start=\"758\" data-end=\"926\"\u003e The silver glaze in this piece does not have a metallic, sparkling, reflective quality. In the photograph, \u003cstrong data-start=\"796\" data-end=\"813\"\u003ehorizontal lines resembling brushstrokes\u003c\/strong\u003e can be seen on the surface, and the light is not reflected by the surface, but is instead softly received as layers.\u003cbr data-start=\"848\" data-end=\"851\"\u003e This line echoes the shape of the long, slender box, giving the vessel a \"quiet speed.\" The silver flows in layers of light, and in contrast to the still water of the pale blue porcelain, it creates a sense of clarity rather than coldness.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1vp3obo\" data-start=\"928\" data-end=\"952\"\u003e 3-2 Contrast of Silver and Blue: Protecting on the Outside, Enveloping on the Inside\u003c\/h3\u003e\n\n\u003cp data-start=\"953\" data-end=\"1095\"\u003e The silver glaze on the outside has a hard feel reminiscent of stone or moonlight, while the blue-and-white porcelain on the inside has a soft white space reminiscent of water or air. \u003cbr data-start=\"1000\" data-end=\"1003\"\u003eThe combination of these two allows the box to simultaneously \"protect\" and \"enclose.\" When closed, it appears compact, and when open, it appears breathable—the beauty of the box form is made even clearer by the contrast in materials. \u003c\/p\u003e\n\n\u003chr data-start=\"1097\" data-end=\"1100\"\u003e\n\n\u003ch2 data-section-id=\"juh29d\" data-start=\"1102\" data-end=\"1124\"\u003e IV. The Art of Form: Elegance Created by Slenderness\u003c\/h2\u003e\n\n\u003cp data-start=\"1126\" data-end=\"1315\"\u003e If square and cubic boxes give a sense of \"completion,\" this piece gives a sense of \"lingering impression.\" Its long, slender shape stretches the white space when placed in a space, creating \u003cstrong data-start=\"1192\" data-end=\"1200\"\u003ea quiet center\u003c\/strong\u003e among the tools.\u003cbr data-start=\"1206\" data-end=\"1209\"\u003e The corners are neatly finished, and the ridges are neither too sharp nor too soft. The overall piece has a restrained elegance, preventing the grain of the silver glaze from standing out too strongly. Kazuhiro Matsukawa's sculptures always lie on the border between \"strength\" and \"modesty,\" and this piece also achieves a wonderful balance. \u003c\/p\u003e\n\n\u003chr data-start=\"1317\" data-end=\"1320\"\u003e\n\n\u003ch2 data-section-id=\"382fke\" data-start=\"1322\" data-end=\"1352\"\u003e V. Combinations and uses - A place for fragrant wood, seals, and crafts\u003c\/h2\u003e\n\n \u003cp data-start=\"1354\" data-end=\"1513\"\u003eIts dimensions naturally suggest its use for storing small items related to fragrant wood and incense packets, seals, crafts, or small utensils for the tea ceremony.\u003cbr data-start=\"1417\" data-end=\"1420\"\u003e In terms of seasonal feeling, it looks particularly beautiful during times of \"cold transparency,\" such as the crispness of winter, the thin ice of early spring, and the clear night air of autumn. The silver glaze acts as frost and the moon, while the pale blue porcelain balances the space with water and air. Simply placing this box in the space will brighten it up a notch. \u003c\/p\u003e\n\n\u003chr data-start=\"1515\" data-end=\"1518\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1520\" data-end=\"1526\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1528\" data-end=\"1712\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The blue-and-white porcelain silver-glazed ceramic box by Matsukawa Kazuhiro (W11.7 x D3.5 x H4.2) is a tranquil and refined ceramic box that combines the beauty of lines created by its slender proportions with the still water of the blue-and-white porcelain and the layered light of the silver glaze. When closed, the silver tightens the space, and when opened, a pale blue space appears, purifying even the presence of the contents.\u003cbr data-start=\"1654\" data-end=\"1657\"\u003e Although it is a small box, it has the power to change the density of space - a work that embodies Matsukawa Kazuhiro's unique \"design of tranquility.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n \u003cp data-start=\"1674\" data-end=\"1793\"\u003e1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07) \u003cbr data-start=\"2069\" data-end=\"2072\"\u003e2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n \u003cp data-start=\"2532\" data-end=\"2582\"\u003e36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51737092587800,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuka_11-01.jpg?v=1773725637"},{"product_id":"12青白磁銀彩陶筥","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"82\"\u003e Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 13.4cm D: 3.5cm H: 3.5cm)\u003cbr data-start=\"40\" data-end=\"43\"\u003e -- \"A single strip of pale blue with a silver edge. The long, slender box brings out the fragrance and your movements in a straight line.\" \u003c\/p\u003e\n\n\u003chr data-start=\"84\" data-end=\"87\"\u003e\n\n\u003ch2 data-section-id=\"19j1mpi\" data-start=\"89\" data-end=\"116\"\u003e I. The linear form of a ceramic box – simply placing it creates a sense of space\u003c\/h2\u003e\n\n\u003cp data-start=\"118\" data-end=\"319\"\u003e A ceramic box is not only a container for storage, but also a tool that regulates the air through the action of opening and closing. Among them, this piece stands out for its slender proportions of W13.4 x D3.5. \u003cbr data-start=\"188\" data-end=\"191\"\u003eIf a square box is \"still,\" then a long, narrow box is \"flowing.\" The moment it is placed, the eye runs straight to the long side, tightening the space as if a line has been drawn. In a tea ceremony, subtle lengths and directions determine the rhythm of the tools, and this box truly creates directional white space. \u003c\/p\u003e\n\n\u003chr data-start=\"321\" data-end=\"324\"\u003e\n\n\u003ch2 data-section-id=\"118epr7\" data-start=\"326\" data-end=\"355\"\u003e II. Blue-and-white porcelain—\"Clearer than white, softer than blue\"—the skin of still water\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"x5ot0e\" data-start=\"357\" data-end=\"379\"\u003e 2-1 Pale Blue Surface: It's not the color, it's the quality of light\u003c\/h3\u003e\n\n\u003cp data-start=\"380\" data-end=\"517\"\u003e The appeal of blue-and-white porcelain lies not in its assertive blue color, but in its texture, which softly absorbs and diffuses light. Shadows shift smoothly along the gradient of the surface, creating a sense of depth reminiscent of still water.\u003cbr data-start=\"456\" data-end=\"459\"\u003e The long, slender shape further enhances this effect. The pale blue surface stretches out like a long, thin belt, creating a long, sustained sense of stillness—this is the elegance of this piece.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"mju2t8\" data-start=\"519\" data-end=\"547\"\u003e 2-2 Joint line: A slight temperature deepens the clarity\u003c\/h3\u003e\n\n \u003cp data-start=\"548\" data-end=\"663\"\u003eA thin line runs along the boundary between the body and lid, revealing a faint hint of the pale orange color that results from the firing process. It is not completely pristine, and traces of the flame and the hands remain as tiny traces of heat. This subtle difference transforms the pureness of the pale blue porcelain into a breathy clarity rather than a mere coldness. \u003c\/p\u003e\n\n\u003chr data-start=\"665\" data-end=\"668\"\u003e\n\n\u003ch2 data-section-id=\"v9mmq6\" data-start=\"670\" data-end=\"698\"\u003e III. Ginsai—“Punctuation marks” placed on the edges, a frosty texture\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1tb8eg5\" data-start=\"700\" data-end=\"720\"\u003e 3-1 Silver is not a mirror, but a fine grain of frost\u003c\/h3\u003e\n\n\u003cp data-start=\"721\" data-end=\"818\"\u003e The silver glaze on both ends does not have a strong metallic glow, but rather a subdued, finely grained glow. Rather than reflecting the light from a surface, it receives it in points and scatters it softly. The impression is of frost, light snow, or moonlight - \u003cstrong data-start=\"801\" data-end=\"813\"\u003ea cold, transparent glow\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1l75zk5\" data-start=\"820\" data-end=\"845\"\u003e 3-2 Compositional Trick: Giving an edge to the long pale blue\u003c\/h3\u003e\n\n\u003cp data-start=\"846\" data-end=\"973\"\u003e The beauty of this box is that the long pale blue surface is sandwiched between silver glazes at key points, giving the eye a small pause. If the pale blue is a continuous sentence, the silver glaze is a punctuation mark. \u003cbr data-start=\"912\" data-end=\"915\"\u003eThis gives the vessel a relaxed yet not sloppy appearance. The silver glaze gently suppresses the \"stretchedness\" of the long, slender shape, tightening the overall appearance. \u003c\/p\u003e\n\n\u003chr data-start=\"975\" data-end=\"978\"\u003e\n\n\u003ch2 data-section-id=\"18jc3bs\" data-start=\"980\" data-end=\"1006\"\u003e IV. The view when opened: A canal-like view\u003c\/h2\u003e\n\n\u003cp data-start=\"1008\" data-end=\"1157\"\u003e When you remove the lid, a thin, pale blue window appears inside, a silent, straight line of empty space, like a waterway.\u003cbr data-start=\"1057\" data-end=\"1060\"\u003e When fragrant wood, incense packets, small seals, or other crafts are placed inside, the items naturally align and your movements become more refined. The box not only protects the contents, but also \u003cstrong data-start=\"1119\" data-end=\"1132\"\u003eregulates the movements of your hands\u003c\/strong\u003e - this effect is particularly clear when it is in this shape. \u003c\/p\u003e\n\n\u003chr data-start=\"1159\" data-end=\"1162\"\u003e\n\n\u003ch2 data-section-id=\"k3ywv7\" data-start=\"1164\" data-end=\"1191\"\u003e V. Combination and Seasonal Feelings - The clarity of winter and the thin ice of early spring\u003c\/h2\u003e\n\n\u003cp data-start=\"1193\" data-end=\"1317\"\u003e The frosty shine of the silver glaze and the pale blue of the pale blue porcelain are a perfect match for the crispness of winter, the thin ice of early spring, and the clear night air of autumn. When placed on a black base, the outline of the piece stands out, and when placed on a white cloth, the purity is enhanced. \u003cbr data-start=\"1270\" data-end=\"1273\"\u003eThis piece is excellent not as a tool to make a statement, but as \u003cstrong data-start=\"1284\" data-end=\"1302\"\u003ea tool to create space and organize the space\u003c\/strong\u003e . \u003c\/p\u003e\n\n\u003chr data-start=\"1319\" data-end=\"1322\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1324\" data-end=\"1330\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1332\" data-end=\"1521\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The Blue and White Porcelain Silver-glazed Ceramic Box is a refined piece that combines the beauty of its lines created by its slender proportions with the still water of the blue and white porcelain and the frosty feel of the silver glaze. The silver glaze creates punctuation marks at the edges, while the pale blue creates a relaxed space. Whether closed or open, the movement is serene and refined, and the space is clear.\u003cbr data-start=\"1467\" data-end=\"1470\"\u003e More than just a box for incense and small items, this is a work of art that exudes a certain dignity as a small piece of architecture that helps to regulate the space and pace of the mind.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n \u003cp data-start=\"1810\" data-end=\"2520\"\u003e2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka) \u003cbr data-start=\"2231\" data-end=\"2234\"\u003e2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51737092849944,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukawa_12-0_0aa8.jpg?v=1773726985"},{"product_id":"13青白磁銀彩陶筥-松川和弘","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"82\"\u003e Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 7.5cm D: 2.7cm H: 3.7cm) \u003cbr data-start=\"39\" data-end=\"42\"\u003e-- \"A drop of pale blue is accompanied by a silver grain. The 'line' in the palm of your hand minimizes the scent and presence.\" \u003c\/p\u003e\n\n\u003chr data-start=\"84\" data-end=\"87\"\u003e\n\n\u003ch2 data-section-id=\"1bvjuzq\" data-start=\"89\" data-end=\"106\"\u003e Ⅰ The ceramic box: a \"minimal ritual\"\u003c\/h2\u003e\n\n\u003cp data-start=\"108\" data-end=\"306\"\u003e A ceramic box is not only a container for storing things, but also a tool that regulates the atmosphere through the action of opening and closing. This piece is extremely small, measuring just W7.5 x D2.7 x H3.7. However, it is precisely because of its small size that the sensation of the fingertips sliding the lid, the tension at the moment when the lid fits together, and the blank space that appears when the box is opened are all the more vividly felt.\u003cbr data-start=\"237\" data-end=\"240\"\u003e Although it appears modest at first glance, the moment it is placed, it clarifies the atmosphere. This ceramic box embodies the aesthetic of the tea ceremony, where small objects dominate the space. \u003c\/p\u003e\n\n\u003chr data-start=\"308\" data-end=\"311\"\u003e\n\n\u003ch2 data-section-id=\"r32kgx\" data-start=\"313\" data-end=\"340\"\u003e II. Blue-and-white porcelain - \"Clearer than white, softer than blue\" still water\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"x5ot0e\" data-start=\"342\" data-end=\"364\"\u003e 2-1 Pale Blue Surface: It's not the color, it's the quality of light\u003c\/h3\u003e\n\n \u003cp data-start=\"365\" data-end=\"525\"\u003eThe appeal of pale blue porcelain lies not in the intensity of its blue color, but in its texture, which softly absorbs and quietly diffuses light. The pale blue of this piece, like thin ice or the surface of water, changes shade smoothly depending on the angle from which it is viewed, creating a sense of depth that belies the vessel's small size.\u003cbr data-start=\"464\" data-end=\"467\"\u003e The less information there is, the more the differences in shape and texture become part of the expression. Kazuhiro Matsukawa's blue-and-white porcelain is truly a \"silent design.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1328kqw\" data-start=\"527\" data-end=\"544\"\u003e 2-2 Temperature seen at the joint line\u003c\/h3\u003e\n\n\u003cp data-start=\"545\" data-end=\"641\"\u003e A thin line runs along the boundary between the body and lid, revealing a faint orange hue resulting from the firing process. It is not completely pure, and traces of the flame and the hands remain as slight heat. This subtle difference further deepens the purity of the pale blue porcelain. \u003c\/p\u003e\n\n\u003chr data-start=\"643\" data-end=\"646\"\u003e\n\n\u003ch2 data-section-id=\"y5q34t\" data-start=\"648\" data-end=\"673\"\u003e III. Ginsai - \"Punctuation marks\" placed on the edges, particles of frost\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1novk96\" data-start=\"675\" data-end=\"695\"\u003e 3-1 Silver is not a mirror, but a grainy frost\u003c\/h3\u003e\n\n \u003cp data-start=\"696\" data-end=\"822\"\u003eThe silver glaze in this piece does not have a strong metallic glow, but rather a subdued sparkle with fine grains. The light is not reflected by a surface, but rather received in points and scattered softly, giving the impression of frost, light snow, or moonlight.\u003cbr data-start=\"766\" data-end=\"769\"\u003e The reason why silver decoration is effective in small boxes is that its brilliance does not take center stage, but rather \u003cstrong data-start=\"803\" data-end=\"817\"\u003eoutlines the tranquil contours\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"805tlj\" data-start=\"824\" data-end=\"848\"\u003e 3-2 Compositional Trick: Adding an Edge to the Pale Blue Band\u003c\/h3\u003e\n\n\u003cp data-start=\"849\" data-end=\"971\"\u003e The silver glaze is placed on the edges, and acts to hold the pale blue surface in place. Within the short rectangle, the eye glides across the pale blue and stops at the silver.\u003cbr data-start=\"901\" data-end=\"904\"\u003e This small stop gives the box a sense of dignity and prevents it from looking stretched out, which is common with long, slender shapes. Ginsai is not so much decoration as it is \u003cstrong data-start=\"951\" data-end=\"966\"\u003ea structure that draws the eye in\u003c\/strong\u003e . \u003c\/p\u003e\n\n\u003chr data-start=\"973\" data-end=\"976\"\u003e\n\n\u003ch2 data-section-id=\"n3g1pk\" data-start=\"978\" data-end=\"1003\"\u003e IV. The view when opened: the prospect of a \"narrow waterway\"\u003c\/h2\u003e\n\n \u003cp data-start=\"1005\" data-end=\"1180\"\u003eRemoving the lid reveals a thin, pale blue opening inside, a silent, straight line of empty space like a small waterway.\u003cbr data-start=\"1053\" data-end=\"1056\"\u003e This piece is ideal for storing delicate items in an orderly fashion, such as small pieces of fragrant wood, incense packets, seals, crafts, or small tea ceremony implements. A box's role is not just to protect its contents; \u003cstrong data-start=\"1133\" data-end=\"1152\"\u003estoring them also helps regulate the pace of the mind\u003c\/strong\u003e . This size makes its effectiveness particularly apparent. \u003c\/p\u003e\n\n\u003chr data-start=\"1182\" data-end=\"1185\"\u003e\n\n\u003ch2 data-section-id=\"1wl5ew2\" data-start=\"1187\" data-end=\"1210\"\u003e V. Combinations and Seasonal Feelings - Tools for Sharpness\u003c\/h2\u003e\n\n\u003cp data-start=\"1212\" data-end=\"1341\"\u003e The frosty shine of the silver glaze and the pale blue of the pale blue porcelain are a perfect match for the crispness of winter, the thin ice of early spring, and the clear night air of autumn. When placed on a black base, the outline of the piece stands out, and when placed on a white cloth, the purity is enhanced.\u003cbr data-start=\"1289\" data-end=\"1292\"\u003e The smaller the box, the more it can absorb the surrounding air and become the \"center of white space.\" This work certainly possesses this quality. \u003c\/p\u003e\n\n\u003chr data-start=\"1343\" data-end=\"1346\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1348\" data-end=\"1354\"\u003e summary\u003c\/h2\u003e\n\n \u003cp data-start=\"1356\" data-end=\"1524\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe blue-and-white porcelain silver-glazed box is a miniature universe in the palm of your hand, with the clear, still water of the blue-and-white porcelain accented with particles of silver frost. The silver glazing on the edges punctuates the gaze, while the pale blue surface creates a tranquil flow. Whether closed or open, the gesture is poised and the space is clear.\u003cbr data-start=\"1470\" data-end=\"1473\"\u003e Although it is a small box, it has the power to change the density of space - a work that embodies Kazuhiro Matsukawa's \"design of tranquility.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Art and Design, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba) \u003cbr data-start=\"1909\" data-end=\"1912\"\u003eSolo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo) \u003cbr data-start=\"2340\" data-end=\"2343\"\u003eSolo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51741571973400,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_13-01.jpg?v=1773727310"},{"product_id":"14白磁銀彩陶筥-松川和弘","title":"White porcelain silver-colored ceramic box by Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"82\"\u003e White porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 7.8cm D: 3.3cm H: 2.9cm)\u003cbr data-start=\"38\" data-end=\"41\"\u003e -- \"A silver frost falls on the white silence. The thin box in my hand seals the gaps and clears the air.\" \u003c\/p\u003e\n\n\u003chr data-start=\"84\" data-end=\"87\"\u003e\n\n\u003ch2 data-section-id=\"1825qb5\" data-start=\"89\" data-end=\"106\"\u003e Ⅰ The \"small barrier\" of a ceramic box\u003c\/h2\u003e\n\n \u003cp data-start=\"108\" data-end=\"311\"\u003eA ceramic box is not only a container for storage, but also a tool that changes the air with the action of opening and closing. The moment the lid is closed, the inside becomes a single area, and the moment it is opened, the empty space is released.\u003cbr data-start=\"190\" data-end=\"193\"\u003e This piece, \"White Porcelain Silver-Decorated Ceramic Box,\" measures W7.8 x D3.3 x H2.9, small enough to fit in the palm of your hand, yet has the power to change the density of the space it is placed in. Its small size gives it a deep sense of tranquility. This box neatly crystallizes the \"universe of small things\" beloved by the tea ceremony. \u003c\/p\u003e\n\n\u003chr data-start=\"313\" data-end=\"316\"\u003e\n\n\u003ch2 data-section-id=\"1p5lhnj\" data-start=\"318\" data-end=\"344\"\u003e II. The Beauty of White Porcelain: White is the Most Ascetic and the Most Eloquent\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1l804kr\" data-start=\"346\" data-end=\"365\"\u003e 2-1 White is not a color, but a vessel of light\u003c\/h3\u003e\n\n\u003cp data-start=\"366\" data-end=\"542\"\u003e The white in this piece is not simply uniform. The porcelain surface softly diffuses the light, and the shadows shift smoothly along the slight gradient of the surface, creating a tranquil depth. \u003cbr data-start=\"439\" data-end=\"442\"\u003eBecause white porcelain has less information, the precision of the shape and the tension of the skin are what express the expression. Kazuhiro Matsukawa's white porcelain does not treat white as colorless, but rather as \u003cstrong data-start=\"502\" data-end=\"516\"\u003ea material that designs the quality of light\u003c\/strong\u003e , and it harbors a rich density within its silence.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"u9xc4f\" data-start=\"544\" data-end=\"568\"\u003e 2-2 Single line at the joint: Tightens the silence\u003c\/h3\u003e\n\n\u003cp data-start=\"569\" data-end=\"661\"\u003e The thin line that runs between the lid and the body tightens the outline of the vessel and gives it a sense of tension. The smaller the box, the more effective this line is. Even when closed, it creates a complete appearance, and the act of opening and closing it becomes natural and careful. \u003c\/p\u003e\n\n\u003chr data-start=\"663\" data-end=\"666\"\u003e\n\n\u003ch2 data-section-id=\"16smwfo\" data-start=\"668\" data-end=\"695\"\u003e III. Ginsai - Not a mirror but a frosted surface, catching the light in points\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"17x7q0p\" data-start=\"697\" data-end=\"722\"\u003e 3-1 Fine sparkle: Why silver doesn't look flashy\u003c\/h3\u003e\n\n \u003cp data-start=\"723\" data-end=\"881\"\u003eThe silver glaze applied to the lid (or part of the lid) is not a sparkling, mirror-like reflective silver, but rather a subdued shine with fine grains. Rather than reflecting light from a surface, it receives it in points and scatters it softly.\u003cbr data-start=\"812\" data-end=\"815\"\u003e The impression is of frost, light snow, moonlight - \u003cstrong data-start=\"830\" data-end=\"842\"\u003ea cold, transparent glow\u003c\/strong\u003e . The silver is placed not to break the silence of the white porcelain, but rather to outline its tranquil contours.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1urej9n\" data-start=\"883\" data-end=\"906\"\u003e 3-2 Dialogue between White and Silver: Purity becomes two-tiered\u003c\/h3\u003e\n\n\u003cp data-start=\"907\" data-end=\"1043\"\u003e If white porcelain is \"air,\" then silver glaze is light. By overlapping the two, the purity deepens two layers. Where white alone would be too complete, the silver adds a slight tension and temperature difference, making the vessel's expression even more poetic.\u003cbr data-start=\"993\" data-end=\"996\"\u003e Gin is not the main character, but rather the \"opponent\" who highlights Shiro's silence. This relationship determines the quality of this work. \u003c\/p\u003e\n\n\u003chr data-start=\"1045\" data-end=\"1048\"\u003e\n\n\u003ch2 data-section-id=\"eotf0h\" data-start=\"1050\" data-end=\"1077\"\u003e IV. The view inside – the “pale light blue” that appears when opened\u003c\/h2\u003e\n\n \u003cp data-start=\"1079\" data-end=\"1282\"\u003eWhen you remove the lid, the inside is revealed to have a pale blue tint. In contrast to the cold light created by the white and silver exterior, the inside is soft, like the surface of still water.\u003cbr data-start=\"1145\" data-end=\"1148\"\u003e The interior color purifies and defines the contents it contains. Fragrance pieces, incense packets, sugar candy, seals, small ornaments—all of these will quietly stand out against this pale background. The box not only protects its contents, but \u003cstrong data-start=\"1240\" data-end=\"1255\"\u003ealso shapes their appearance\u003c\/strong\u003e . This quality is enhanced by the interior scenery. \u003c\/p\u003e\n\n\u003chr data-start=\"1284\" data-end=\"1287\"\u003e\n\n\u003ch2 data-section-id=\"1y28zfs\" data-start=\"1289\" data-end=\"1315\"\u003e V. Combination and Seasonal Feelings - The Brightness of Winter, the Thin Ice of Early Spring\u003c\/h2\u003e\n\n\u003cp data-start=\"1317\" data-end=\"1479\"\u003e The combination of white porcelain and silver glaze is a perfect match for the crispness of winter, the thin ice of early spring, and the clear night air of autumn. Placing it on a black base accentuates its contours, while placing it on a white cloth enhances its purity. \u003cbr data-start=\"1388\" data-end=\"1391\"\u003eAmong the props, it does not make a flashy statement, but rather acts as \u003cstrong data-start=\"1410\" data-end=\"1419\"\u003ethe center of the blank space\u003c\/strong\u003e , tightening the atmosphere. The smaller the box, the more likely it is to absorb the surrounding atmosphere and become the main character - this work certainly has that power. \u003c\/p\u003e\n\n\u003chr data-start=\"1481\" data-end=\"1484\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1486\" data-end=\"1492\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1494\" data-end=\"1664\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The white porcelain and silver glitter ceramic box combines the ascetic silence of the white porcelain with the frosty sparkle of the silver glitter, creating a feeling of purity in the palm of your hand. When closed, the white and silver clarify the space, and when opened, the faint light liberates the space and even brings to mind the presence of the contents.\u003cbr data-start=\"1609\" data-end=\"1612\"\u003e Small and neat, yet with the power to transform a space, this work is a culmination of Matsukawa Kazuhiro's unique \"design of tranquility.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo \u003cbr data-start=\"1771\" data-end=\"1774\"\u003e2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11) \u003cbr data-start=\"2171\" data-end=\"2174\"\u003e2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51741574889752,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_atsukwa_14-01.jpg?v=1773727578"},{"product_id":"15青白磁銀彩陶筥-松川和弘","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"78\"\u003eBlue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 3.9cm D: 3.6cm H: 3.7cm)\u003cbr data-start=\"39\" data-end=\"42\"\u003e -- \"A single streak of silver frost appears on a pale blue box. The shape of the rime in his palm \"crystallizes\" the blank space.\" \u003c\/p\u003e\n\n\u003chr data-start=\"80\" data-end=\"83\"\u003e\n\n\u003ch2 data-section-id=\"57qn1d\" data-start=\"85\" data-end=\"102\"\u003e I. Architecture in the palm of your hand: the ceramic box\u003c\/h2\u003e\n\n\u003cp data-start=\"104\" data-end=\"296\"\u003e A ceramic box is not only a container for storage, but also a tool for adjusting the atmosphere through the action of opening and closing. This piece is extremely small, almost cubic in shape.\u003cbr data-start=\"180\" data-end=\"183\"\u003e At this size, the box goes beyond being a \"trinket box\" and becomes more like \u003cstrong data-start=\"209\" data-end=\"221\"\u003ea piece of architecture that can be placed in the palm of your hand\u003c\/strong\u003e . The tension you feel when you close the lid, the relief you feel when you open it - even the slightest movement changes the density of the space. It is precisely because it is small that the silence is intense and the gestures are refined. \u003c\/p\u003e\n\n\u003chr data-start=\"298\" data-end=\"301\"\u003e\n\n\u003ch2 data-section-id=\"118epr7\" data-start=\"303\" data-end=\"332\"\u003e II. Blue-and-white porcelain—clearer than white, softer than blue, like the skin of still water\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"302uh3\" data-start=\"334\" data-end=\"354\"\u003e 2-1 Pale blue is not a color, but a quality of light\u003c\/h3\u003e\n\n \u003cp data-start=\"355\" data-end=\"527\"\u003eThe appeal of pale blue porcelain lies not in its assertive blue color, but in its texture, which softly absorbs and quietly diffuses light. The pale blue of this piece is imbued with a clarity reminiscent of ice or the surface of water, and the smooth transition of shadows along the slight gradient of the surface creates a sense of depth that belies the vessel's small size.\u003cbr data-start=\"465\" data-end=\"468\"\u003e The less information there is, the more the precision of the shape and the tension of the skin become the expression - Matsukawa Kazuhiro's blue-and-white porcelain is a material that transforms these harsh conditions into beauty.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1gakhnt\" data-start=\"529\" data-end=\"548\"\u003e 2-2 Temperature seen at the joint line\u003c\/h3\u003e\n\n\u003cp data-start=\"549\" data-end=\"661\"\u003e The thin line of the joint that runs between the lid and the body faintly reveals a pale orange color resulting from the firing process. It is not completely pristine, but rather traces of the flame and the hands remain as a line of heat. This subtle difference transforms the pureness of the pale blue porcelain into a breathy clarity rather than just a coldness. \u003c\/p\u003e\n\n\u003chr data-start=\"663\" data-end=\"666\"\u003e\n\n\u003ch2 data-section-id=\"py5jyx\" data-start=\"668\" data-end=\"691\"\u003e III. Ginsai - A hint of frost tightens the cube\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"odd4vd\" data-start=\"693\" data-end=\"714\"\u003e 3-1 Silver is not a mirror, but a shining speck\u003c\/h3\u003e\n\n \u003cp data-start=\"715\" data-end=\"847\"\u003eThe silver glaze applied to one surface (or one corner) does not assert a strong metallic glow, but rather has a subdued sparkle with fine grains. The light is not reflected by the surface, but is received in points and scattered softly - giving the impression of frost, light snow, or moonlight.\u003cbr data-start=\"803\" data-end=\"806\"\u003e This quiet silver adds tension to the silence of the pale blue and makes the outline of the box stand out even more clearly.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"16mj6u3\" data-start=\"849\" data-end=\"874\"\u003e 3-2 Contrasting composition: blue still water × silver stone surface\u003c\/h3\u003e\n\n\u003cp data-start=\"875\" data-end=\"1002\"\u003e While the pale blue porcelain is enveloping like water or air, the silver glaze adds a sense of hardness like the surface of stone. By adding a different texture to one outer corner, the cube does not appear monotonous, and \u003cstrong data-start=\"944\" data-end=\"963\"\u003ethe \"center of gravity\" seems to change depending on the angle from which it is viewed\u003c\/strong\u003e . Although it is a small box, the power of the composition edits the space. \u003c\/p\u003e\n\n\u003chr data-start=\"1004\" data-end=\"1007\"\u003e\n\n\u003ch2 data-section-id=\"1w64m97\" data-start=\"1009\" data-end=\"1037\"\u003e IV. The view when opened: the blank space in the pale blue “hollow”\u003c\/h2\u003e\n\n \u003cp data-start=\"1039\" data-end=\"1200\"\u003eWhen you remove the lid, a pale blue interior is revealed. What should be a small hollow is a surprisingly clear space.\u003cbr data-start=\"1097\" data-end=\"1100\"\u003e Small pieces of fragrant wood, sugar candy, seals, and small crafts—all of these quietly stand out against this pale blue blank space. Furthermore, the arrangement of the lid and body creates two blank spaces, making it a beautiful piece that can be displayed as well as stored. \u003c\/p\u003e\n\n\u003chr data-start=\"1202\" data-end=\"1205\"\u003e\n\n\u003ch2 data-section-id=\"13cq6q0\" data-start=\"1207\" data-end=\"1233\"\u003e V. Combination and Seasonal Feelings—The Brightness of Winter, the Thin Ice of Early Spring\u003c\/h2\u003e\n\n\u003cp data-start=\"1235\" data-end=\"1372\"\u003e The frosty shine of the silver glaze and the pale blue of the pale blue porcelain are a perfect match for the crispness of winter, the thin ice of early spring, and the clear night air of autumn. Placing it on a black base accentuates its contours, while placing it on a white cloth enhances its purity.\u003cbr data-start=\"1313\" data-end=\"1316\"\u003e A box of this size is unlikely to play a supporting role in the set. Rather, it has the power to tighten the space as \u003cstrong data-start=\"1346\" data-end=\"1355\"\u003ethe center of the blank space\u003c\/strong\u003e . \u003c\/p\u003e\n\n\u003chr data-start=\"1374\" data-end=\"1377\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1379\" data-end=\"1385\"\u003e summary\u003c\/h2\u003e\n\n \u003cp data-start=\"1387\" data-end=\"1565\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe blue-and-white porcelain and silver-glazed ceramic box is a miniature universe that fits in the palm of your hand, condensing the still water of the blue-and-white porcelain and the frosty atmosphere of the silver glaze into a tiny, almost cubic space. The silver glaze creates tension in one corner, while the pale blue clarifies the remaining space. Whether closed or open, the box is well-organized, creating a quiet and clear space.\u003cbr data-start=\"1505\" data-end=\"1508\"\u003e Small and neat, yet with the power to transform a space, this work is the crystallization of Matsukawa Kazuhiro's unique \"design of tranquility\" in the smallest unit.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto) \u003cbr data-start=\"1887\" data-end=\"1890\"\u003e2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka) \u003cbr data-start=\"2311\" data-end=\"2314\"\u003e2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51741577117976,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matskawa_15-01.jpg?v=1773727786"},{"product_id":"16青白磁銀彩陶筥-松川和弘","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa ","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-(--header-height)\" dir=\"auto\" data-turn-id=\"4d469a91-3085-401d-9e7a-61393046895c\" data-testid=\"conversation-turn-27\" data-scroll-anchor=\"false\" data-turn=\"user\" tabindex=\"-1\"\u003e\u003c\/article\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-69a4cc45-6ab4-83a9-9fe8-18d3c6aa2284-2\" data-testid=\"conversation-turn-28\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"a646e4c6-1a71-4e8c-b1a5-77e667f7adb7\" dir=\"auto\" data-message-model-slug=\"gpt-5-2-thinking\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\"\u003e\n\n\u003cp data-start=\"0\" data-end=\"84\"\u003e Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 10.1cm D: 2.5cm H: 2.2cm)\u003cbr data-start=\"40\" data-end=\"43\"\u003e -- \"A thin line of pale blue is coated with silver frost. A long, thin box quietly sharpens its movements.\" \u003c\/p\u003e\n\n\u003chr data-start=\"86\" data-end=\"89\"\u003e\n\n\u003ch2 data-section-id=\"61duog\" data-start=\"91\" data-end=\"116\"\u003e I. The ceramic box as a \"tool of lines\" - the tension created by thinness\u003c\/h2\u003e\n\n \u003cp data-start=\"118\" data-end=\"361\"\u003eBefore being a container for storage, a ceramic box is a tool that regulates the atmosphere through the action of opening and closing. This piece is characterized by its \u003cstrong data-start=\"175\" data-end=\"183\"\u003ethin and long\u003c\/strong\u003e proportions of W10.1 x D2.5 x H2.2. Because its height is kept low, the box exists as a \"line\" rather than a \"mass,\" and the moment it is placed, a line of tension runs through the space.\u003cbr data-start=\"248\" data-end=\"251\"\u003e In the tea ceremony, thick utensils are associated with stability, while thin utensils are associated with precision. The fingertips grasp the lid, gently slide it back, and the lid snaps back into place—this series of movements naturally becomes more precise and precise. The thinness itself is a mechanism for regulating the movements. \u003c\/p\u003e\n\n\u003chr data-start=\"363\" data-end=\"366\"\u003e\n\n\u003ch2 data-section-id=\"118fpkw\" data-start=\"368\" data-end=\"397\"\u003e II. Blue-and-white porcelain—a band of still water clearer than white and softer than blue\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"302uh3\" data-start=\"399\" data-end=\"419\"\u003e 2-1 Pale blue is not a color, but a quality of light\u003c\/h3\u003e\n\n \u003cp data-start=\"420\" data-end=\"559\"\u003eThe appeal of pale blue porcelain lies not in the assertive blue color, but in the way it softly absorbs and diffuses light. The pale blue of this piece evokes the image of thin ice or still water, with shadows shifting smoothly along the slight gradient of the surface.\u003cbr data-start=\"502\" data-end=\"505\"\u003e In particular, in this box, the pale blue stretches out like a long sash, creating a thin, sustained sense of stillness that naturally calms the viewer's breathing.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1328kqw\" data-start=\"561\" data-end=\"578\"\u003e 2-2 Temperature seen at the joint line\u003c\/h3\u003e\n\n\u003cp data-start=\"579\" data-end=\"680\"\u003e The thin line at the rim of the lid and body reveals a subtle pale orange hue resulting from the firing process. It is not completely pure, but rather traces of the flame and the hands remain as a line of heat. This subtle difference brings an even deeper clarity to the pure blue-and-white porcelain. \u003c\/p\u003e\n\n\u003chr data-start=\"682\" data-end=\"685\"\u003e\n\n\u003ch2 data-section-id=\"1l8rtzu\" data-start=\"687\" data-end=\"715\"\u003e III. Ginsai—Not a mirror, but a “frosty skin,” and a punctuation mark that concludes the edge\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"paysus\" data-start=\"717\" data-end=\"743\"\u003e 3-1 Fine Sparkle: Why Silver Doesn't Disturb the Serenity\u003c\/h3\u003e\n\n \u003cp data-start=\"744\" data-end=\"879\"\u003eThe silver glaze in this piece is not a strongly reflective metallic light, but a subdued sparkle with fine grains. The light is not reflected by the surface, but is received in points and scattered softly, giving the impression of frost, light snow, or moonlight.\u003cbr data-start=\"819\" data-end=\"822\"\u003e In a thin box, a little sparkle can be excessive, but this silver glaze stays on \u003cstrong data-start=\"854\" data-end=\"862\"\u003ethe side of silence\u003c\/strong\u003e , sharpening the outline of serenity.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"10hbbqa\" data-start=\"881\" data-end=\"906\"\u003e 3-2 Compositional Trick: Giving an Edge to the Pale Blue Line\u003c\/h3\u003e\n\n\u003cp data-start=\"907\" data-end=\"1021\"\u003e The silver accents give an edge to the pale blue band, creating a small pause in the flow of the eye. If the pale blue represents a continuous sentence, the silver represents a punctuation mark.\u003cbr data-start=\"968\" data-end=\"971\"\u003e This gives the vessel a relaxed feel without feeling stretched out. The silver glaze gently supports the tension inherent in the thin, long shape. \u003c\/p\u003e\n\n\u003chr data-start=\"1023\" data-end=\"1026\"\u003e\n\n\u003ch2 data-section-id=\"18jc3bs\" data-start=\"1028\" data-end=\"1054\"\u003e IV. The view when opened: A canal-like view\u003c\/h2\u003e\n\n \u003cp data-start=\"1056\" data-end=\"1220\"\u003eWhen you remove the lid, a pale blue, narrow opening appears inside, a silent, straight line of empty space like a narrow waterway.\u003cbr data-start=\"1107\" data-end=\"1110\"\u003e When small, slender items such as small pieces of fragrant wood, incense packets, seals, or crafts are placed inside, the items are naturally aligned and the atmosphere is clear. A box not only protects its contents, but also \u003cstrong data-start=\"1176\" data-end=\"1192\"\u003eserves to arrange the appearance of the contents\u003c\/strong\u003e - this essence is expressed in the beauty of the interior. \u003c\/p\u003e\n\n\u003chr data-start=\"1222\" data-end=\"1225\"\u003e\n\n\u003ch2 data-section-id=\"13cq6q0\" data-start=\"1227\" data-end=\"1253\"\u003e V. Combination and Seasonal Feelings—The Brightness of Winter, the Thin Ice of Early Spring\u003c\/h2\u003e\n\n\u003cp data-start=\"1255\" data-end=\"1388\"\u003e The frosty shine of the silver glaze and the pale blue of the pale blue porcelain are a perfect match for the crispness of winter, the thin ice of early spring, and the clear night air of autumn. When placed on a black base, the outline of the piece stands out, and when placed on a white cloth, the purity is enhanced.\u003cbr data-start=\"1332\" data-end=\"1335\"\u003e Rather than asserting itself, it serves as \u003cstrong data-start=\"1342\" data-end=\"1350\"\u003ea focal point for the space, creating a sense of space\u003c\/strong\u003e - the dignity of the long, thin box quietly brings the entire dougu set together.\u003c\/p\u003e\n\n\u003chr data-start=\"1390\" data-end=\"1393\"\u003e\n\n \u003ch2 data-section-id=\"1huqhjm\" data-start=\"1395\" data-end=\"1401\"\u003esummary\u003c\/h2\u003e\n\n\u003cp data-start=\"1403\" data-end=\"1581\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The Blue and White Porcelain Silver-Glazed Ceramic Box is an extremely refined small box, with thin, long lines that combine the still water of the blue and white porcelain with the frosty feel of the silver glaze. The silver glaze creates punctuation marks at the edges, while the pale blue maintains a relaxed atmosphere. Whether closed or open, the box's movements are refined and the space is clear.\u003cbr data-start=\"1526\" data-end=\"1529\"\u003e Although it is a small box, it quietly sharpens the speed of the space - a work that embodies Matsukawa Kazuhiro's unique \"design of quietness.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto) \u003cbr data-start=\"1887\" data-end=\"1890\"\u003e2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka) \u003cbr data-start=\"2311\" data-end=\"2314\"\u003e2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art \u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003c\/article\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51741578068248,"sku":null,"price":49500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukaa_16-01.jpg?v=1773727984"},{"product_id":"17青白磁銀彩合子-松川和弘","title":"Blue and white porcelain silver saiko Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"71\"\u003e Blue and white porcelain silver saiko by Kazuhiro Matsukawa (Φ: 7.5cm H: 4.2cm)\u003cbr data-start=\"31\" data-end=\"34\"\u003e --\"A silver moon hangs over the circle of still water. The moment it opens and closes, the presence is clear and sealed.\" \u003c\/p\u003e\n\n\u003chr data-start=\"73\" data-end=\"76\"\u003e\n\n\u003ch2 data-section-id=\"yeg5ht\" data-start=\"78\" data-end=\"103\"\u003e Ⅰ The \"round barrier\" of a container: the density created by the lid\u003c\/h2\u003e\n\n \u003cp data-start=\"105\" data-end=\"301\"\u003eA gosu is a tool that brings together the inside into a single area the moment the lid is closed, and releases the empty space the moment it is opened. Even more than a box, it is a \"vessel of movement,\" and the air changes with the slightest rotation or pressure of the fingertips.\u003cbr data-start=\"187\" data-end=\"190\"\u003e This work is a small circle that fits in the palm of your hand, but when closed it creates a sense of complete stillness, and when opened, two circles appear, creating a gentle breathing in the space. Because the circle has no corners, tension sinks inward, and the stillness naturally deepens. \u003c\/p\u003e\n\n\u003chr data-start=\"303\" data-end=\"306\"\u003e\n\n\u003ch2 data-section-id=\"118epr7\" data-start=\"308\" data-end=\"337\"\u003e II. Blue-and-white porcelain—the skin of still water, “clearer than white, softer than blue”\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"6pw40v\" data-start=\"339\" data-end=\"362\"\u003e 2-1 Pale blue surface: Calm as the surface of water\u003c\/h3\u003e\n\n\u003cp data-start=\"363\" data-end=\"532\"\u003e The top surface of the lid is made of pale blue porcelain, which stretches smoothly, like the surface of calm water. Rather than speaking through its color, the pale blue porcelain softly absorbs and diffuses light, creating depth on the surface. \u003cbr data-start=\"440\" data-end=\"443\"\u003eThe circular plane allows only slight shading, but Matsukawa Kazuhiro's blue-and-white porcelain transforms that slight shading into a rich clarity. It is quiet, yet never boring. This is where the strength of the material and the precision of the design come into play.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"mwqre0\" data-start=\"534\" data-end=\"552\"\u003e 2-2 A streak of temperature remaining on the rim\u003c\/h3\u003e\n\n\u003cp data-start=\"553\" data-end=\"664\"\u003e The edges of the porcelain are colored with a pale orange hue resulting from the firing process, giving a slight warmth to the pure blue-and-white porcelain. Rather than being completely pure, the traces of the flame and the hands remain as a breath of life, making the vessel more than just a cold beauty; it becomes a tool that grows more intimate the more it is used. \u003c\/p\u003e\n\n\u003chr data-start=\"666\" data-end=\"669\"\u003e\n\n\u003ch2 data-section-id=\"jkxylt\" data-start=\"671\" data-end=\"698\"\u003e III. Ginsai—Not a mirror, but a “frost moon,” a poem created by a semicircle\u003c\/h2\u003e\n\n\u003ch3 data-section-id=\"1qthex5\" data-start=\"700\" data-end=\"725\"\u003e 3-1 Silver Texture: Fine particles softly scatter light\u003c\/h3\u003e\n\n\u003cp data-start=\"726\" data-end=\"881\"\u003e Ginsai does not have a strongly reflective metallic light, but a subdued brilliance with fine grains. Rather than reflecting the light on a surface, it receives it in points and scatters it softly, giving the impression of frost, light snow, or moonlight. \u003cbr data-start=\"798\" data-end=\"801\"\u003eThis \"quiet silver\" casts a strange, moon-like light on the surface of the pale blue porcelain. It is not flashy, but it draws the eye. The elegance of the silver decoration determines the quality of the entire bowl.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"lhkv85\" data-start=\"883\" data-end=\"912\"\u003e 3-2 Semicircular composition: not balanced, but asymmetry with a lingering effect\u003c\/h3\u003e\n\n\u003cp data-start=\"913\" data-end=\"1034\"\u003e The silver glaze on this piece is arranged in a semicircle, dividing the circle in half, allowing the blue-and-white porcelain and silver glaze to coexist. Rather than being perfectly symmetrical, the slight deviation creates a \"story\" within the tranquility of the circle.\u003cbr data-start=\"990\" data-end=\"993\"\u003e Blue represents still water, and silver represents the moon. The two come together to create a sense of the seasons just by looking at the closed glass. \u003c\/p\u003e\n\n\u003chr data-start=\"1036\" data-end=\"1039\"\u003e\n\n\u003ch2 data-section-id=\"raxgai\" data-start=\"1041\" data-end=\"1066\"\u003e IV. The view when opened: Two plates, two blank spaces\u003c\/h2\u003e\n\n\u003cp data-start=\"1068\" data-end=\"1262\"\u003e When the lid is opened, the silver glaze appears on the inside of the top lid, echoing the pale blue of the interior. When closed, the single circle becomes two when opened, creating \u003cstrong data-start=\"1127\" data-end=\"1136\"\u003etwo layers of white space\u003c\/strong\u003e . \u003cbr data-start=\"1141\" data-end=\"1144\"\u003eIt can be used as an incense container to store incense, or to store sugar candy, small sweets, seals, or small accessories. The pale blue background clarifies the outlines of these items, while the silver color adds a touch of light. The container is a \"container for storage,\" but at the same time, it is also a container for display - this duality is completed when it is opened. \u003c\/p\u003e\n\n\u003chr data-start=\"1264\" data-end=\"1267\"\u003e\n\n\u003ch2 data-section-id=\"1vghta\" data-start=\"1269\" data-end=\"1299\"\u003e V. Combination and Seasonal Feelings - The clarity of winter, the early spring moon, the clear autumn night\u003c\/h2\u003e\n\n\u003cp data-start=\"1301\" data-end=\"1440\"\u003e The combination of blue-and-white porcelain and silver glaze is a perfect match for the crispness of winter, the thin ice of early spring, and the clear night air of autumn. When placed on a black base, the outline stands out, and when placed on a white cloth, the purity is enhanced.\u003cbr data-start=\"1368\" data-end=\"1371\"\u003e Furthermore, the round bowl softens the angular utensils in a tea ceremony, creating a gentle rhythm in the space.Rather than being assertive, the bowl acts as \u003cstrong data-start=\"1416\" data-end=\"1430\"\u003ea center that helps regulate the atmosphere\u003c\/strong\u003e . \u003c\/p\u003e\n\n\u003chr data-start=\"1442\" data-end=\"1445\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1447\" data-end=\"1453\"\u003e summary\u003c\/h2\u003e\n\n \u003cp data-start=\"1455\" data-end=\"1637\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe blue-and-white porcelain silver-colored container is a work that captures the still-water-like clarity of the blue-and-white porcelain and the frost-like light of the silver color in the most tranquil form of a circle. When closed, it is a complete silence, and when opened, two blank spaces appear, creating a clear atmosphere.\u003cbr data-start=\"1558\" data-end=\"1561\"\u003e Whether used as an incense holder or as a small treasure to hold in the palm of your hand, it quietly sharpens your movements and the space around you - Matsukawa Kazuhiro's unique \"design of tranquility\" is beautifully crystallized within the circle.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto) \u003cbr data-start=\"1887\" data-end=\"1890\"\u003e2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka) \u003cbr data-start=\"2311\" data-end=\"2314\"\u003e2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742631690520,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matskawa_17-01.jpg?v=1773728232"},{"product_id":"18青白磁銀彩合子-松川和弘","title":"Blue and white porcelain silver saiko Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"63\"\u003e \u003cstrong data-start=\"0\" data-end=\"29\"\u003eBlue and white porcelain silver-colored bowl by Kazuhiro Matsukawa (Φ7.7×h3.7)\u003c\/strong\u003e\u003cbr data-start=\"29\" data-end=\"32\"\u003e -- \"The color of the water, the silver moon. Even the act of opening the lid is beautiful.\"\u003c\/p\u003e\n\n \u003cp data-start=\"65\" data-end=\"215\"\u003eThis work is like a small universe in the palm of your hand, combining \u003cstrong data-start=\"81\" data-end=\"94\"\u003ethe clear glaze of blue-and-white porcelain\u003c\/strong\u003e , a specialty of Kazuhiro Matsukawa, with \u003cstrong data-start=\"96\" data-end=\"107\"\u003ethe quiet light of silver glaze\u003c\/strong\u003e . With dimensions of 7.7cm in diameter and 3.7cm in height, it is easy to handle as both a tea ceremony tool and an everyday piece, yet its dignified presence gives it the air of order simply by placing it in the corner of a shelf.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"6q51mu\" data-start=\"217\" data-end=\"246\"\u003e I. Blue-and-white porcelain: The serenity of white with a hint of blue\u003c\/h3\u003e\n\n\u003cp data-start=\"247\" data-end=\"409\"\u003e The pale blue porcelain body is not simply white, but has a subtle \u003cstrong data-start=\"264\" data-end=\"278\"\u003epale blue that is not cold\u003c\/strong\u003e , and the more light it receives, the more transparent it appears to sink deeper.The surface is unassuming, with a soft, rounded outline that naturally draws the eye upwards - to the lid. \u003cbr data-start=\"362\" data-end=\"365\"\u003eThis \"wire\" is what makes the tool so well-made, and why the gesture of picking it up looks so beautiful.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1rbeot8\" data-start=\"411\" data-end=\"441\"\u003e II. Silver-decorated lid: Silver as \"tranquility\" rather than \"brilliance\"\u003c\/h3\u003e\n\n\u003cp data-start=\"442\" data-end=\"631\"\u003e The silver glaze on the lid does not shine brightly like a mirror, but rather lives on as \u003cstrong data-start=\"463\" data-end=\"479\"\u003ea soft, cloudy silver\u003c\/strong\u003e . The surface has delicate undulations and textures, and \u003cstrong data-start=\"513\" data-end=\"525\"\u003eflickers like moonlight\u003c\/strong\u003e depending on the angle.\u003cbr data-start=\"529\" data-end=\"532\"\u003e Even more striking is \u003cstrong data-start=\"549\" data-end=\"558\"\u003ethe rhythm of the lines\u003c\/strong\u003e on the dome. The lines, which are neither too regular nor too scattered, run across the silver surface as if to carve the \"flow of time\" or \"streaks of wind,\" injecting a touch of poetry into the serenity of the pale blue porcelain.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1q9olxw\" data-start=\"633\" data-end=\"659\"\u003e III. The aesthetics of the Aiko – The perfect form when “closed”\u003c\/h3\u003e\n\n \u003cp data-start=\"660\" data-end=\"826\"\u003eBefore being a container, a gosu becomes \u003cstrong data-start=\"676\" data-end=\"692\"\u003ea part of the scenery when closed\u003c\/strong\u003e .\u003cbr data-start=\"698\" data-end=\"701\"\u003e In this piece, the pale blue porcelain body and the silver glaze on the lid are perfectly synchronized at the horizontal seam (the rim line), creating a single unity. The contours are neat and not overly decorative. This is precisely why, the moment you open it, a \"space\" is created, quietly revealing the presence of the contents inside.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"18ohsm2\" data-start=\"828\" data-end=\"853\"\u003e IV. Uses: From the tea ceremony to a small treasure chest for everyday use\u003c\/h3\u003e\n\n\u003cp data-start=\"856\" data-end=\"904\"\u003e As \u003cstrong data-start=\"856\" data-end=\"862\"\u003ean incense holder\u003c\/strong\u003e : The silver-decorated lid is a perfect match for the world of incense, and the purity of the blue-and-white porcelain does not cloud the atmosphere at the table.\u003c\/p\u003e\n\n\u003cp data-start=\"907\" data-end=\"967\"\u003e As a candy container (dried sweets, sugar candy, amber sugar): The pale blue brings out the color of the sweets, and the silver lid adds a touch of special quality.\u003c\/p\u003e\n\n \u003cp data-start=\"970\" data-end=\"1018\"\u003eAs \u003cstrong data-start=\"970\" data-end=\"985\"\u003ea container for accessories and small items\u003c\/strong\u003e : It can be used to quietly protect treasures in the palm of your hand, such as rings, earrings, and seals.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1ueuihy\" data-start=\"1020\" data-end=\"1040\"\u003e V. Serene luxury in the palm of your hand\u003c\/h3\u003e\n\n\u003cp data-start=\"1041\" data-end=\"1157\"\u003e The appeal of this bowl lies not in its brilliance, but in \u003cstrong data-start=\"1059\" data-end=\"1074\"\u003eits high quality, which can only be appreciated by touching it\u003c\/strong\u003e . The smooth surface of the pale blue porcelain, the subtle irregularities of the silver glaze, and the feeling of it fitting perfectly together when the lid is closed - all these elements come together to elevate an everyday action into a ritual.\u003c\/p\u003e\n\n\u003cp data-start=\"1159\" data-end=\"1241\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e \u003cstrong data-start=\"1159\" data-end=\"1170\"\u003eThe blue-and-white porcelain silver-colored bowl\u003c\/strong\u003e is a tranquil and confident piece that combines the transparency of the blue-and-white porcelain that Kazuhiro Matsukawa has cultivated with the elegance of silver coloring.Although it is a small piece, it has the power to change the atmosphere of the space.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course \u003cbr data-start=\"1713\" data-end=\"1716\"\u003e2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09) \u003cbr data-start=\"2102\" data-end=\"2105\"\u003e2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2209\" data-end=\"2212\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award) \u003cbr data-start=\"2556\" data-end=\"2559\"\u003e55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742648926488,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukaa_18-01.jpg?v=1773799293"},{"product_id":"19青白磁銀彩合子-松川和弘","title":"Blue and white porcelain silver saiko Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"50\"\u003e Blue and white porcelain silver-colored bowl by Kazuhiro Matsukawa (Φ7.5×h3.5)\u003cbr data-start=\"25\" data-end=\"28\"\u003e --\"The silver of the moonlight sinks softly into the circle of pale water.\" \u003c\/p\u003e\n\n\u003chr data-start=\"52\" data-end=\"55\"\u003e\n\n\u003ch2 data-section-id=\"1vfy1yo\" data-start=\"57\" data-end=\"90\"\u003e Ⅰ The \"small universe\" of Goko: The act of opening the lid sets the stage\u003c\/h2\u003e\n\n\u003cp data-start=\"92\" data-end=\"290\"\u003e Unlike incense containers or sweets dishes, a gosu is not a tool whose value is determined solely by what is placed inside. Rather, the fleeting act of \u003cstrong data-start=\"139\" data-end=\"147\"\u003eremoving the lid\u003c\/strong\u003e creates a moment of pause in the atmosphere of the tea ceremony, allowing the guests' gazes and breathing to align for a moment - it is a vessel for this purpose.\u003cbr data-start=\"199\" data-end=\"202\"\u003e This piece, \"Blue and White Porcelain Silver-Colored Bowl,\" fits in the palm of your hand and neatly embodies all the qualities required of a bowl ( \u003cstrong data-start=\"249\" data-end=\"272\"\u003eeasy opening and closing, a snug fit for the lid, and the dignity of the vessel\u003c\/strong\u003e ).\u003c\/p\u003e\n\n \u003cp data-start=\"292\" data-end=\"408\"\u003eA round shape, without any sharp edges, can easily lean towards \"sweetness,\" but this is not the case with Kazuhiro Matsukawa's Aiko. The rounded edges are plump, yet the outlines are clear and somehow dignified. The \u003cstrong data-start=\"374\" data-end=\"390\"\u003ecoexistence of softness and tension\u003c\/strong\u003e is the primary appeal of this piece. \u003c\/p\u003e\n\n\u003chr data-start=\"410\" data-end=\"413\"\u003e\n\n\u003ch2 data-section-id=\"qvogfc\" data-start=\"415\" data-end=\"443\"\u003e II. The color of pale blue porcelain: quieter than \"white\" and paler than blue\u003c\/h2\u003e\n\n\u003cp data-start=\"445\" data-end=\"640\"\u003e The pale blue porcelain body is not captivating with its strong color, but rather has \u003cstrong data-start=\"485\" data-end=\"494\"\u003ea pale, watery color\u003c\/strong\u003e that brightens from within as it receives more light. It has the cleanliness of white porcelain, but is not cold. It has a hint of celadon, but is not too assertive. \u003cbr data-start=\"540\" data-end=\"543\"\u003eThis \"beauty in between\" may appear simply pale in a photograph, but in person it is clearly different. With each change in environment—the soft light of a room, the slanting evening light, the dim light of a tea room—the blue hidden deep within the texture changes its expression ever so slightly.\u003c\/p\u003e\n\n\u003cp data-start=\"642\" data-end=\"760\"\u003e The surface of the vessel is smooth, but not completely glassy, ​​and one can sense a slight breath of life remaining. When your fingertips touch it, they don't just slide, but \u003cstrong data-start=\"709\" data-end=\"726\"\u003esettle with a gentle resistance\u003c\/strong\u003e . This \"tactile design\" is especially effective because the bowl is a vessel that is held in the hand. \u003c\/p\u003e\n\n\u003chr data-start=\"762\" data-end=\"765\"\u003e\n\n\u003ch2 data-section-id=\"j96cv4\" data-start=\"767\" data-end=\"794\"\u003e III. The Presence of Ginsai: A Metal that Speaks Not Through Its Shine, But Through Its Silence\u003c\/h2\u003e\n\n \u003cp data-start=\"796\" data-end=\"1005\"\u003eThe silver glaze in this work does not have the so-called flashy metallic sparkle. Rather, it absorbs light, gives it back, and then sinks back down again - in this cycle, it gives off \u003cstrong data-start=\"859\" data-end=\"873\"\u003ea dull reflection like moonlight\u003c\/strong\u003e .\u003cbr data-start=\"879\" data-end=\"882\"\u003e Silver is more delicate than gold and is easily affected by its environment. That's why, while silver glaze can easily create a sense of luxury, there is also the risk that the entire piece could look vulgar if not done properly. However, Matsukawa Kazuhiro's silver glaze does not destroy the pure atmosphere of the pale blue porcelain, but rather tightens it up.\u003c\/p\u003e\n\n\u003cp data-start=\"1007\" data-end=\"1110\"\u003e If the pale blue porcelain represents \"water,\" then the silver glaze represents the moon. When the moon is reflected on the water's surface, the water appears deeper and the moon appears more tranquil. \u003cstrong data-start=\"1056\" data-end=\"1084\"\u003eEach complements the other, and neither takes center stage\u003c\/strong\u003e - this restraint determines the high quality of this bowl.\u003c\/p\u003e\n\n\u003chr data-start=\"1112\" data-end=\"1115\"\u003e\n\n \u003ch2 data-section-id=\"t9qrxh\" data-start=\"1117\" data-end=\"1141\"\u003eIV. Precision of form: The core of the beauty of a goko is that it \"fits\" together\u003c\/h2\u003e\n\n\u003cp data-start=\"1143\" data-end=\"1290\"\u003e The beauty of a bowl lies in the fact that it \"fits\" perfectly. If the boundary between the lid and the body is not perfect, the bowl will lose its tension and will not function as a \"tool\" no matter how beautiful the interior is.\u003cbr data-start=\"1215\" data-end=\"1218\"\u003e This piece features a smooth, even join between the lid and the body, giving the appearance of a single piece, while still providing a secure grip for opening and closing. This is where the sincerity of Matsukawa Kazuhiro's design is evident.\u003c\/p\u003e\n\n\u003cp data-start=\"1292\" data-end=\"1398\"\u003e The height is neither too low nor too high, and the proportions are such that \u003cstrong data-start=\"1325\" data-end=\"1341\"\u003ethe eye naturally falls from above\u003c\/strong\u003e . It does not have an excessive presence on the table, but it does not get lost either. It is a very easy-to-use size for tea ceremonies and table coordination. \u003c\/p\u003e\n\n\u003chr data-start=\"1400\" data-end=\"1403\"\u003e\n\n\u003ch2 data-section-id=\"veolyf\" data-start=\"1405\" data-end=\"1443\"\u003e V. Imagine its uses: as an incense container, a sweets container, or a memento container\u003c\/h2\u003e\n\n \u003cp data-start=\"1445\" data-end=\"1609\"\u003eThe first thing that comes to mind when thinking of uses for this incense holder is its use. The smaller the incense, the denser it becomes, whether it's kneaded incense, incense seals, or small incense for listening to incense. The serenity of the pale blue porcelain does not disturb the scent of the incense, and the silver glaze enhances the incense's \"stature.\"\u003cbr data-start=\"1538\" data-end=\"1541\"\u003e It would also be beautiful as a small sweets dish to hold a small amount of dried sweets at a thin tea ceremony. The silver-colored surface prevents white or light-colored dried sweets from sinking into the air, creating a visual focal point.\u003c\/p\u003e\n\n\u003cp data-start=\"1611\" data-end=\"1761\"\u003e Furthermore, the goko is also a container for storing things. A ring, a piece of fragrant wood, a pebble picked up on a trip - you can quietly store away those precious things in your life that are hard to put into words. Once the lid is closed, no one can see what is inside. This anonymity makes the contents even more precious.\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e This bowl is also a perfect container for storing such personal memories. \u003c\/p\u003e\n\n\u003chr data-start=\"1763\" data-end=\"1766\"\u003e\n\n\u003ch2 data-section-id=\"v9qetl\" data-start=\"1768\" data-end=\"1795\"\u003e VI. How the seasons suit each other: the light haze of spring, the moon of autumn, and the clear air of winter\u003c\/h2\u003e\n\n \u003cp data-start=\"1797\" data-end=\"1831\"\u003eAlthough blue-and-white porcelain seems to be suitable for any season, it actually reflects the atmosphere of each season.\u003c\/p\u003e\n\n\u003cp data-start=\"1834\" data-end=\"1870\"\u003e Spring: The light dissolves into a soft, hazy light, and the vessel appears to be \"quietly warming.\"\u003c\/p\u003e\n\n\u003cp data-start=\"1873\" data-end=\"1900\"\u003e Autumn: The silver color evokes moonlight, and the vessel evokes the feeling of long nights.\u003c\/p\u003e\n\n\u003cp data-start=\"1903\" data-end=\"1939\"\u003e Winter: The clearer the air, the brighter the pale blue porcelain becomes, and the silence of the silver glaze becomes even more apparent.\u003c\/p\u003e\n\n\u003cp data-start=\"1941\" data-end=\"1987\"\u003e Although it can be used all year round, its appearance changes with each season. This is the strength of Kazuhiro Matsukawa's blue-and-white porcelain. \u003c\/p\u003e\n\n\u003chr data-start=\"1989\" data-end=\"1992\"\u003e\n\n\u003ch2 data-section-id=\"j1rrjv\" data-start=\"1994\" data-end=\"2020\"\u003e Ⅶ Important points for handling - To develop beautiful Ginsai\u003c\/h2\u003e\n\n\u003cp data-start=\"2022\" data-end=\"2233\"\u003e The color tone of Ginsai may change depending on the environment (the so-called aged appearance). This is not a defect, but rather a way of life for the silver material.\u003cbr data-start=\"2088\" data-end=\"2091\"\u003e For safe storage, avoid high temperatures, humidity, and direct sunlight, and if possible, avoid placing it in close contact with other metal products. For care, wipe it dry with a soft cloth and avoid using strong abrasives. \u003cbr data-start=\"2170\" data-end=\"2173\"\u003eRather than fixating on the \"initial glow,\" \u003cstrong data-start=\"2191\" data-end=\"2208\"\u003eenjoy the silvery scenery as it quietly grows\u003c\/strong\u003e -- this attitude brings out the most charm of this Goko. \u003c\/p\u003e\n\n\u003chr data-start=\"2235\" data-end=\"2238\"\u003e\n\n\u003ch2 data-section-id=\"rcb7as\" data-start=\"2240\" data-end=\"2259\"\u003e Summary: Small but classy\u003c\/h2\u003e\n\n\u003cp data-start=\"2261\" data-end=\"2397\"\u003e The pale blue of the pale blue porcelain and the sunken moonlight of the silver glaze. The gentleness of the round shape and the strict precision of the bowl.\u003cbr data-start=\"2302\" data-end=\"2305\"\u003e This piece is not meant to be a show piece, but rather \u003cstrong data-start=\"2324\" data-end=\"2349\"\u003eto enhance the atmosphere, enhance one's manners, and increase serenity\u003c\/strong\u003e . Though it is a small piece, it has a certain dignity. For this reason, the longer you keep it, the more its value will grow.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003eMajor solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12) \u003cbr data-start=\"2209\" data-end=\"2212\"\u003eThree-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742654234904,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukaa_19-01.jpg?v=1773799522"},{"product_id":"20青白磁緋流丸合子-松川和弘","title":"Blue and white porcelain Hiryu Maruko Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"53\"\u003e Blue and white porcelain Hiryu round goiko (Φ7.8×h7.0) \u003cbr data-start=\"19\" data-end=\"22\"\u003e-- \"A flash of scarlet in the stillness of pale blue. A vessel that seals a 'scenery' within a sphere.\"\u003c\/p\u003e\n\n\u003cp data-start=\"55\" data-end=\"313\"\u003e This work, \"Blue and White Porcelain Scarlet Round Bowl,\" is based on the purest form of a sphere, combining the clear glaze of blue and white porcelain with the warm traces of red flowing water, creating a bowl that embodies \"stillness and movement\" unique to Matsukawa Kazuhiro. With a diameter of 7.8 cm and a height of 7.0 cm, it fits in the palm of your hand, making it both easy to use as a tool and dense enough for appreciation. While bowls can also be used to \"protect\" incense, small sweets, or precious items by \"covering\" them, this work has a deeper meaning, as if it were sealing in a landscape itself, quietly revealing it only when necessary.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1rdhf4a\" data-start=\"315\" data-end=\"347\"\u003e I. The form of the \"Maru-goko\" - the silent perfection brought about by the sphere\u003c\/h3\u003e\n\n \u003cp data-start=\"348\" data-end=\"623\"\u003eThe sphere is flawless from any angle, and the surface that catches the eye always gently curves around, giving it a sculptural presence despite being a vessel. Moreover, as a goso, the boundary between the body and the lid appears as a continuous line. This \"boundary\" is not just a seam, but also appears to be a \"barrier\" that separates two worlds: outside and inside, the visible and the invisible, before and after the fragrance is released. The smooth surface of the sphere reflects the light, casting soft shadows and exuding a quiet volume reminiscent of the surface of the moon. Matsukawa Kazuhiro's firm sense of form can be felt in the way that the form itself emerges as a form of beauty, rather than as an overly assertive decoration.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1lz96do\" data-start=\"625\" data-end=\"658\"\u003e II. Glaze Tones of Blue-and-White Porcelain: A Color Range “Clearer than White, Softer than Blue”\u003c\/h3\u003e\n\n \u003cp data-start=\"659\" data-end=\"892\"\u003eWhile pale blue porcelain appears to lie somewhere between the cleanliness of white porcelain and the depth of celadon, it is actually a color that belongs to another dimension. Not appearing as hard as white, nor as densely settled as blue, its light, pale blue color creates a sense of space on the vessel's surface, as if it were breathing. From the photograph, we can see that not only is the surface smooth and evenly formed, but also that extremely fine shadows are accumulated, with the color fluctuating between light and dark within the curves. This expression can only be achieved when the thickness of the glaze, the firing temperature range, and the density of the body are all in harmony, demonstrating that the appeal of pale blue porcelain emerges not as a \"color\" but as a \"state of light.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1wx6ist\" data-start=\"894\" data-end=\"931\"\u003e III. The Meaning of Hinagashi: Traces of the Book of Fire, Not a Coincidence\u003c\/h3\u003e\n\n \u003cp data-start=\"932\" data-end=\"1294\"\u003eThe greatest highlight of this work is the flow of scarlet across the stillness of the pale blue porcelain. The scarlet flow is a trace of reddish-orange that appears on the glaze (or at the edge of the glaze), a \"brushstroke of fire\" created by the reaction of the heat of firing and the ingredients. What is important here is that the scarlet is not simply placed as a striking accent, but rather the flow \"runs,\" \"breaks,\" and \"overlaps\" as it follows the curved surface of the sphere. It is as if the line, drawn in a single stroke, breathes, changes speed along the way, and then suddenly disappears at the end -- a sense of movement remains. \u003cbr data-start=\"1139\" data-end=\"1142\"\u003eWhile pale blue porcelain evokes cold, clear elements such as \"water,\" \"air,\" and \"morning mist,\" Hiryu brings with it warm elements such as \"fire,\" \"sunset glow,\" and \"iron in the earth.\" In other words, by engraving a single, yet decisive, memory of flame on the extremely pure material of porcelain, this piece expands the expression of the vessel into a realm that is \"more than just infinitely quiet.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"xeoktv\" data-start=\"1296\" data-end=\"1327\"\u003e IV. Use as a container: a small universe in the palm of your hand, containing incense, sweets, and small items\u003c\/h3\u003e\n\n \u003cp data-start=\"1328\" data-end=\"1632\"\u003eA goko is a versatile vessel for both tea ceremonies and everyday use. For example, it can be used similarly to an incense container, and by storing pieces of fragrant wood, small incense pieces from Kosaido, or kneaded incense, a \"place of fragrance\" will emerge the moment you open the lid. It can also be used as a small container to hold a small amount of dried sweets at a thin tea ceremony, where the pale blue of the blue-and-white porcelain brings out the color of the sweets and the scarlet adds a touch of elegance. It can also be used to store small personal items such as small stones, konpeito sugar, rings, or seals that you have acquired during your travels.\u003cbr data-start=\"1528\" data-end=\"1531\"\u003e The spherical container has a softer interior space than a square one, and the act of opening the lid feels somewhat ritualistic. The appeal of this piece lies in the fact that the very actions of putting away, protecting, and opening the container are part of the aesthetic sense.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"112nydq\" data-start=\"1634\" data-end=\"1665\"\u003e V. Porcelain with a \"scenery\" - A glimpse of the seasons in tranquility\u003c\/h3\u003e\n\n \u003cp data-start=\"1666\" data-end=\"1955\"\u003eMatsukawa Kazuhiro's blue-and-white porcelain is not simply elegant and beautiful, but also has the power to evoke the \"signs of the seasons\" in the viewer. The addition of the scarlet flow makes the seasonal feeling even more concrete. For example, the pale blue surface evokes the chill of a winter morning or the haze of early spring, while the scarlet resembles a sunset, the vestiges of autumn leaves, or the glow of a brazier. The sphere is reminiscent of a celestial body, and the scarlet flow can be read as an orbit around it.\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e In other words, this box creates a small universe in the palm of your hand, and the scarlet \"trace of time\" runs over the \"quality of tranquility\" of pale blue porcelain. When you close the lid, silence returns, and when you open it, the blue inside suddenly appears -- this repetition slowly regulates the owner's time.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vhcj7a\" data-start=\"1957\" data-end=\"1992\"\u003e Ⅵ Handling Techniques - Making the most of the delicateness of the scarlet, which is not a silver color\u003c\/h3\u003e\n\n \u003cp data-start=\"1993\" data-end=\"2161\"\u003eBecause the expression of the Hiryu style on this piece is delicate, there is no need to force a shine by rubbing or polishing it hard. The basic method is to wipe it dry with a soft cloth, and if it gets dirty, wash it gently with diluted neutral detergent and dry it thoroughly. The fit between the lid and the body of the container is directly related to the beauty of the piece, so when opening and closing it, do not twist it forcefully with one hand, but handle it with both hands to keep it \"level,\" and it will remain beautiful as a tool and can be used for a long time. \u003c\/p\u003e\n\n\u003chr data-start=\"2163\" data-end=\"2166\"\u003e\n\n\u003cp data-start=\"2168\" data-end=\"2303\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The blue-and-white porcelain red round bowl is not an eye-catching piece with an ornate design, but rather a piece that awakens the viewer's senses from deep within by instilling a ray of warmth within its stillness. The moment the memory of fire comes into contact with the transparent presence of Matsukawa Kazuhiro's blue-and-white porcelain - this bowl allows you to experience that \"slight drama\" over and over again in the palm of your hand.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course \u003cbr data-start=\"1660\" data-end=\"1663\"\u003e2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09) \u003cbr data-start=\"2049\" data-end=\"2052\"\u003e2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award) \u003cbr data-start=\"2503\" data-end=\"2506\"\u003e55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742660624664,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matskawa_20-01.jpg?v=1773799927"},{"product_id":"21青白磁銀彩丸合子-松川和弘","title":"Blue-and-white porcelain silver-sailed round goko Kazuhiro Matsukawa","description":"\u003ch2 data-section-id=\"162xh71\" data-start=\"0\" data-end=\"19\"\u003e Blue and white porcelain silver-colored round bowl by Kazuhiro Matsukawa\u003c\/h2\u003e\n\n\u003cp data-start=\"20\" data-end=\"33\"\u003e \u003cstrong data-start=\"20\" data-end=\"33\"\u003eΦ7.5×h6.4\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp data-start=\"35\" data-end=\"76\"\u003e \"The clarity of the pale blue porcelain is embraced, and the lingering beauty of the silver glaze protects it. A small universe that fits perfectly in the palm of your hand.\"\u003c\/p\u003e\n\n\u003cp data-start=\"78\" data-end=\"210\"\u003e This work is a unique piece by Matsukawa Kazuhiro, combining \u003cstrong data-start=\"100\" data-end=\"111\"\u003ethe tranquility of pale blue porcelain\u003c\/strong\u003e with \u003cstrong data-start=\"112\" data-end=\"121\"\u003ethe touch of silver coloring\u003c\/strong\u003e in a round, spherical shape. The ridge where the lid and body meet appears like a \"horizon\" going around the center of the sphere, giving the impression of a layer of air hidden within, even when the vessel is closed.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"3g0i0z\" data-start=\"212\" data-end=\"243\"\u003e I. The Maru-goko Form: \"A vessel that protects\" and \"A vessel that creates space\"\u003c\/h3\u003e\n\n \u003cp data-start=\"244\" data-end=\"467\"\u003eA gosu is \u003cstrong data-start=\"299\" data-end=\"314\"\u003ea vessel with an inner world that\u003c\/strong\u003e has been used as an incense container for \u003cstrong data-start=\"262\" data-end=\"268\"\u003eincense\u003c\/strong\u003e , kneaded incense, and pieces of fragrant wood, or as a small sweet dish or lidded container at tea ceremonies. The act of opening and closing it instantly changes the tempo of the space, regulating the guest's gaze and breathing.\u003cbr data-start=\"351\" data-end=\"354\"\u003e Because this round bowl has no corners, your gaze is not drawn to any particular spot, and the moment you pick it up, your consciousness returns to the \"center.\" The roundness when you pick it up, the feeling of your fingertips exploring as you turn the lid -- all of these elements naturally create the \"space\" that is so highly valued in the tea ceremony.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1jwz8q8\" data-start=\"469\" data-end=\"499\"\u003e II. The expression of Ginsai: \"sinking\" the light rather than \"reflecting\" it\u003c\/h3\u003e\n\n \u003cp data-start=\"500\" data-end=\"714\"\u003eThe outside is enveloped in \u003cstrong data-start=\"512\" data-end=\"523\"\u003ethe soft metallic light\u003c\/strong\u003e that is unique to Ginsai. However, it does not shine as brightly as a mirror, and as you can see in the photo, the silver surface is not uniform, but has \u003cstrong data-start=\"572\" data-end=\"590\"\u003ea faded, hazy, and blurred appearance\u003c\/strong\u003e .\u003cbr data-start=\"598\" data-end=\"601\"\u003e This expression does not make the vessel overly assertive, but rather absorbs the light and then gently lets it sink in. Rather than being a decoration for \"gaiety,\" the silver glaze seems to function as a thin armor that gives the vessel dignity while maintaining serenity.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1vbpu3q\" data-start=\"716\" data-end=\"745\"\u003e III. The inside of pale blue porcelain: Where the clear light blue color fits\u003c\/h3\u003e\n\n \u003cp data-start=\"746\" data-end=\"979\"\u003eRemoving the lid reveals \u003cstrong data-start=\"756\" data-end=\"768\"\u003ethe pale blue-and-white porcelain glaze\u003c\/strong\u003e on the inside. Blue-and-white porcelain is less cold than white and less assertive than blue - its appeal lies in its clarity somewhere in between. This piece in particular creates \u003cstrong data-start=\"834\" data-end=\"849\"\u003ea tranquil reflection like the surface of water\u003c\/strong\u003e when light falls on the vessel.\u003cbr data-start=\"856\" data-end=\"859\"\u003e Furthermore, around the periphery, there are faint traces of scarlet, and in the stillness of the pale blue, there is a soft hint of fire and earth passing through. By not being completely colorless, but by incorporating a slight \"warmth,\" the vessel is not abstract, but rather truly alive as pottery.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"4522cm\" data-start=\"981\" data-end=\"1007\"\u003e IV. The Wonders of Form: \"Spheres,\" \"Lines,\" and \"Centers of Gravity\"\u003c\/h3\u003e\n\n \u003cp data-start=\"1008\" data-end=\"1179\"\u003eA sphere is a tricky shape as even the slightest distortion can easily ruin the impression, but this piece \u003cstrong data-start=\"1040\" data-end=\"1051\"\u003ehas a firm roundness\u003c\/strong\u003e and a very neat \u003cstrong data-start=\"1053\" data-end=\"1065\"\u003eline where the lid meets\u003c\/strong\u003e .\u003cbr data-start=\"1074\" data-end=\"1077\"\u003e A small platform is provided at the bottom, so that the sphere does not float in the air, but rather \u003cstrong data-start=\"1105\" data-end=\"1119\"\u003eits center of gravity settles at a single point\u003c\/strong\u003e . The tension that makes it seem as though it might roll around in the palm of your hand but doesn't is comfortable, and it combines stability as a tool with the poetry of its design.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"yn653t\" data-start=\"1181\" data-end=\"1204\"\u003e V. Recommended Use (Tea Ceremony\/Everyday Use)\u003c\/h3\u003e\n\n\u003cp data-start=\"1207\" data-end=\"1253\"\u003e \u003cstrong data-start=\"1207\" data-end=\"1216\"\u003eAs an incense holder\u003c\/strong\u003e : for storing kneaded incense, pieces of fragrant wood, small fragrances for incense smelling, etc. The opening and closing action is beautiful.\u003c\/p\u003e\n\n \u003cp data-start=\"1256\" data-end=\"1309\"\u003e\u003cstrong data-start=\"1256\" data-end=\"1270\"\u003eAs a small sweet container\u003c\/strong\u003e : for small amounts of konpeito, amber sugar, or dried sweets. The silver-colored exterior elegantly accentuates the color of the sweets.\u003c\/p\u003e\n\n\u003cp data-start=\"1312\" data-end=\"1360\"\u003e \u003cstrong data-start=\"1312\" data-end=\"1328\"\u003eAs a storage container\u003c\/strong\u003e : A place to store everyday important items such as rings, earrings, and small seals.\u003c\/p\u003e\n\n\u003cp data-start=\"1363\" data-end=\"1418\"\u003e \u003cstrong data-start=\"1363\" data-end=\"1373\"\u003eFor seasonal decoration\u003c\/strong\u003e : Silver is compatible with the light of autumn and winter, while blue-and-white porcelain resonates with the light air of early spring. Another appealing feature is that it can be used all year round.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"4md20e\" data-start=\"1420\" data-end=\"1441\"\u003e Ⅵ Key Points for Handling (Ginsai)\u003c\/h3\u003e\n\n \u003cp data-start=\"1442\" data-end=\"1576\"\u003eThe appearance of the silver glaze may change if rubbed or polished too hard. \u003cstrong data-start=\"1473\" data-end=\"1494\"\u003eAvoid using hard sponges or abrasive cleaners\u003c\/strong\u003e , and wipe gently with a soft cloth. We recommend storing the item in a place with low humidity. (Silver glaze may develop a more subdued appearance over time, and enjoying this change itself is one of the charms of silver glaze.) \u003c\/p\u003e\n\n\u003chr data-start=\"1578\" data-end=\"1581\"\u003e\n\n\u003cp data-start=\"1583\" data-end=\"1721\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The stillness of the sphere itself becomes the \"silence of the vessel.\" Kazuhiro Matsukawa's blue-and-white porcelain makes the silence clear and transparent, and the silver glaze gives a faint echo to the outside of the silence.\u003cbr data-start=\"1651\" data-end=\"1654\"\u003e \u003cstrong data-start=\"1654\" data-end=\"1680\"\u003eIt is beautiful even before it is opened, and becomes even more profound the moment it is opened.\u003c\/strong\u003e This Marugoko is a work that truly hones the essence of the goko form with a modern sensibility.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course \u003cbr data-start=\"1660\" data-end=\"1663\"\u003e2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09) \u003cbr data-start=\"2049\" data-end=\"2052\"\u003e2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award) \u003cbr data-start=\"2503\" data-end=\"2506\"\u003e55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742666260760,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matukawa_21-01.jpg?v=1773800334"},{"product_id":"22青白磁銀彩丸合子-松川和弘","title":"Blue-and-white porcelain silver-sawn round gourd Kazuhiro Matsukawa","description":"\u003cp data-end=\"81\" data-start=\"0\"\u003e \u003cstrong data-end=\"18\" data-start=\"0\"\u003eBlue-and-white porcelain silver-sailed round gourd by Kazuhiro Matsukawa\u003c\/strong\u003e (Φ6.6×h6.3)\u003cbr data-end=\"32\" data-start=\"29\"\u003e -- \"A silver moon nestles against a quiet blue. The act of \"closing the lid\" in the palm of your hand becomes a ritual.\" \u003c\/p\u003e\n\n\u003chr data-end=\"86\" data-start=\"83\"\u003e\n\n\u003ch2 data-end=\"115\" data-start=\"88\" data-section-id=\"7wx3bo\"\u003e I. The vessel known as a goshi - dignity born from storage\u003c\/h2\u003e\n\n\u003cp data-end=\"348\" data-start=\"116\"\u003e A gosu is not just a container for storing things. It is a tool that supports a moment in time, including the \"presence\" before opening the lid, the \"breath\" when closing the lid, and the \"aftertaste\" that lingers after closing.\u003cbr data-end=\"209\" data-start=\"206\"\u003e This piece, \"Blue and White Porcelain Silver-Decorated Round Bowl,\" embodies the essence of a bowl - the beauty of \"concealment\" - in its small dimensions of 6.6cm in diameter and 6.3cm in height. When you pick it up, the rounded outline fits into your palm, and your eye is naturally drawn to the center. There, you will see the contrast between the clear surface of the blue and white porcelain and the dull light of the silver decoration.\u003c\/p\u003e\n\n\u003chr data-end=\"353\" data-start=\"350\"\u003e\n\n \u003ch2 data-end=\"382\" data-start=\"355\" data-section-id=\"6xef3r\"\u003eII. The clarity of pale blue porcelain: a \"neutral light\" that is neither white nor blue\u003c\/h2\u003e\n\n\u003cp data-end=\"630\" data-start=\"383\"\u003e The appeal of pale blue porcelain is that it has the cleanliness of white porcelain, but also a glaze with a slight bluish tinge that includes soft shadows.It is not a strong white, but rather a \"pale light\" that contains a quiet coolness, so it delicately reflects the colors of the surrounding air and lighting.\u003cbr data-end=\"485\" data-start=\"482\"\u003e The surface of this pale blue porcelain is smooth yet not too hard, giving it a slightly cloudy appearance like light snow. When light hits it, the gloss is not too pronounced, but rather acts as a \"sinking transparency\" that gives the entire vessel depth. It harmonizes with any background - white tea ceremony paper, black lacquer, wooden tray - while maintaining the tranquil presence that is unique to pale blue porcelain. \u003c\/p\u003e\n\n\u003chr data-end=\"635\" data-start=\"632\"\u003e\n\n\u003ch2 data-end=\"668\" data-start=\"637\" data-section-id=\"effdr6\"\u003e III. The Expression of Ginsai: Metal as a Presence, Not a Sparkle\u003c\/h2\u003e\n\n \u003cp data-end=\"949\" data-start=\"669\"\u003eGinsai is not as flashy and bold as gold, but rather, like moonlight, it is a modest decoration that certainly changes the quality of the space.\u003cbr data-end=\"726\" data-start=\"723\"\u003e The silver glaze applied to this piece is not a uniform metallic finish, but appears as a dull glow, containing slight irregularities and scenery. Depending on the angle, it may reflect brightly at one moment, or sink like ash at another. This fluctuation gives the piece a \"quiet drama.\"\u003cbr data-end=\"841\" data-start=\"838\"\u003e Ginsai is also an expression that changes easily over time. Depending on how it is handled and the environment, it can change to a more subdued tone and blend into the surface of the vessel. This includes the appearance of aging, and it is this beauty that \"develops with use.\" \u003c\/p\u003e\n\n\u003chr data-end=\"954\" data-start=\"951\"\u003e\n\n\u003ch2 data-end=\"984\" data-start=\"956\" data-section-id=\"13u3v6c\"\u003e IV. The idea of ​​round shapes: Forms that align the palm, gaze, and gestures\u003c\/h2\u003e\n\n \u003cp data-end=\"1212\" data-start=\"985\"\u003eUnlike ceramic boxes with corners, round containers have a design that does not have a directional orientation, making it easy for the eye to be drawn to one point.No matter where you look at it, it is the \"front,\" so it does not create too much tension in the space where it is placed, yet it has a central presence.\u003cbr data-end=\"1077\" data-start=\"1074\"\u003e The 6.6cm diameter is just right for turning it in your hand and looking at it, and the gesture of fitting the lid together is also beautiful. The slight \"step of the lid\" and \"line of the rim\" are barely noticeable from the outside, but when you touch them you can feel a definite boundary - this design supports the dignity of the bowl. \u003c\/p\u003e\n\n\u003chr data-end=\"1217\" data-start=\"1214\"\u003e\n\n\u003ch2 data-end=\"1246\" data-start=\"1219\" data-section-id=\"1ygrifj\"\u003e V. What to Offer: Incense, Sweets, and Small Treasures\u003c\/h2\u003e\n\n\u003cp data-end=\"1302\" data-start=\"1247\"\u003e Because a bowl can be used for any purpose, it can reflect the owner's aesthetic sense. For example, the following uses look beautiful:\u003c\/p\u003e\n\n \u003cp data-end=\"1370\" data-start=\"1306\"\u003e\u003cstrong data-end=\"1316\" data-start=\"1306\"\u003eAs a storage container for incense\u003c\/strong\u003e : For storing kneaded incense, pieces of incense wood, and small incense-smelling tools. The moment you open the lid, the fragrance rises, echoing the tranquility of the container.\u003c\/p\u003e\n\n\u003cp data-end=\"1441\" data-start=\"1373\"\u003e \u003cstrong data-end=\"1387\" data-start=\"1373\"\u003eAs a tea ceremony accessory\u003c\/strong\u003e : A small amount of dry sweets such as konpeito (candy) or kohakuto (amber sugar). The pale blue of the blue-and-white porcelain does not interfere with the color of the sweets, and the silver glaze adds a special touch.\u003c\/p\u003e\n\n\u003cp data-end=\"1524\" data-start=\"1444\"\u003e \u003cstrong data-end=\"1459\" data-start=\"1444\"\u003eAs a case for jewelry and small items\u003c\/strong\u003e : rings, earrings, cufflinks, or small seals and charms. The act of \"keeping away\" your important items without showing them is itself an act of organizing your daily life. \u003c\/p\u003e\n\n\u003chr data-end=\"1529\" data-start=\"1526\"\u003e\n\n\u003ch2 data-end=\"1563\" data-start=\"1531\" data-section-id=\"1htomdp\"\u003e VI. The beauty of combinations: White, silver, and pale blue create a \"modern tranquility\"\u003c\/h2\u003e\n\n\u003cp data-end=\"1799\" data-start=\"1564\"\u003e This piece has the feel of a traditional tea ceremony implement, but its minimalist design allows it to be placed naturally in a modern space. \u003cbr data-end=\"1619\" data-start=\"1616\"\u003eEven in an inorganic environment such as a room with white walls, glass and metal furniture, and a concrete floor, the soft warmth of the pale blue porcelain shines through, and the silver glaze picks up the light of the space and breathes quietly. Conversely, the clarity of the pale blue porcelain is further accentuated when combined with objects with a strong texture, such as a shelf made of old wood, a lacquerware tray, or a bamboo vase.\u003cbr data-end=\"1749\" data-start=\"1746\"\u003e Modern within \"Japanese\" and \"space\" within modern. The strength of this small Goko is that it achieves both. \u003c\/p\u003e\n\n\u003chr data-end=\"1804\" data-start=\"1801\"\u003e\n\n\u003ch2 data-end=\"1832\" data-start=\"1806\" data-section-id=\"cx9cnw\"\u003e Ⅶ Important points for use and handling (Ginsai)\u003c\/h2\u003e\n\n \u003cp data-end=\"1881\" data-start=\"1833\"\u003eGinsai is a very delicate expression, so we recommend the following to ensure it lasts beautifully. Do not rub with strong abrasives or hard sponges. Avoid immersing in water for long periods of time, and wipe off any moisture with a soft cloth after use. Avoid storing for long periods in direct sunlight or in a high-humidity environment. You can also enjoy the transformation of the ginsai into a more subdued appearance as part of the vessel's scenery. \u003c\/p\u003e\n\n\u003chr data-end=\"2010\" data-start=\"2007\"\u003e\n\n\u003ch2 data-end=\"2036\" data-start=\"2012\" data-section-id=\"p6aljl\"\u003e VIII Summary: A \"small vessel\" calms time\u003c\/h2\u003e\n\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"2216\" data-start=\"2037\"\u003e The \"Blue and White Porcelain Silver-Painted Round Bowl\" is a small vessel that fits in the palm of your hand. However, every time you open or close the lid, the atmosphere in the room becomes more balanced and your mind becomes more calm - it is this size that makes it a \"vessel of time.\" \u003cbr data-end=\"2129\" data-start=\"2126\"\u003eThe clear surface of the pale blue porcelain gently catches the light, and the silver glittering gently sways like the moon. For those who want to incorporate a certain level of beauty into their daily lives, we offer the unique shapes and wordless poetry of Kazuhiro Matsukawa.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya) \u003cbr data-start=\"1910\" data-end=\"1913\"\u003e2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo) \u003cbr data-start=\"2347\" data-end=\"2350\"\u003e2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742674223384,"sku":null,"price":49500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuawa_22-01.jpg?v=1773813141"},{"product_id":"23青白磁緋流振出し-松川和弘","title":"Blue and White Porcelain Hiryu Shushidashi Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"54\"\u003e Blue and white porcelain Hiryu swing (Φ5.4×H9.8)\u003cbr data-start=\"19\" data-end=\"22\"\u003e -- \"A sliver of scarlet in the pale silence. With each shake, a new landscape emerges.\" \u003c\/p\u003e\n\n\u003chr data-start=\"56\" data-end=\"59\"\u003e\n\n\u003ch2 data-section-id=\"1cpai7i\" data-start=\"61\" data-end=\"83\"\u003e Ⅰ Furidashi: \"a vessel that makes movements beautiful\"\u003c\/h2\u003e\n\n\u003cp data-start=\"85\" data-end=\"295\"\u003e A furidashi is a small container used to hold konpeito, arubei, dried sweets, etc. and to offer them to guests. At a tea ceremony, rather than the status of the utensil itself, it is the series of actions of \"picking it up,\" \"handling the lid,\" and \"gently furiking it out\" that regulate the temperature and breathing of the room. \u003cbr data-start=\"186\" data-end=\"189\"\u003eThis piece has a dignified vertical proportion and an impressive, slender figure. Small enough to fit in the palm of your hand, the moment you place it down, an axis runs through the space—the form itself guarantees the \"starting point of tranquility\" that the original role of the shirodashi is to create. \u003c\/p\u003e\n\n\u003chr data-start=\"297\" data-end=\"300\"\u003e\n\n\u003ch2 data-section-id=\"hlrx4b\" data-start=\"302\" data-end=\"328\"\u003e II. Blue-and-white porcelain glaze: The translucency brought about by the whiteness of water\u003c\/h2\u003e\n\n\u003cp data-start=\"330\" data-end=\"548\"\u003e Kazuhiro Matsukawa's blue-and-white porcelain retains the brightness of white porcelain, but takes on a pale blue hue, as if it contains water. Depending on the light, it tends towards white, and in the shadows it sinks towards blue. This fluctuation gives the vessel a \"clarity\" rather than a \"coldness.\"\u003cbr data-start=\"425\" data-end=\"428\"\u003e The beauty of the continuous surface is also proof that the glaze is not thick or heavy. The glaze surface is smooth and does not stand out with unnecessary shine, but rather has been refined to have a \"tranquility that makes you want to touch it.\" The stronger the white in tea ceremonies, the more dangerous it is, but the white of this piece is soft and blends in with the air.\u003c\/p\u003e\n\n\u003chr data-start=\"550\" data-end=\"553\"\u003e\n\n \u003ch2 data-section-id=\"sa8yow\" data-start=\"555\" data-end=\"582\"\u003eⅢ The stroke of the scarlet flow: The strength of the line that \"designs\" coincidence\u003c\/h2\u003e\n\n\u003cp data-start=\"584\" data-end=\"841\"\u003e The most striking feature is the scarlet flow running down the torso. Pale vermilion to orange blends smoothly into the blue-white, and it simultaneously shows momentum and space, like the strokes of a brush.\u003cbr data-start=\"645\" data-end=\"648\"\u003e The \"Hiryu\" is a scene that emerges when the flame, the clay, the thickness of the glaze, and the atmosphere of the firing intersect at a single point, and is not the product of complete control. However, Kazuhiro Matsukawa's \"Hiryu\" is not an \"unevenness\" left to chance, but rather a place where the flow fits in with the standing form of the vessel. In other words, it is designed to welcome chance.\u003cbr data-start=\"777\" data-end=\"780\"\u003e As a result, the vertical form is not merely elegant; a single scarlet runs across the vessel as if marking the passage of time, drawing the viewer's gaze upward. \u003c\/p\u003e\n\n\u003chr data-start=\"843\" data-end=\"846\"\u003e\n\n\u003ch2 data-section-id=\"1034zr\" data-start=\"848\" data-end=\"870\"\u003e IV. Aesthetics of form: the tension between the slender body and rim\u003c\/h2\u003e\n\n \u003cp data-start=\"872\" data-end=\"1069\"\u003eThis Furidashi bowl tapers towards the top and has a tightly closed rim, maintaining a sense of tension throughout. Although it is a small piece, it has a somewhat vase-like appearance, making it a \"standing piece\" that can create a beautiful scene even when placed next to the alcove.\u003cbr data-start=\"969\" data-end=\"972\"\u003e As you can see from the photo, the fit around the lid is very neat, and the joints don't look cluttered. Since handling the lid is the focus of the movement, the precision of the joints is the very essence of aesthetics. In that respect, this piece is quietly perfect. \u003c\/p\u003e\n\n\u003chr data-start=\"1071\" data-end=\"1074\"\u003e\n\n\u003ch2 data-section-id=\"1d3ke5c\" data-start=\"1076\" data-end=\"1105\"\u003e V. How to use it in a tea ceremony: \"White x Scarlet\" creates a seasonal breath\u003c\/h2\u003e\n\n\u003cp data-start=\"1109\" data-end=\"1157\"\u003e \u003cstrong data-start=\"1109\" data-end=\"1114\"\u003eSpring\u003c\/strong\u003e : Scarlet works as the \"vermilion of budding\" while blending in with the pale scent of flowers such as cherry blossoms and Japanese buttercups.\u003c\/p\u003e\n\n\u003cp data-start=\"1160\" data-end=\"1201\"\u003e \u003cstrong data-start=\"1160\" data-end=\"1165\"\u003eSummer\u003c\/strong\u003e : The coolness of the blue-and-white porcelain comes to the forefront, while the scarlet lingers subtly like the afterglow of twilight.\u003c\/p\u003e\n\n \u003cp data-start=\"1204\" data-end=\"1240\"\u003e\u003cstrong data-start=\"1204\" data-end=\"1209\"\u003eAutumn\u003c\/strong\u003e : The scarlet color suggests the autumn leaves are turning, while the white color evokes the height of the autumn sky.\u003c\/p\u003e\n\n\u003cp data-start=\"1243\" data-end=\"1279\"\u003e \u003cstrong data-start=\"1243\" data-end=\"1248\"\u003eWinter\u003c\/strong\u003e : White evokes the stillness of snow, while scarlet suggests the warmth of a hearth fire.\u003c\/p\u003e\n\n\u003cp data-start=\"1281\" data-end=\"1375\"\u003e When the confectionery dishes and incense containers create a dignified scene, the Furidashi works as a light and airy \"break.\" In this piece, the tranquility of the white creates a break, while the scarlet adds a touch of elegance. It has a rare character that can play both a leading role and a supporting role. \u003c\/p\u003e\n\n\u003chr data-start=\"1377\" data-end=\"1380\"\u003e\n\n\u003ch2 data-section-id=\"zgtu77\" data-start=\"1382\" data-end=\"1395\"\u003e Ⅵ Practical precautions and handling\u003c\/h2\u003e\n\n\u003cp data-start=\"1397\" data-end=\"1449\"\u003e This is a \"Hiryu\" (scarlet) piece, not a silver glaze, so there is a relatively small risk of discoloration of the metallic glaze. However, the blue-and-white porcelain glaze is delicate. Wipe gently with a dry cloth and avoid hard abrasives. Clean with a soft sponge and avoid rapid cooling and heating. When storing, placing a piece of tissue paper between the lid and the body will help keep the joint in good condition.\u003c\/p\u003e\n\n\u003chr data-start=\"1550\" data-end=\"1553\"\u003e\n\n \u003ch2 data-section-id=\"zfa0bq\" data-start=\"1555\" data-end=\"1576\"\u003eSummary: A touch of motion in a still vessel\u003c\/h2\u003e\n\n\u003cp data-start=\"1578\" data-end=\"1698\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e The clear serenity of the pale blue porcelain. The scarlet flow running over it is the fleeting movement left by the flame. This piece supports the \"beauty of movement\" that the tool called \"furidashi\" is originally intended to represent in both its form and appearance.\u003cbr data-start=\"1656\" data-end=\"1659\"\u003e It is small, but it certainly brings the atmosphere to a good state - a vessel of tranquility and presence that is typical of Matsukawa Kazuhiro.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1620\" data-start=\"1612\" data-section-id=\"1bs35mf\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-end=\"1740\" data-start=\"1621\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-end=\"1640\" data-start=\"1637\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-end=\"1663\" data-start=\"1660\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-end=\"1684\" data-start=\"1681\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-end=\"1721\" data-start=\"1718\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-end=\"1756\" data-start=\"1742\" data-section-id=\"vx22u2\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-end=\"2467\" data-start=\"1757\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-end=\"1786\" data-start=\"1783\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1812\" data-start=\"1809\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-end=\"1837\" data-start=\"1834\"\u003e 2008 Solo Exhibition (Campanule\/Chiba) \u003cbr data-end=\"1859\" data-start=\"1856\"\u003eSolo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-end=\"1888\" data-start=\"1885\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-end=\"1913\" data-start=\"1910\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-end=\"1940\" data-start=\"1937\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1965\" data-start=\"1962\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-end=\"1990\" data-start=\"1987\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-end=\"2019\" data-start=\"2016\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-end=\"2052\" data-start=\"2049\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-end=\"2084\" data-start=\"2081\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-end=\"2121\" data-start=\"2118\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-end=\"2159\" data-start=\"2156\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-end=\"2181\" data-start=\"2178\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-end=\"2211\" data-start=\"2208\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-end=\"2242\" data-start=\"2239\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2261\" data-start=\"2258\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo) \u003cbr data-end=\"2290\" data-start=\"2287\"\u003eSolo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-end=\"2331\" data-start=\"2328\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2350\" data-start=\"2347\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-end=\"2387\" data-start=\"2384\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2407\" data-start=\"2404\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2429\" data-start=\"2426\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2449\" data-start=\"2446\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2478\" data-start=\"2469\" data-section-id=\"1t7yy2j\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-end=\"2529\" data-start=\"2479\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-end=\"2506\" data-start=\"2503\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2548\" data-start=\"2531\" data-section-id=\"33d0d0\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742715511064,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuawa_23-01.jpg?v=1773813485"},{"product_id":"24青白磁銀彩振出し-松川和弘","title":"Blue-and-white porcelain, silver color, Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"77\"\u003e Blue and white porcelain with silver glaze, made by Kazuhiro Matsukawa (Φ5.4cm x H8.8cm)\u003cbr data-start=\"33\" data-end=\"36\"\u003e -- \"A 'quiet drop' that fits in the palm of your hand. Its clear blue-white color and hints of silver will beautifully enhance your manners at any table.\" \u003c\/p\u003e\n\n\u003chr data-start=\"79\" data-end=\"82\"\u003e\n\n\u003ch2 data-section-id=\"pi1lm1\" data-start=\"84\" data-end=\"112\"\u003e Ⅰ The tool of shori-dashi: A small token of gratitude for sharing\u003c\/h2\u003e\n\n \u003cp data-start=\"114\" data-end=\"382\"\u003eThe furidashi is a small container for holding dried sweets such as konpeito and arieito, and for distributing small amounts to guests. Unlike larger confectionery containers that dominate the space with their extravagance, the furidashi is passed quietly from hand to hand, regulating the distance and breathing between guests - in that sense, it can be said to be the \"smallest unit of courtesy\" at a tea ceremony.\u003cbr data-start=\"246\" data-end=\"249\"\u003e This piece has an easy-to-handle body of 5.4cm in diameter and a dignified rise of 8.8cm, which gives it both a sense of stability when handled by a guest (the one handling it) and beauty when handled by the host. The smaller the tool, the more likely a slight imperfection in its shape will manifest as a misstep in the host's movements, and Matsukawa Kazuhiro's sculpture is extremely neat in this respect. \u003c\/p\u003e\n\n\u003chr data-start=\"384\" data-end=\"387\"\u003e\n\n\u003ch2 data-section-id=\"bw8jdt\" data-start=\"389\" data-end=\"420\"\u003e II. The Scenery of Blue-and-White Porcelain: \"Clearer than white, softer than blue\" Transparency\u003c\/h2\u003e\n\n \u003cp data-start=\"422\" data-end=\"637\"\u003eThe appeal of Kazuhiro Matsukawa's blue-and-white porcelain lies in the purity of the white porcelain and the subtle blue shades of the glaze that are layered on top of it. From the photograph, it can be seen that the light reflects evenly across the surface, and that the glaze layer gently envelops the vessel as a thin film.\u003cbr data-start=\"510\" data-end=\"513\"\u003e Unlike celadon, which stands out with its strong color, pale blue porcelain is a type of beauty in which the \"blue\" color emerges only when it is exposed to light. In other words, its appearance changes depending on the viewer's position, the time of day, and the light level in the room. This fluctuation is a quality that is extremely compatible with the world of tea, where utensils \"function\" as part of the setting. \u003c\/p\u003e\n\n\u003chr data-start=\"639\" data-end=\"642\"\u003e\n\n\u003ch2 data-section-id=\"nk572w\" data-start=\"644\" data-end=\"677\"\u003e III. Ginsai: \"Another Light\" - Like moonlight, it dwells modestly\u003c\/h2\u003e\n\n\u003cp data-start=\"679\" data-end=\"930\"\u003e The silver decoration around the rim does not project a brilliant light like gold, but rather reflects it quietly like moonlight, leaving only a trace. \u003cbr data-start=\"735\" data-end=\"738\"\u003eWhat's even more striking about this piece is that the silver glaze is not applied uniformly as a surface, but appears as a landscape that includes fine grains. If the silver were too uniform, the craft item would lean more towards decorativeness, but this silver glaze does not detract from the clarity of the pale blue porcelain, and instead adds a level of \"cold light\" to balance the warmth of the piece.\u003cbr data-start=\"870\" data-end=\"873\"\u003e The pale blue body and silver edging give the entire piece a tranquil rhythm - the ingenious design is a highlight. \u003c\/p\u003e\n\n\u003chr data-start=\"932\" data-end=\"935\"\u003e\n\n\u003ch2 data-section-id=\"1lixzy3\" data-start=\"937\" data-end=\"963\"\u003e IV. Key points of the design: the teardrop-shaped body and the tension around the mouth\u003c\/h2\u003e\n\n\u003cp data-start=\"965\" data-end=\"1162\"\u003e The body has a soft tension reminiscent of a teardrop (the bulge just before a drop falls). The lower part has ample volume, while the neck is smoothly tapered and leads upward, creating a \"poetic tension\" in the standing pose. \u003cbr data-start=\"1054\" data-end=\"1057\"\u003eIn addition, the small opening prevents the sweets from accidentally spilling and ensures a smooth release when shaken. The strength of Matsukawa Kazuhiro's work lies in the fact that the practical design is consistent with the beauty of the shape. \u003c\/p\u003e\n\n\u003chr data-start=\"1164\" data-end=\"1167\"\u003e\n\n\u003ch2 data-section-id=\"kffzfu\" data-start=\"1169\" data-end=\"1198\"\u003e V. The movement of the lid and stopper - A quiet contrast created by different materials\u003c\/h2\u003e\n\n\u003cp data-start=\"1200\" data-end=\"1426\"\u003e The piece has a wooden lid at the top, adding a touch of wood's warmth to the lineage of the \"cold light\" of the pale blue porcelain and silver glaze.\u003cbr data-start=\"1260\" data-end=\"1263\"\u003e At tea ceremonies, the combination of different materials is an important clue to conveying the season and taste. For example, at a winter gathering, the cool light of silver glaze evokes frost and the moon, while the wooden base echoes the fire in the hearth and the warmth of people. At the beginning of spring, the pale blue glaze evokes mist and morning moisture, while the pale color of the wooden cork brings to mind the signs of budding. \u003cbr data-start=\"1394\" data-end=\"1397\"\u003eThis \"slight difference in materials\" adds depth to the story of the tool. \u003c\/p\u003e\n\n\u003chr data-start=\"1428\" data-end=\"1431\"\u003e\n\n\u003ch2 data-section-id=\"1kwra4p\" data-start=\"1433\" data-end=\"1457\"\u003e VI. Combination Suggestions - As a Modest Main Player\u003c\/h2\u003e\n\n\u003cp data-start=\"1461\" data-end=\"1526\"\u003e \u003cstrong data-start=\"1461\" data-end=\"1467\"\u003eSweets\u003c\/strong\u003e : It goes well with light-colored sweets such as konpeito, arietsu, and light snow jelly. The silver color does not interfere with the color of the sweets, but rather enhances them elegantly.\u003c\/p\u003e\n\n\u003cp data-start=\"1529\" data-end=\"1599\"\u003e \u003cstrong data-start=\"1529\" data-end=\"1538\"\u003eThe seasonal feel of the seat\u003c\/strong\u003e : Ginsai = moon, frost, thin ice, pale blue porcelain = water, mist, distant view. It looks particularly beautiful from autumn to early spring, but in summer it has a strong effect as a symbol of \"coolness.\"\u003c\/p\u003e\n\n\u003cp data-start=\"1602\" data-end=\"1663\"\u003e \u003cstrong data-start=\"1602\" data-end=\"1611\"\u003eMatching tools\u003c\/strong\u003e : By using just one piece of metal, such as a silver tea scoop or a tin teapot, the overall look will be more refined without being overly ornate. \u003c\/p\u003e\n\n\u003chr data-start=\"1665\" data-end=\"1668\"\u003e\n\n\u003ch2 data-section-id=\"ug6b19\" data-start=\"1670\" data-end=\"1692\"\u003e VII Conclusion: A clear idea residing in a small vessel\u003c\/h2\u003e\n\n \u003cp data-start=\"1694\" data-end=\"1910\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe furidashi is a small, inconspicuous utensil. However, at a tea ceremony, its smallness is what determines its elegance. The weight when a guest picks it up, the ridges that touch their fingertips, the smoothness of the gesture of handling the lid—these are all things that convey the host's consideration.\u003cbr data-start=\"1799\" data-end=\"1802\"\u003e This work by Kazuhiro Matsukawa, \"Blue and White Porcelain with Silver Glaze,\" is a highly refined piece that combines the clarity of the blue and white porcelain with the quiet light of the silver glaze, and is further balanced by the temperature of the wooden stopper. We hope you will enjoy the sensation of \"a tool working quietly in the palm of your hand.\"\u003c\/p\u003e\n\n\u003ch3 data-end=\"1620\" data-start=\"1612\" data-section-id=\"1bs35mf\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-end=\"1740\" data-start=\"1621\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-end=\"1640\" data-start=\"1637\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-end=\"1663\" data-start=\"1660\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-end=\"1684\" data-start=\"1681\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-end=\"1721\" data-start=\"1718\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-end=\"1756\" data-start=\"1742\" data-section-id=\"vx22u2\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n \u003cp data-end=\"2467\" data-start=\"1757\"\u003e2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-end=\"1786\" data-start=\"1783\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1812\" data-start=\"1809\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-end=\"1837\" data-start=\"1834\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-end=\"1859\" data-start=\"1856\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-end=\"1888\" data-start=\"1885\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-end=\"1913\" data-start=\"1910\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-end=\"1940\" data-start=\"1937\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1965\" data-start=\"1962\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-end=\"1990\" data-start=\"1987\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-end=\"2019\" data-start=\"2016\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-end=\"2052\" data-start=\"2049\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-end=\"2084\" data-start=\"2081\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-end=\"2121\" data-start=\"2118\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-end=\"2159\" data-start=\"2156\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka) \u003cbr data-end=\"2181\" data-start=\"2178\"\u003e2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-end=\"2211\" data-start=\"2208\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-end=\"2242\" data-start=\"2239\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2261\" data-start=\"2258\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-end=\"2290\" data-start=\"2287\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-end=\"2331\" data-start=\"2328\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2350\" data-start=\"2347\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-end=\"2387\" data-start=\"2384\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2407\" data-start=\"2404\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2429\" data-start=\"2426\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2449\" data-start=\"2446\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2478\" data-start=\"2469\" data-section-id=\"1t7yy2j\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-end=\"2529\" data-start=\"2479\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-end=\"2506\" data-start=\"2503\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2548\" data-start=\"2531\" data-section-id=\"33d0d0\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742727569688,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuawa_24-01.jpg?v=1773813633"},{"product_id":"25青白磁銀彩振出し-松川和弘","title":"Blue-and-white porcelain, silver color, Kazuhiro Matsukawa","description":"\u003ch2 data-section-id=\"19l6icl\" data-start=\"137\" data-end=\"168\"\u003e Blue and white porcelain with silver glaze, made by Kazuhiro Matsukawa (Φ6.1×h8.1)\u003c\/h2\u003e\n\n\u003cp data-start=\"169\" data-end=\"200\"\u003e -- \"The tranquility of blue, the lingering feeling of silver. The beginning of adjusting the 'presence' in the palm of your hand.\"\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"uqreoh\" data-start=\"202\" data-end=\"226\"\u003eⅠ Furidashi, a small \"core of hospitality\"\u003c\/h3\u003e\n\n\u003cp data-start=\"227\" data-end=\"397\"\u003e Among the tools used in the tea ceremony, the furidashi is an exceptionally small vessel that embodies the essence of hospitality. It holds dried sweets, especially granular sweets like konpeito and arieito, and is passed around quietly around the table, with guests taking only the amount they need. What is required for this is not just the storage capacity of the container, but \u003cstrong data-start=\"345\" data-end=\"394\"\u003edimensions that look beautiful in the hand when used, a center of gravity that does not clutter the space when placed, and a design that takes into account the sound and feel when handling the container\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"399\" data-end=\"498\"\u003e This piece by Matsukawa Kazuhiro meets this demand, combining the transparent serenity of the pale blue porcelain with the subtle tension created by the silver glaze, elevating the piece from a \"pet utensil\" to \u003cstrong data-start=\"472\" data-end=\"489\"\u003ea small core that helps to set the mood for the tea ceremony\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1lxplwi\" data-start=\"500\" data-end=\"528\"\u003e II. Blue-and-white porcelain: A color \"clearer than white, softer than blue\"\u003c\/h3\u003e\n\n \u003cp data-start=\"529\" data-end=\"654\"\u003eThe blue-and-white porcelain glaze that encases the body is not a strong blue, but rather has a faint blue tinge that seems to glow from within as it comes into contact with light.While maintaining the brightness of white porcelain, it is not cold, but rather has a softness that is almost breathtaking - this \"difficulty of blue-and-white porcelain\" is precisely what Kazuhiro Matsukawa is at the forefront of.\u003c\/p\u003e\n\n\u003cp data-start=\"656\" data-end=\"826\"\u003e In this particular piece, the rounded body of the vessel slowly rotates the light, and the highlight does not stand sharply in one spot, but rather glides across the surface. As a result, the entire vessel fluctuates subtly from \"blue close to white\" to \"white close to blue\" depending on the angle from which it is viewed, creating \u003cstrong data-start=\"755\" data-end=\"771\"\u003ea quiet gradation of color\u003c\/strong\u003e . In the soft light of a tea room, this fluctuation appears even more delicate, deepening the vessel's presence as a tool.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1hby9cu\" data-start=\"828\" data-end=\"855\"\u003e III. Ginsai - Not \"metallic light\" but \"particles of presence\"\u003c\/h3\u003e\n\n \u003cp data-start=\"856\" data-end=\"978\"\u003eThe upper part of this piece is decorated with silver glaze, creating a clear transition from the blue-and-white porcelain surface. However, the impression it gives is not a flashy metallic look. The silver glaze certainly sparkles when it catches the light, but at the same time, a fine pattern emerges on the surface, and it does not become a uniform mirror finish. This is important.\u003c\/p\u003e\n\n\u003cp data-start=\"980\" data-end=\"1138\"\u003e In other words, Matsukawa Kazuhiro does not apply the silver glaze as \"decoration,\" but rather \u003cstrong data-start=\"1011\" data-end=\"1049\"\u003eplaces it as a \"lingering echo\" that subtly changes the density of the air against the serenity of the pale blue porcelain\u003c\/strong\u003e . A tea ceremony is not a world of strong light. Rather, it is in a space with subdued light that the reflection of the silver glaze emerges as dots, particles, and a sense of presence. Therein lies the beauty of the vessel resonating with the setting.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1a9mnpp\" data-start=\"1140\" data-end=\"1169\"\u003e IV. Shape: Rounded torso, firm shoulders, and \"standing up\"\u003c\/h3\u003e\n\n \u003cp data-start=\"1170\" data-end=\"1300\"\u003eThe shape of the vessel gently bulges downwards and narrows naturally at the top. The rounded body creates a cute look, but at the same time, the center of gravity is low, making it stable to place. Furthermore, the tightness at the top prevents the whole piece from simply being \"cute,\" ensuring \u003cstrong data-start=\"1279\" data-end=\"1290\"\u003eits dignified utility\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"1302\" data-end=\"1451\"\u003e Achieving both \"softness\" and \"tightness\" is one of the most difficult aspects of tea ceremony pottery. If it is only soft, the atmosphere becomes loose, but if it is only tight, it becomes suffocating. This piece is somewhere in between, positioned to allow for proper breathing. When you pick it up, your fingers naturally wrap around the body, and the neck guides your hand - the necessity of the form is understood through the gesture.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"ycjod5\" data-start=\"1453\" data-end=\"1473\"\u003e V. The “sound” and “space” of the lid (stopper)\u003c\/h3\u003e\n\n \u003cp data-start=\"1474\" data-end=\"1597\"\u003eThis piece is equipped with a wooden stopper (with a string). This creates an experience that is not just visual. The act of removing and replacing the stopper involves slight resistance and release, which creates a \"ma\" (interval). In the tea ceremony, the ma is a time of silence, a space for movement, and a moment when the guests' breathing is synchronized.\u003c\/p\u003e\n\n\u003cp data-start=\"1599\" data-end=\"1732\"\u003e The faint sound of one or two sugar candies being taken out, the dry thud of the candy rolling around inside the bowl, and the stillness of the pale blue porcelain that catches them all. On top of this, Ginsai adds a momentary \"interjection\" as a reaction to the light. \u003cstrong data-start=\"1697\" data-end=\"1722\"\u003eThe comprehensiveness of the tea ceremony, where hearing, touch and sight are united,\u003c\/strong\u003e is incorporated into this small bowl called Furidashi.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1ugdcex\" data-start=\"1734\" data-end=\"1755\"\u003e VI. Combinations - A dialogue between seasons and ingredients\u003c\/h3\u003e\n\n \u003cp data-start=\"1756\" data-end=\"1884\"\u003eIn terms of seasons, pale blue porcelain strongly resonates with the white of winter and the pale light of early spring. On the other hand, silver glaze is reminiscent of moonlight, frost, or the sparkle of thin ice, evoking the quiet night air. It pairs extremely well with bamboo and wooden utensils, light-colored cloth, and white kaishi paper, and really shines in settings with a limited number of colors.\u003c\/p\u003e\n\n\u003cp data-start=\"1886\" data-end=\"2011\"\u003e Furthermore, while it is also blue-and-white porcelain, unlike painted or ornate designs, this piece is made up of \"white space.\" This is why, depending on the owner's aesthetic sense, it can be swung from cool and pure to soft and poetic. \u003cstrong data-start=\"1963\" data-end=\"1987\"\u003eThe vessel does not give a definitive conclusion, but rather blends in with the atmosphere of the dining room\u003c\/strong\u003e - this depth is the appeal of Kazuhiro Matsukawa's work.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"suwalc\" data-start=\"2013\" data-end=\"2039\"\u003e VII Summary: A great silence dwells in a small tool\u003c\/h3\u003e\n\n \u003cp data-start=\"2040\" data-end=\"2149\"\u003eThe \"Blue and White Porcelain with Silver Lacquer\" is a vessel for storing dried sweets, but it is also a \"device of tranquility\" to help regulate your breathing during the tea ceremony. The clarity of the blue and white porcelain, the lingering impression of the silver laquer, the firmness of the shape, and the movement of the stopper. All of these elements come together just right, and are completed quietly in the palm of your hand.\u003c\/p\u003e\n\n\u003cp data-start=\"2151\" data-end=\"2232\"\u003e Small, yet with a definite presence. The props do not assert themselves, but rather clarify the atmosphere. I feel that this is the kind of elegance that Kazuhiro Matsukawa has given to this piece.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1620\" data-start=\"1612\" data-section-id=\"1bs35mf\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-end=\"1740\" data-start=\"1621\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-end=\"1640\" data-start=\"1637\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-end=\"1663\" data-start=\"1660\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-end=\"1684\" data-start=\"1681\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-end=\"1721\" data-start=\"1718\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-end=\"1756\" data-start=\"1742\" data-section-id=\"vx22u2\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-end=\"2467\" data-start=\"1757\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum) \u003cbr data-end=\"1786\" data-start=\"1783\"\u003eTwo-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1812\" data-start=\"1809\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-end=\"1837\" data-start=\"1834\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-end=\"1859\" data-start=\"1856\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-end=\"1888\" data-start=\"1885\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-end=\"1913\" data-start=\"1910\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-end=\"1940\" data-start=\"1937\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1965\" data-start=\"1962\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-end=\"1990\" data-start=\"1987\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-end=\"2019\" data-start=\"2016\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-end=\"2052\" data-start=\"2049\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-end=\"2084\" data-start=\"2081\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-end=\"2121\" data-start=\"2118\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-end=\"2159\" data-start=\"2156\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-end=\"2181\" data-start=\"2178\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15) \u003cbr data-end=\"2211\" data-start=\"2208\"\u003eSolo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-end=\"2242\" data-start=\"2239\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2261\" data-start=\"2258\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-end=\"2290\" data-start=\"2287\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-end=\"2331\" data-start=\"2328\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2350\" data-start=\"2347\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-end=\"2387\" data-start=\"2384\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2407\" data-start=\"2404\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2429\" data-start=\"2426\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2449\" data-start=\"2446\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2478\" data-start=\"2469\" data-section-id=\"1t7yy2j\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-end=\"2529\" data-start=\"2479\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-end=\"2506\" data-start=\"2503\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2548\" data-start=\"2531\" data-section-id=\"33d0d0\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742745919768,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_25-01.jpg?v=1773813752"},{"product_id":"26青白磁銀彩振出し-松川和弘","title":"Blue-and-white porcelain, silver color, Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"70\"\u003e \u003cstrong data-start=\"0\" data-end=\"22\"\u003eBlue-white porcelain silver-colored drawing Φ6.4×h9.1\u003c\/strong\u003e\u003cbr data-start=\"22\" data-end=\"25\"\u003e \"A silvery scene suddenly emerges from the tranquility of the pale light blue. A vessel that adds a touch of elegance to the tea ceremony.\"\u003c\/p\u003e\n\n \u003cp data-start=\"72\" data-end=\"232\"\u003eThis piece is a \"Blue and White Porcelain with Silver Glaze\" by Matsukawa Kazuhiro. With a diameter of 6.4cm and a height of 9.1cm, it is easy to handle and neatly embodies the clear glaze of the blue and white porcelain, the subtle luster of the silver glaze, and the \"beauty of movement\" inherent in the tool known as a \"Furidashi.\" When placed on a shelf, it stands dignified as a still life, and when picked up, it naturally straightens its back with a light sense of tension. This is the kind of piece it is. \u003c\/p\u003e\n\n\u003chr data-start=\"234\" data-end=\"237\"\u003e\n\n\u003ch2 data-section-id=\"10442wd\" data-start=\"239\" data-end=\"270\"\u003e I. The status of the prop called \"Sinking\" - How to handle \"small amounts\" beautifully\u003c\/h2\u003e\n\n\u003cp data-start=\"271\" data-end=\"534\"\u003e A furidashi is a small container used in the tea ceremony, and is a tool for \u003cstrong data-start=\"298\" data-end=\"320\"\u003ehandling small amounts of things cleanly and beautifully\u003c\/strong\u003e . The contents may vary depending on the occasion, style, and taste, but the common requirements are that it should not be \"put out too much,\" \"not be messy,\" and \"make the movements of the hand look beautiful.\" \u003cbr data-start=\"393\" data-end=\"396\"\u003eThis piece perfectly embodies the rationality of its form in fulfilling these requirements. The bulge of the body guides the hand to rest comfortably, and the flow from the rim to the stopper naturally draws the eye upward. The furidashi may appear to play a supporting role, but in fact it is a tool used to regulate breathing during the tea ceremony. Matsukawa's work never exaggerates this role, but rather enhances it as a sense of tranquility. \u003c\/p\u003e\n\n\u003chr data-start=\"536\" data-end=\"539\"\u003e\n\n\u003ch2 data-section-id=\"1vvb4x9\" data-start=\"541\" data-end=\"569\"\u003e II. Glaze Tone of Blue-and-White Porcelain: A Transparency Between \"White\" and \"Blue\"\u003c\/h2\u003e\n\n\u003cp data-start=\"570\" data-end=\"812\"\u003e Blue-and-white porcelain is somewhere between the cleanliness of white porcelain and a hint of celadon. It's not pure white, but it's not blue either. When it catches the light, the glaze layer becomes slightly transparent, creating \u003cstrong data-start=\"646\" data-end=\"665\"\u003ea quiet depth, like peering into the depths of water\u003c\/strong\u003e . \u003cbr data-start=\"674\" data-end=\"677\"\u003eAs can be seen from the photograph, the shadows on the surface of this pale blue porcelain piece flow softly, keeping the outline smooth. This not only gives the piece a \"refined\" appearance, but also allows it to blend in with the light of a tea ceremony (light through a shoji screen or soft lighting at night). The elegance of the piece as a tool is evident from the serenity of the glaze itself. \u003c\/p\u003e\n\n\u003chr data-start=\"814\" data-end=\"817\"\u003e\n\n\u003ch2 data-section-id=\"nacw2g\" data-start=\"819\" data-end=\"852\"\u003e III. The Ginsai \"Scenery\" - Not the brilliance of metal, but the lingering light\u003c\/h2\u003e\n\n\u003cp data-start=\"853\" data-end=\"1134\"\u003e The silver glaze applied to the upper part of the body is not merely decorative, but \u003cstrong data-start=\"895\" data-end=\"990\"\u003eacts as a boundary that changes the atmosphere of the vessel.** In contrast to the calm surface of the pale blue porcelain, the silver glaze has a subtle fluctuation, and its brightness changes slightly depending on how the light hits it.\u003c\/strong\u003e \u003cbr data-start=\"955\" data-end=\"958\"\u003eWhat's important here is that the silver glaze is not used to create a flashy look, but rather to create a calm, lingering glow. Silver glaze is a technique that changes its appearance over time, and depending on how it is used and the environment, it can deepen in luster or take on a slightly more subdued patina. This change can also be seen as part of the \"scenery of time\" that is so beloved by the tea ceremony. It has a beauty that grows and develops, not just with the shine of a new piece. \u003c\/p\u003e\n\n\u003chr data-start=\"1136\" data-end=\"1139\"\u003e\n\n\u003ch2 data-section-id=\"153dwpn\" data-start=\"1141\" data-end=\"1174\"\u003e IV. Key points of the design: the firmness of the torso, the tightness of the shoulders, and the presence of the stopper\u003c\/h2\u003e\n\n\u003cp data-start=\"1175\" data-end=\"1206\"\u003e The appeal of this design is its very clear silhouette.\u003c\/p\u003e\n\n\u003cp data-start=\"1175\" data-end=\"1206\"\u003e \u003cstrong data-start=\"1209\" data-end=\"1217\"\u003eTorso tension\u003c\/strong\u003e : Stabilizes the grip in the palm of your hand and makes handling smooth.\u003c\/p\u003e\n\n\u003cp data-start=\"1247\" data-end=\"1282\"\u003e \u003cstrong data-start=\"1247\" data-end=\"1256\"\u003eTight shoulders\u003c\/strong\u003e : The center of gravity is visually raised, and the bowl as a whole does not appear stretched out.\u003c\/p\u003e\n\n \u003cp data-start=\"1285\" data-end=\"1371\"\u003e\u003cstrong data-start=\"1285\" data-end=\"1298\"\u003eThe appearance of the wooden stopper\u003c\/strong\u003e : The warmth of the wood is added to the stillness of the ceramic, making it seem more real as a tool. The presence of \"wood,\" which is neither metal nor ceramic, makes the gesture of the object in hand more human.\u003c\/p\u003e\n\n\u003cp data-start=\"1373\" data-end=\"1477\"\u003e Furthermore, the opening is neatly constructed and the boundary line (the line where the lid joins) is clearly defined, making the closed vessel beautiful as well. \u003cstrong data-start=\"1433\" data-end=\"1452\"\u003eThe closed vessel is already a complete sight\u003c\/strong\u003e even before it is used - this is a crucial beauty of a small vessel. \u003c\/p\u003e\n\n\u003chr data-start=\"1479\" data-end=\"1482\"\u003e\n\n\u003ch2 data-section-id=\"gnxn7l\" data-start=\"1484\" data-end=\"1516\"\u003e V. Combination Ideas - Based on a tranquil tone, adding a seasonal touch\u003c\/h2\u003e\n\n\u003cp data-start=\"1517\" data-end=\"1694\"\u003e The combination of blue and white porcelain and silver glaze allows for a wide range of combinations, but is not too bold, so it does not interfere with the dignity of other utensils. \u003cbr data-start=\"1564\" data-end=\"1567\"\u003eFor example, the coolness of the pale blue porcelain shines in spring and summer, while the calmness of the silver glaze blends in with the light of autumn and winter. When you want to create a cool feeling in any season, place the pale blue porcelain side, and conversely, when you want to create a sharper look, place the silver glaze side -- one of the charms of this piece is that its appearance changes depending on how it is placed. \u003c\/p\u003e\n\n\u003chr data-start=\"1696\" data-end=\"1699\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1701\" data-end=\"1707\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-start=\"1708\" data-end=\"1900\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e Kazuhiro Matsukawa's \"Blue and White Porcelain Silver Glaze\" is \u003cstrong data-start=\"1750\" data-end=\"1773\"\u003ea small piece that evokes a sense of tranquility with a touch of elegance\u003c\/strong\u003e , layered with a silver glaze over the clear glaze of the blue and white porcelain. The inherent function of the silver glaze, a tool called a silver glaze, is complemented by the rationality of the design and the lingering quality of the material, making it a piece that breathes well in any space, whether in use or on display.\u003cbr data-start=\"1847\" data-end=\"1850\"\u003e The smaller the vessel, the less room for deception. This piece directly responds to this rigor, possessing a density that exceeds its dimensions.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1620\" data-start=\"1612\" data-section-id=\"1bs35mf\"\u003e Biography\u003c\/h3\u003e\n\n \u003cp data-end=\"1740\" data-start=\"1621\"\u003e1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-end=\"1640\" data-start=\"1637\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-end=\"1663\" data-start=\"1660\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-end=\"1684\" data-start=\"1681\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-end=\"1721\" data-start=\"1718\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-end=\"1756\" data-start=\"1742\" data-section-id=\"vx22u2\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-end=\"2467\" data-start=\"1757\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-end=\"1786\" data-start=\"1783\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1812\" data-start=\"1809\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-end=\"1837\" data-start=\"1834\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-end=\"1859\" data-start=\"1856\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-end=\"1888\" data-start=\"1885\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-end=\"1913\" data-start=\"1910\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-end=\"1940\" data-start=\"1937\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1965\" data-start=\"1962\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-end=\"1990\" data-start=\"1987\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07) \u003cbr data-end=\"2019\" data-start=\"2016\"\u003e2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-end=\"2052\" data-start=\"2049\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-end=\"2084\" data-start=\"2081\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-end=\"2121\" data-start=\"2118\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-end=\"2159\" data-start=\"2156\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-end=\"2181\" data-start=\"2178\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-end=\"2211\" data-start=\"2208\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-end=\"2242\" data-start=\"2239\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2261\" data-start=\"2258\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-end=\"2290\" data-start=\"2287\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-end=\"2331\" data-start=\"2328\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2350\" data-start=\"2347\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-end=\"2387\" data-start=\"2384\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2407\" data-start=\"2404\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2429\" data-start=\"2426\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2449\" data-start=\"2446\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2478\" data-start=\"2469\" data-section-id=\"1t7yy2j\"\u003e Awards\u003c\/h3\u003e\n\n \u003cp data-end=\"2529\" data-start=\"2479\"\u003e36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-end=\"2506\" data-start=\"2503\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2548\" data-start=\"2531\" data-section-id=\"33d0d0\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742755520792,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_26-01.jpg?v=1773813880"},{"product_id":"28白黒陶筥-松川和弘","title":"Black and white ceramic box by Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"67\"\u003e \u003cstrong data-start=\"0\" data-end=\"33\"\u003eBlack and white ceramic box by Kazuhiro Matsukawa (W4.9 x D4.6 x H6.2cm)\u003c\/strong\u003e\u003cbr data-start=\"33\" data-end=\"36\"\u003e -- \"White is 'white space', black is 'silence'. A landscape resides in this small cube.\" \u003c\/p\u003e\n\n\u003chr data-start=\"69\" data-end=\"72\"\u003e\n\n\u003ch3 data-section-id=\"12goilz\" data-start=\"74\" data-end=\"105\"\u003e I. The ceramic box as a vessel: By \"putting it away,\" a presence emerges\u003c\/h3\u003e\n\n\u003cp data-start=\"106\" data-end=\"344\"\u003e A ceramic box is not just a box for storing things. It is a tool that elevates the very act of \u003cstrong data-start=\"135\" data-end=\"149\"\u003estoring, protecting, and arranging\u003c\/strong\u003e things into a beautiful form. The series of quiet movements of fitting the lid, checking the corners with your fingertips, lifting it up and putting it back down creates the \"ma\" (space) that is so important in the tea ceremony. \u003cbr data-start=\"239\" data-end=\"242\"\u003eThis piece measures \u003cstrong data-start=\"246\" data-end=\"266\"\u003eW4.9 x D4.6 x H6.2cm\u003c\/strong\u003e , small enough to fit in the palm of your hand, yet has a solid cubic volume that establishes the center of gravity in the space the moment you place it down. It's small, yet not \"weak.\" This is the strength of Kazuhiro Matsukawa's design. \u003c\/p\u003e\n\n\u003chr data-start=\"346\" data-end=\"349\"\u003e\n\n\u003ch3 data-section-id=\"p8nvuc\" data-start=\"351\" data-end=\"375\"\u003e II. Dialogue between Black and White: Two Colors as \"Scenery\"\u003c\/h3\u003e\n\n\u003cp data-start=\"376\" data-end=\"430\"\u003e The greatest appeal of this work is that black and white are not simply a color scheme, but resonate with each other as \u003cstrong data-start=\"400\" data-end=\"411\"\u003ea difference in texture and time\u003c\/strong\u003e . \u003cstrong data-start=\"433\" data-end=\"438\"\u003eThe black\u003c\/strong\u003e creates a calming surface that absorbs light, strengthening the contours. \u003cstrong data-start=\"473\" data-end=\"478\"\u003eThe white\u003c\/strong\u003e contains stone-like spots and is covered in subtle shadows, deepening the \"white space.\"\u003c\/p\u003e\n\n \u003cp data-start=\"518\" data-end=\"654\"\u003eThe white is not purely bright, but has a rough, granular texture that gives it a sense of presence rather than coldness. The black is not simply heavy, but rather acts as a sense of firmness as the surfaces are refined. As a result, the two colors complement each other, with \u003cstrong data-start=\"608\" data-end=\"621\"\u003ewhite representing breath and black representing silence\u003c\/strong\u003e , creating a sense of tension every time you look at it. \u003c\/p\u003e\n\n\u003chr data-start=\"656\" data-end=\"659\"\u003e\n\n\u003ch3 data-section-id=\"11ug8i3\" data-start=\"661\" data-end=\"685\"\u003e III. Cube design: dignity created by straight lines\u003c\/h3\u003e\n\n\u003cp data-start=\"686\" data-end=\"936\"\u003e A cube is the simplest and therefore most indistinguishable shape. If the corners are rough, it looks childish, and if the faces are wavy, it looks unsettling.\u003cbr data-start=\"743\" data-end=\"746\"\u003e This piece has beautifully defined corners and a firm surface, without being too cold or hard. This is because the final shape was achieved by carefully reading the firing and the settling of the glaze. \u003cbr data-start=\"823\" data-end=\"826\"\u003eFurthermore, the boundary between the lid and the body is not simply a seam, but acts as \u003cstrong data-start=\"849\" data-end=\"869\"\u003ea horizontal line that calms the vessel\u003c\/strong\u003e . The eye stops there for a moment, then slides across the black and white surfaces. Although this is a small piece, the way it is designed to guide the viewer is extremely appealing. \u003c\/p\u003e\n\n\u003chr data-start=\"938\" data-end=\"941\"\u003e\n\n\u003ch3 data-section-id=\"1kjeo5m\" data-start=\"943\" data-end=\"970\"\u003e IV. Suggested uses: for incense, sweets, and small treasures\u003c\/h3\u003e\n\n\u003cp data-start=\"971\" data-end=\"1028\"\u003e What's great about this ceramic box is that it can be used for more than one purpose. In the context of the tea ceremony, it can be used in a wide variety of ways, including:\u003c\/p\u003e\n\n\u003cp data-start=\"971\" data-end=\"1028\"\u003e \u003cstrong data-start=\"1032\" data-end=\"1047\"\u003eAs an incense holder\u003c\/strong\u003e : A container for storing incense paste or pieces of fragrant wood, along with their aroma.\u003c\/p\u003e\n\n\u003cp data-start=\"971\" data-end=\"1028\"\u003e \u003cstrong data-start=\"1073\" data-end=\"1095\"\u003eFor small sweets such as dried sweets, sugar candy, and amber sugar\u003c\/strong\u003e : the black brings out the sweetness, while the white adds a clean feeling.\u003c\/p\u003e\n\n \u003cp data-start=\"971\" data-end=\"1028\"\u003e\u003cstrong data-start=\"1122\" data-end=\"1135\"\u003eFor storing small props at tea ceremonies\u003c\/strong\u003e : A box for organizing small tools such as small nails, incense chopsticks, and fasteners.\u003c\/p\u003e\n\n\u003cp data-start=\"971\" data-end=\"1028\"\u003e \u003cstrong data-start=\"1171\" data-end=\"1183\"\u003eIn modern life\u003c\/strong\u003e : A place to store small, important everyday items such as rings, earrings, seals, medicine, and USBs.\u003c\/p\u003e\n\n\u003cp data-start=\"1222\" data-end=\"1289\"\u003e The black and white duality of this piece blends seamlessly into not only traditional Japanese interiors, but also modern decor. Simply placing it in a corner of a shelf will tighten up the space. \u003c\/p\u003e\n\n\u003chr data-start=\"1291\" data-end=\"1294\"\u003e\n\n\u003ch3 data-section-id=\"14ptt1s\" data-start=\"1296\" data-end=\"1324\"\u003e V. Black and White Aesthetics: The Intersection of \"Wabi-Sabi\" and \"Modernity\"\u003c\/h3\u003e\n\n\u003cp data-start=\"1325\" data-end=\"1531\"\u003e What the tea ceremony has always valued is not flashy decoration, but the power that resides in the blank spaces. This piece truly brings to the forefront the beauty of form, surface, and quality that remains after the decoration has been stripped away. \u003cbr data-start=\"1398\" data-end=\"1401\"\u003eHowever, this is not a nostalgia for the classics. The black and white contrast, the abstractness of the cube, and the strong texture of the material all directly link to modern aesthetics - minimalism, architecture, and sculpture.\u003cbr data-start=\"1474\" data-end=\"1477\"\u003e In other words, this ceramic box is \u003cstrong data-start=\"1486\" data-end=\"1526\"\u003ea small sculpture that maintains the tranquility of the tea ceremony while possessing the strength to withstand a modern space\u003c\/strong\u003e . \u003c\/p\u003e\n\n\u003chr data-start=\"1533\" data-end=\"1536\"\u003e\n\n\u003ch3 data-section-id=\"4lpf6x\" data-start=\"1538\" data-end=\"1564\"\u003e Ⅵ Handling (Notes for works that are not Ginsai)\u003c\/h3\u003e\n\n\u003cp data-start=\"1565\" data-end=\"1601\"\u003e The black and white texture of this piece is its charm, so daily care is simple and sufficient. After use, wipe gently with a soft cloth, rinse with water if necessary, and dry thoroughly. Please refrain from using abrasive sponges as they may damage the appearance. Since the piece has a lid, it is best to let it air out occasionally when storing it to prevent moisture from building up inside. \u003c\/p\u003e\n\n\u003chr data-start=\"1732\" data-end=\"1735\"\u003e\n\n\u003ch2 data-section-id=\"1huqhjm\" data-start=\"1737\" data-end=\"1743\"\u003e summary\u003c\/h2\u003e\n\n \u003cp data-start=\"1744\" data-end=\"1849\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"1744\" data-end=\"1752\"\u003eThe black and white ceramic box\u003c\/strong\u003e is a work of art that condenses the tension between black and white, the dignity of the surface and corners, and the beauty of the act of putting away, into a piece that fits in the palm of your hand.\u003cbr data-start=\"1802\" data-end=\"1805\"\u003e The moment you close the lid, the space quietly becomes tidy - this is a product that you can enjoy the experience of in your hands.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1620\" data-start=\"1612\" data-section-id=\"1bs35mf\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-end=\"1740\" data-start=\"1621\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-end=\"1640\" data-start=\"1637\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-end=\"1663\" data-start=\"1660\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-end=\"1684\" data-start=\"1681\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-end=\"1721\" data-start=\"1718\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-end=\"1756\" data-start=\"1742\" data-section-id=\"vx22u2\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-end=\"2467\" data-start=\"1757\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-end=\"1786\" data-start=\"1783\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1812\" data-start=\"1809\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-end=\"1837\" data-start=\"1834\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-end=\"1859\" data-start=\"1856\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie) \u003cbr data-end=\"1888\" data-start=\"1885\"\u003e2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-end=\"1913\" data-start=\"1910\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-end=\"1940\" data-start=\"1937\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1965\" data-start=\"1962\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-end=\"1990\" data-start=\"1987\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-end=\"2019\" data-start=\"2016\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-end=\"2052\" data-start=\"2049\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-end=\"2084\" data-start=\"2081\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-end=\"2121\" data-start=\"2118\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-end=\"2159\" data-start=\"2156\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-end=\"2181\" data-start=\"2178\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-end=\"2211\" data-start=\"2208\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-end=\"2242\" data-start=\"2239\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2261\" data-start=\"2258\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-end=\"2290\" data-start=\"2287\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15) \u003cbr data-end=\"2331\" data-start=\"2328\"\u003e2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2350\" data-start=\"2347\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-end=\"2387\" data-start=\"2384\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2407\" data-start=\"2404\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2429\" data-start=\"2426\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2449\" data-start=\"2446\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2478\" data-start=\"2469\" data-section-id=\"1t7yy2j\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-end=\"2529\" data-start=\"2479\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-end=\"2506\" data-start=\"2503\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2548\" data-start=\"2531\" data-section-id=\"33d0d0\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742768333080,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuawa_28-01.jpg?v=1773814085"},{"product_id":"29白黒銀彩陶筥-松川和弘","title":"Black and white silver-colored ceramic box by Kazuhiro Matsukawa","description":"\u003ch3 data-end=\"18\" data-start=\"0\" data-section-id=\"1lebchq\"\u003e Black and white silver-painted ceramic box (by Kazuhiro Matsukawa) \u003cstrong data-end=\"39\" data-start=\"19\"\u003eW8.0 x D4.2 x H4.2cm\u003c\/strong\u003e\n\n\u003c\/h3\u003e\n\n \u003cp data-end=\"194\" data-start=\"43\"\u003eThis piece seems to encapsulate night and light in a small box that fits comfortably in the palm of your hand. The depth of black and the quiet brilliance of silver. The two textures switch diagonally, and the expression changes with just a slight change in angle. The monotone, which tends to be inorganic, retains the \"warmth of pottery\" - I feel that this tension is the strength of Matsukawa Kazuhiro's work.\u003c\/p\u003e\n\n\u003ch3 data-end=\"225\" data-start=\"196\" data-section-id=\"19797nd\"\u003e Ⅰ Shape: A \"box\" yet like a sculpture\u003c\/h3\u003e\n\n\u003cp data-end=\"354\" data-start=\"226\"\u003e This piece is based on a rectangle, with the top of the lid gently rounded. The neatness of the straight lines and the slight bulge combine to give it both the compactness of a tool and the presence of an object. The boundary line between the lid and the body (the joint) tightens the overall outline of the piece, creating a tranquil tension.\u003c\/p\u003e\n\n\u003ch3 data-end=\"383\" data-start=\"356\" data-section-id=\"j6apd1\"\u003e II. White, Black, and Silver—Three Layers of Silence\u003c\/h3\u003e\n\n \u003cp data-end=\"555\" data-start=\"384\"\u003eThe black surface is not simply black, but a deep tone that reflects the light and creates subtle fluctuations. When the silver glaze surface is layered on top of it, a subdued metallic glow appears, rather than a glossy reflection. Although the silver glaze appears uniform in a photograph, in reality it is accompanied by a \"landscape\" of grain and shading, and the impression changes depending on the viewing distance. The black sinks, while the silver breathes. The antagonism between the two creates a sense of depth that surpasses the small size of the box.\u003c\/p\u003e\n\n\u003ch3 data-end=\"590\" data-start=\"557\" data-section-id=\"ml829a\"\u003e III. Use: As an incense holder or as a container for storing \"blank space\"\u003c\/h3\u003e\n\n\u003cp data-end=\"816\" data-start=\"591\"\u003e Ceramic boxes have long been popular as tools for storing incense. When used as an incense holder, the act of opening the lid becomes a small ritual in itself, helping to create a pleasant atmosphere in the room. \u003cbr data-end=\"676\" data-start=\"673\"\u003eAt the same time, this piece naturally blends into modern life. For example, small pieces of incense or fragrant wood, sugar candy or small dried sweets, accessories, keys, seals, travel accessories - just by gently storing away \"items that tend to get scattered,\" order will be restored to your desk. Its appeal lies in the fact that it can be used as a tool to store away empty space without being limited to a specific purpose.\u003c\/p\u003e\n\n\u003ch3 data-end=\"842\" data-start=\"818\" data-section-id=\"1h1ll10\"\u003e Ⅳ Handling Precautions (Regarding Ginsai)\u003c\/h3\u003e\n\n \u003cp data-end=\"942\" data-start=\"843\"\u003eThe color of the silver glaze may fade over time or change over time due to the environment. This is a unique feature of silver glaze, but we recommend the following to maintain its beauty. After use, \u003cstrong data-end=\"969\" data-start=\"950\"\u003egently wipe with a soft, dry cloth\u003c\/strong\u003e (avoid abrasive cloths) \u003cstrong data-end=\"1009\" data-start=\"992\"\u003e. Do not leave moisture or oil on the product for long periods of time.\u003c\/strong\u003e Avoid using in the dishwasher or microwave. Store in \u003cstrong data-end=\"1051\" data-start=\"1039\"\u003ea low-humidity location\u003c\/strong\u003e (using a desiccant may also be effective if the product is too tightly sealed).\u003c\/p\u003e\n\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1170\" data-start=\"1078\"\u003e Black and silver, hard and soft, tranquility and subtle brilliance. These opposing elements are precisely balanced within this small 8cm wide box. This is a piece that will accompany you for a long time, both as a tea ceremony tool and as a daily table decoration.\u003c\/p\u003e\n\n \u003ch3 data-end=\"1620\" data-start=\"1612\" data-section-id=\"1bs35mf\"\u003eBiography\u003c\/h3\u003e\n\n\u003cp data-end=\"1740\" data-start=\"1621\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-end=\"1640\" data-start=\"1637\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-end=\"1663\" data-start=\"1660\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-end=\"1684\" data-start=\"1681\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-end=\"1721\" data-start=\"1718\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-end=\"1756\" data-start=\"1742\" data-section-id=\"vx22u2\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-end=\"2467\" data-start=\"1757\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-end=\"1786\" data-start=\"1783\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1812\" data-start=\"1809\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-end=\"1837\" data-start=\"1834\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-end=\"1859\" data-start=\"1856\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-end=\"1888\" data-start=\"1885\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-end=\"1913\" data-start=\"1910\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-end=\"1940\" data-start=\"1937\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1965\" data-start=\"1962\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-end=\"1990\" data-start=\"1987\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07) \u003cbr data-end=\"2019\" data-start=\"2016\"\u003e2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-end=\"2052\" data-start=\"2049\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-end=\"2084\" data-start=\"2081\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-end=\"2121\" data-start=\"2118\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-end=\"2159\" data-start=\"2156\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-end=\"2181\" data-start=\"2178\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-end=\"2211\" data-start=\"2208\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-end=\"2242\" data-start=\"2239\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2261\" data-start=\"2258\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-end=\"2290\" data-start=\"2287\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-end=\"2331\" data-start=\"2328\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2350\" data-start=\"2347\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-end=\"2387\" data-start=\"2384\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2407\" data-start=\"2404\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2429\" data-start=\"2426\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2449\" data-start=\"2446\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2478\" data-start=\"2469\" data-section-id=\"1t7yy2j\"\u003e Awards\u003c\/h3\u003e\n\n \u003cp data-end=\"2529\" data-start=\"2479\"\u003e36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-end=\"2506\" data-start=\"2503\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2548\" data-start=\"2531\" data-section-id=\"33d0d0\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742783373592,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matskawa_29-01.jpg?v=1773814272"},{"product_id":"30白黒銀彩陶筥-松川和弘","title":"Black and white silver-colored ceramic box by Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"69\"\u003e Black and white silver-painted ceramic box (Made by Kazuhiro Matsukawa, W5.2 x D5.2 x H5.2cm)\u003cbr data-start=\"31\" data-end=\"34\"\u003e --\"Black is silence, white is white space. Silver brings a moonlight-like presence to the border.\" \u003c\/p\u003e\n\n\u003chr data-start=\"71\" data-end=\"74\"\u003e\n\n\u003ch2 data-section-id=\"elhd09\" data-start=\"76\" data-end=\"107\"\u003e I. The \"beauty of storage\" of ceramic boxes: A vessel that is complete the moment the lid is closed\u003c\/h2\u003e\n\n\u003cp data-start=\"109\" data-end=\"241\"\u003e A ceramic box is not simply a container for storing small items. When the lid is opened, it becomes a vessel that welcomes the contents, and when closed, it becomes a form that maintains silence; each piece has two aspects. In the tea ceremony, it quietly supports the status of the utensils as a \"universe in the palm of your hand,\" similar to an incense container or a small tea caddy.\u003c\/p\u003e\n\n \u003cp data-start=\"243\" data-end=\"389\"\u003eThis piece is based on a neat, square mass, but the seam lines of the lid are precisely aligned, and when closed, it exudes the \"tension of being a box.\" The angles of the faces, the rising of the ridges, and the restraint of the glaze pooling are all concentrated within a small flat surface, creating a composition that naturally leads the eye to the \"relationship between the surfaces.\" \u003c\/p\u003e\n\n\u003chr data-start=\"391\" data-end=\"394\"\u003e\n\n\u003ch2 data-section-id=\"1k2u8pz\" data-start=\"396\" data-end=\"430\"\u003e II. Three layers of white, black, and silver - captivating not through contrast but through \"temperature differences\"\u003c\/h2\u003e\n\n\u003cp data-start=\"432\" data-end=\"590\"\u003e The \"black and white\" in the title is more than just a contrast of colors. The impression one gets from the photograph is that the white is placed as a place of quiet reflection rather than \"brightness,\" and the black acts as a deep sinking rather than a heavy one. The inclusion of silver paint here prevents the boundary between black and white from being sharply cut off, but rather establishes a \"blurred boundary\" like pale moonlight.\u003c\/p\u003e\n\n \u003cp data-start=\"592\" data-end=\"747\"\u003eSilver glaze changes its appearance over time. As it transitions from its initial clear brilliance to a more subdued antique color, the piece responds to the passage of time in daily life and the tea ceremony. Matsukawa Kazuhiro's silver glaze does not stand out with its flashiness, but rather plays the role of \"raising the shadows and contours of the surface just one level more elegantly,\" giving a softness like breathing to the quiet tension between black and white. \u003c\/p\u003e\n\n\u003chr data-start=\"749\" data-end=\"752\"\u003e\n\n\u003ch2 data-section-id=\"qxf6in\" data-start=\"754\" data-end=\"784\"\u003e III. The core of the design: The sense of touch created by the slight collapse of the cube\u003c\/h2\u003e\n\n \u003cp data-start=\"786\" data-end=\"955\"\u003eThe appeal of this piece lies in the coexistence of its geometrical precision with the slight \"wavering\" of handmade pottery. It is not a perfect cube like an industrially produced product, but rather has slightly rounded corners and subtle undulations on the surface, which stimulate not only the visual sense but also the tactile sense. When held in the palm of your hand, you can certainly feel the temperature of the fired clay amid the tension of the rigid straight lines - this \"sense of completion through touch\" is the beauty of the ceramic box as a vessel.\u003c\/p\u003e\n\n\u003cp data-start=\"957\" data-end=\"1092\"\u003e The fit of the lid and the body also embodies the \"beauty of the gap.\" Rather than sealing excessively tightly and making noise, they settle in and out quietly. It is in this gesture that the dignity of the tool is born. In the tea ceremony, the sound, speed, and even breathing of opening and closing a lidded container become part of the scenery, so this precision is directly connected to the \"beauty of the gesture.\" \u003c\/p\u003e\n\n\u003chr data-start=\"1094\" data-end=\"1097\"\u003e\n\n\u003ch2 data-section-id=\"anq14i\" data-start=\"1099\" data-end=\"1135\"\u003e IV. What to include: incense, sugar candy, a seal, or something indescribable\u003c\/h2\u003e\n\n \u003cp data-start=\"1137\" data-end=\"1298\"\u003eGiven its size, it would also be attractive for storing incense-making implements such as fragrant wood, incense paste, and incense pieces, or for konpeito sugar, small dried sweets, condiments, and salt. However, perhaps what ceramic boxes are truly suited to are \"small, personal treasures\" that don't have a specific purpose. A seal, a ring, a pebble from a trip, a short letter. When storing such items, the serenity of the black and white silver coloring gently protects the owner's time.\u003c\/p\u003e\n\n\u003cp data-start=\"1300\" data-end=\"1456\"\u003e If used at a tea ceremony, it is most natural to think of it as an incense container. An incense container is not only a container for the incense itself, but also a container for the aura of the seasons. The silver light placed on the border between white and black evokes the lingering snow of spring, the moon at night, or the crisp air of winter, and does not fixate on the interpretation of the season. It is precisely because it does not impose an interpretation that the host's intentions and the guests' sensibilities come to life.\u003c\/p\u003e\n\n\u003chr data-start=\"1458\" data-end=\"1461\"\u003e\n\n \u003ch2 data-section-id=\"1vydmhe\" data-start=\"1463\" data-end=\"1493\"\u003eⅤ What the black and white and silver paint represent: not conflict, but the art of coexistence\u003c\/h2\u003e\n\n\u003cp data-start=\"1495\" data-end=\"1679\"\u003e Black and white are often spoken of as opposing concepts. However, rather than emphasizing their opposition, this piece allows the two to coexist in the same vessel, softening the boundary between them with the use of silver glaze. This is not a strong statement, but an expression of mature sensibility. Rejecting extravagance and loving silence, he still holds on to a single point of light (silver). The sense of clarity that Matsukawa Kazuhiro cultivated in his blue-and-white porcelain remains at the core of his work, even as he moves into the world of black and white. \u003c\/p\u003e\n\n\u003chr data-start=\"1681\" data-end=\"1684\"\u003e\n\n\u003ch2 data-section-id=\"if3l5x\" data-start=\"1686\" data-end=\"1713\"\u003e Ⅵ Minor handling precautions (to cultivate beauty)\u003c\/h2\u003e\n\n \u003cp data-start=\"1715\" data-end=\"1849\"\u003eGinsai changes to a more subdued color over time, but that is also its charm. After use, lightly wipe with a dry, soft cloth and avoid storing it in a humid environment for long periods of time to help maintain its appearance. This piece will be very appealing to those who see change as a \"growing landscape\" rather than \"deterioration.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Art and Design, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba) \u003cbr data-start=\"1856\" data-end=\"1859\"\u003eSolo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo) \u003cbr data-start=\"2287\" data-end=\"2290\"\u003eSolo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742792024344,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_30-01.jpg?v=1773814462"},{"product_id":"31青白磁陶筥-緋-松川和弘","title":"Blue and white porcelain box \"Scarlet\" by Kazuhiro Matsukawa","description":"\u003ch2 data-section-id=\"pyelj1\" data-start=\"77\" data-end=\"96\"\u003e Blue and white porcelain box \"Scarlet\" by Kazuhiro Matsukawa\u003c\/h2\u003e\n\n\u003cp data-start=\"97\" data-end=\"161\"\u003e \u003cstrong data-start=\"97\" data-end=\"122\"\u003eW8.2 × D8.5 × H8.0 cm\u003c\/strong\u003e\u003cbr data-start=\"122\" data-end=\"125\"\u003e -- \"A ray of presence runs through the quiet blue. The vessel that holds it harbors the scenery.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"17yvxdk\" data-start=\"163\" data-end=\"181\"\u003e Ⅰ Ceramic boxes as a form of storage\u003c\/h3\u003e\n\n \u003cp data-start=\"182\" data-end=\"445\"\u003eIn the tea ceremony, a ceramic box is a container for storing incense, sweets, or small utensils, but \u003cstrong data-start=\"250\" data-end=\"349\"\u003eit is also a container that transforms the way it is stored into a form of beauty. When the lid is closed, it becomes a sculpture, and when opened, another landscape appears inside, and it even regulates the flow of time when you hold it in your hands.\u003cbr data-start=\"308\" data-end=\"311\"\u003e This piece creates a sense of tension in both the eye and the touch with its neat, \u003cstrong data-start=\"325\" data-end=\"340\"\u003enearly cubic mass\u003c\/strong\u003e and the repeated ridges (carved stripes) running along one side\u003c\/strong\u003e . The primary appeal of this piece is that, while it is a vessel for storing things, the vessel itself stands out like \"architecture that designs the atmosphere of the space.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"o5bdts\" data-start=\"447\" data-end=\"475\"\u003e II. The clarity of pale blue porcelain: \"tranquility\" rather than \"coldness\"\u003c\/h3\u003e\n\n \u003cp data-start=\"476\" data-end=\"688\"\u003eUnlike the hardness of so-called white porcelain, Kazuhiro Matsukawa's blue-and-white porcelain has \u003cstrong data-start=\"503\" data-end=\"527\"\u003ea clear tone in which the pale blue blends into the white\u003c\/strong\u003e . When exposed to light, the surface softly brightens, and when in shadow the blue deepens, creating \u003cstrong data-start=\"563\" data-end=\"580\"\u003ea breath of light and shade despite being a single color\u003c\/strong\u003e .\u003cbr data-start=\"587\" data-end=\"590\"\u003e This \"tranquility\" does not simply mean cleanliness. Rather, it is the removal of unnecessary information, naturally sharpening the senses of the viewer - this refinement of the senses is the essence of blue-and-white porcelain.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"15pibi3\" data-start=\"690\" data-end=\"718\"\u003e III. \"Scarlet\" - A restrained line gives the work its warmth\u003c\/h3\u003e\n\n \u003cp data-start=\"719\" data-end=\"924\"\u003eThe key element of this work is the \"scarlet\" in its title. The scarlet lines add warmth to the cool transparency of the pale blue porcelain. However, they are not a strong statement, but rather a sign that runs quietly near the outline.\u003cbr data-start=\"819\" data-end=\"822\"\u003e It's not too visible, like the vestiges of a sunset lingering in the light of snow, or the warmth of a vein of water hidden beneath thin ice. That's why the more you look at it, the more it has an effect. \u003cstrong data-start=\"885\" data-end=\"913\"\u003eScarlet isn't just a decoration, but functions as a subtle word to maintain the silence\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1nn17zx\" data-start=\"926\" data-end=\"954\"\u003e IV. Striped surface: An “architectural design” that is completed by touching it\u003c\/h3\u003e\n\n\u003cp data-start=\"955\" data-end=\"1175\"\u003e The striped carvings on one side visually create shadows, and when you touch them, a rhythm emerges in your fingertips. If the smooth blue-and-white porcelain surface is like the \"calm surface of water,\" then the striped surface is like a \"wall through which the wind passes.\" \u003cbr data-start=\"1030\" data-end=\"1033\"\u003eThis \u003cstrong data-start=\"1035\" data-end=\"1047\"\u003ejuxtaposition of different expressions\u003c\/strong\u003e allows the same three-dimensional object to change character depending on the angle from which it is viewed. From directly in front, it appears neat, while from an angle, the depth of the mass is emphasized, and the boundary between the lid and the body acts as a \"horizontal tension.\" The fit of the lid is vital for a ceramic box, but what is striking about this piece is that this boundary has been designed as the center of its beauty.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"10xz0ev\" data-start=\"1177\" data-end=\"1204\"\u003e Ⅴ The view you see the moment you open it: \"The blue contained within\"\u003c\/h3\u003e\n\n\u003cp data-start=\"1205\" data-end=\"1417\"\u003e The beauty of the ceramic box is complete when it is opened. The blue-and-white porcelain hidden inside the lid and inside the body appears even softer than the outside, and reflects light quietly as if collecting it. \u003cbr data-start=\"1274\" data-end=\"1277\"\u003eThis \"inner blue\" gives the impression of \u003cstrong data-start=\"1298\" data-end=\"1315\"\u003esomething intimate and protected\u003c\/strong\u003e , in contrast to the neatness of the exterior. Whatever is placed inside -- a small incense stick, a light brown dried sweet, a small piece of silver lacquer, or even a stone or small piece of paper that holds memories of a journey -- the contents appear \"tidy.\" This is the kind of tool a ceramic box is, but I feel that this power is particularly strong in this work.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"14zzzdk\" data-start=\"1419\" data-end=\"1441\"\u003e Ⅵ Suggested uses: from tea ceremony to everyday life\u003c\/h3\u003e\n\n\u003cp data-start=\"1444\" data-end=\"1507\"\u003e \u003cstrong data-start=\"1444\" data-end=\"1453\"\u003eAs an incense holder\u003c\/strong\u003e : Opening and closing the lid of an incense container requires careful attention. The lid of this piece is clearly raised, making it easy to use.\u003c\/p\u003e\n\n\u003cp data-start=\"1510\" data-end=\"1579\"\u003e \u003cstrong data-start=\"1510\" data-end=\"1520\"\u003eAs a confectionery container\u003c\/strong\u003e : Perfect for displaying small amounts of dried sweets or other small confections in a beautiful way. The clean white and blue colors elegantly bring out the colors of the sweets.\u003c\/p\u003e\n\n \u003cp data-start=\"1582\" data-end=\"1650\"\u003e\u003cstrong data-start=\"1582\" data-end=\"1593\"\u003eAs a small item holder\u003c\/strong\u003e : It also functions beautifully as a container for neatly storing small everyday items such as rings, earrings, Kosaido pouches, and seals.\u003c\/p\u003e\n\n\u003cp data-start=\"1652\" data-end=\"1707\"\u003e A ceramic box is a vessel that, the more you use it, the more its place in the world will become clear. Once it becomes a part of your daily life, it brings a quiet order to your life.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"r5vvey\" data-start=\"1709\" data-end=\"1737\"\u003e Ⅶ Important points for handling (for delicate finishes)\u003c\/h3\u003e\n\n\u003cp data-start=\"1738\" data-end=\"1844\"\u003e The shape and texture of the surface are the essence of this piece. After use, wipe gently with a soft cloth, avoiding strong abrasives or hard sponges. The silver-colored parts may develop a more subdued appearance over time, which can also be enjoyed as part of the scenery.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts \u003cbr data-start=\"1681\" data-end=\"1684\"\u003e2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka) \u003cbr data-start=\"2081\" data-end=\"2084\"\u003e2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003ePublic Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742812537112,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuawa_31-01.jpg?v=1773814740"},{"product_id":"32青白磁銀彩陶筥-松川和弘","title":"Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"65\"\u003e Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W8.2 x D8.2 x H8.2cm)\u003cbr data-start=\"32\" data-end=\"35\"\u003e -- \"The serenity of water and the presence of silver. A layer of light is contained within the cube.\" \u003c\/p\u003e\n\n\u003chr data-start=\"67\" data-end=\"70\"\u003e\n\n\u003ch2 data-section-id=\"85twvi\" data-start=\"72\" data-end=\"98\"\u003e I. The ceramic box as a vessel: Beauty born from storing things\u003c\/h2\u003e\n\n\u003cp data-start=\"100\" data-end=\"288\"\u003e A ceramic box is not only a box for storing something, but also \u003cstrong data-start=\"122\" data-end=\"140\"\u003ea sculpture that is complete the moment the lid is closed\u003c\/strong\u003e . The act of opening and closing transforms the vessel from a simple object into a \"tool,\" and also creates a \"presence.\"\u003cbr data-start=\"187\" data-end=\"190\"\u003e This piece is a neat cube that fits comfortably in the palm of your hand and can be used as an incense holder, a small sweets dish, a tea ceremony accessory case, or even a box for jewelry or seals, quietly bridging the boundary between the ordinary and the extraordinary. \u003c\/p\u003e\n\n\u003chr data-start=\"290\" data-end=\"293\"\u003e\n\n\u003ch2 data-section-id=\"5s39kh\" data-start=\"295\" data-end=\"324\"\u003e II. The color of pale blue porcelain: clearer than \"white\" and softer than blue\u003c\/h2\u003e\n\n \u003cp data-start=\"326\" data-end=\"480\"\u003eOne large side of the piece is made of \u003cstrong data-start=\"340\" data-end=\"351\"\u003epale blue porcelain\u003c\/strong\u003e . While maintaining the cleanliness of white porcelain at its core, a subtle blue hue emerges softly when light hits it, and returns to a milky white in the shade.\u003cbr data-start=\"402\" data-end=\"405\"\u003e This fluctuation is the most beautiful expression of pale blue porcelain. It is hard yet not too cold, and breathable within its stillness - here we see the clear \"emptiness\" that is characteristic of Matsukawa's pale blue porcelain. \u003c\/p\u003e\n\n\u003chr data-start=\"482\" data-end=\"485\"\u003e\n\n\u003ch2 data-section-id=\"lsbd7m\" data-start=\"487\" data-end=\"510\"\u003e III. Silver-painted Masks: The Moment Metal Becomes a Story\u003c\/h2\u003e\n\n\u003cp data-start=\"512\" data-end=\"685\"\u003e In contrast, the silver glaze that covers the other side \u003cstrong data-start=\"529\" data-end=\"565\"\u003ehas a white flow running across a gray-silver background, with tiny scattered dots (like traces of bubbles)\u003c\/strong\u003e appearing. \u003cbr data-start=\"573\" data-end=\"576\"\u003eAt first glance, it appears to be a metal plate, but the closer you get, the more you can see the flow, bleeding, and accumulation of glaze.The poetic quality of this work lies in the fact that the metallic luster is not \"evenly smoothed\" but rather \u003cstrong data-start=\"647\" data-end=\"671\"\u003eleft to fluctuate, creating a landscape\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"687\" data-end=\"773\"\u003e Depending on the angle of the light, Ginsai can glow white or sink into a dull leaden color. In other words, the surface is not a fixed color, but a film of light whose appearance changes depending on the viewer's position and the time of day. \u003c\/p\u003e\n\n\u003chr data-start=\"775\" data-end=\"778\"\u003e\n\n\u003ch2 data-section-id=\"qb840n\" data-start=\"780\" data-end=\"805\"\u003e IV. The Art of Composition: Two Worlds Connected by a Single Line\u003c\/h2\u003e\n\n\u003cp data-start=\"807\" data-end=\"1031\"\u003e This piece clearly switches between the two qualities of \"blue-and-white porcelain\" and \"silver glaze.\" However, rather than a strong contrast, the eye is naturally drawn to the joint. \u003cbr data-start=\"872\" data-end=\"875\"\u003eThis is because the thin line (outlined in a warm orange-gold) that runs around the border between the lid and the body tightens the whole piece and at the same time gives it a sense of \"quality as a work of art.\" Despite its straight lines, it does not appear stiff, but rather is as soft as breathing.\u003cbr data-start=\"971\" data-end=\"974\"\u003e The tension inherent in the geometry of the cube is nicely alleviated by the soft light of the blue-and-white porcelain, the shimmering texture of the silver glaze, and the warmth of the fine wire. \u003c\/p\u003e\n\n\u003chr data-start=\"1033\" data-end=\"1036\"\u003e\n\n\u003ch2 data-section-id=\"5kacy9\" data-start=\"1038\" data-end=\"1063\"\u003e V. Inner silence: The “space to contain” is also a landscape\u003c\/h2\u003e\n\n\u003cp data-start=\"1065\" data-end=\"1223\"\u003e Opening the lid reveals the purity of the blue-and-white porcelain on the inside. If the exterior represents a contrast between light and scenery, the inside is \u003cstrong data-start=\"1111\" data-end=\"1126\"\u003ea quiet space that speaks volumes\u003c\/strong\u003e .\u003cbr data-start=\"1129\" data-end=\"1132\"\u003e This \"temperature difference between the inside and outside\" gives the ceramic box its unique elegance. The outside is a view, the inside is empty. That's why, whether you store incense, sweets, or small, precious items, the atmosphere remains unclouded, but rather refined.\u003c\/p\u003e\n\n\u003chr data-start=\"1225\" data-end=\"1228\"\u003e\n\n \u003ch2 data-section-id=\"a993vw\" data-start=\"1230\" data-end=\"1253\"\u003eVI. Suggested uses: for the living room, study, and everyday life\u003c\/h2\u003e\n\n\u003cp data-start=\"1257\" data-end=\"1305\"\u003e \u003cstrong data-start=\"1257\" data-end=\"1266\"\u003eAs an incense holder\u003c\/strong\u003e : The silver-colored surface resonates with the \"invisible presence\" of incense, while the pale blue porcelain surface purifies the air.\u003c\/p\u003e\n\n\u003cp data-start=\"1308\" data-end=\"1357\"\u003e \u003cstrong data-start=\"1308\" data-end=\"1332\"\u003eCan be used to store small sweets such as dried sweets and sugar candy\u003c\/strong\u003e : the blue-and-white porcelain interior elegantly reflects the colors of the sweets.\u003c\/p\u003e\n\n\u003cp data-start=\"1360\" data-end=\"1411\"\u003e \u003cstrong data-start=\"1360\" data-end=\"1381\"\u003eUse it to store small items such as seals, keys, and rings\u003c\/strong\u003e : when the lid is closed, it becomes a decorative element in the space.\u003c\/p\u003e\n\n\u003cp data-start=\"1414\" data-end=\"1454\"\u003e \u003cstrong data-start=\"1414\" data-end=\"1426\"\u003eAs a gift container\u003c\/strong\u003e : The luxury of having the box itself remain even after the contents are gone. \u003c\/p\u003e\n\n\u003chr data-start=\"1456\" data-end=\"1459\"\u003e\n\n\u003ch2 data-section-id=\"14m46xa\" data-start=\"1461\" data-end=\"1487\"\u003e VII Conclusion - Water and silver, two layers of tranquility\u003c\/h2\u003e\n\n\u003cp data-start=\"1489\" data-end=\"1576\"\u003e The pale blue porcelain is as clear as water, and the silver glaze shifts like light. \u003cbr data-start=\"1517\" data-end=\"1520\"\u003eThis \"Blue and White Porcelain Silver-Decorated Ceramic Box\" encapsulates these two elements within a cube, connecting them with a single line, and even the act of closing the lid is endowed with beauty.\u003c\/p\u003e\n\n\u003cp data-start=\"1578\" data-end=\"1679\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e Although it is a small cube, it exudes \u003cstrong data-start=\"1595\" data-end=\"1605\"\u003ea density of tranquility\u003c\/strong\u003e . When placed, it brings order to the space, and when picked up, the changing light slowly unfolds around you. This piece is a condensed version of Kazuhiro Matsukawa's \"clear form\" and \"glaze that creates a landscape.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya) \u003cbr data-start=\"1809\" data-end=\"1812\"\u003eSolo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08) \u003cbr data-start=\"2239\" data-end=\"2242\"\u003eSolo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742831444248,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_32-01.jpg?v=1773815007"},{"product_id":"33青白磁銀彩茶碗-松川和弘","title":"Blue and white porcelain silver bowl Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"61\"\u003e Blue and white porcelain silver-glazed tea bowl by Kazuhiro Matsukawa (Φ14.4×H6.1cm)\u003cbr data-start=\"28\" data-end=\"31\"\u003e -- \"Blue water and silver skin. Two layers of tranquility in one bowl.\" \u003c\/p\u003e\n\n\u003chr data-start=\"63\" data-end=\"66\"\u003e\n\n\u003ch2 data-section-id=\"1i1ypr2\" data-start=\"68\" data-end=\"98\"\u003e I. The scenery created by this tea bowl: the coexistence of clear and shining bowls\u003c\/h2\u003e\n\n \u003cp data-start=\"100\" data-end=\"287\"\u003eThis tea bowl features the clear blue of the pale blue porcelain and the quiet brilliance of the silver glaze, clearly separated on the same vessel, yet mysteriously blending together naturally.\u003cbr data-start=\"163\" data-end=\"166\"\u003e The appearance is a neat bowl shape, with a slightly open rim that maintains a sense of tension without widening too much. The cup has a large opening that beautifully shows off the surface of the matcha, but is not too deep, making it easy to handle and allowing for a light and easy-to-use brewing motion.\u003c\/p\u003e\n\n\u003cp data-start=\"289\" data-end=\"397\"\u003e What is most distinctive about it is \u003cstrong data-start=\"302\" data-end=\"324\"\u003ethe blue-and-white porcelain on top and the silver-colored belt wrapped around the body\u003c\/strong\u003e .\u003cbr data-start=\"325\" data-end=\"328\"\u003e The pale blue porcelain creates a sense of tranquility as the \"color of water,\" while the silver glaze creates a sense of presence as the \"skin of light.\" In other words, this bowl can be said to be one that changes \u003cstrong data-start=\"377\" data-end=\"385\"\u003ethe quality of the air,\u003c\/strong\u003e rather than its color. \u003c\/p\u003e\n\n\u003chr data-start=\"399\" data-end=\"402\"\u003e\n\n\u003ch2 data-section-id=\"nvbhrn\" data-start=\"404\" data-end=\"434\"\u003e II. The Prospects of Blue-and-White Porcelain: Not \"White\" but a Clear Blue\u003c\/h2\u003e\n\n \u003cp data-start=\"436\" data-end=\"581\"\u003eThe inside is a soft, pale blue. As you can see from the photo, it lies in the exquisite realm of blue-and-white porcelain, which is \"leaning towards white, yet still clearly blue.\"\u003cbr data-start=\"495\" data-end=\"498\"\u003e Under light, it approaches a clean white, but when there is a slight shadow, a faint blue emerges. When you brew matcha, this blue doesn't stand out too much, but rather acts as \u003cstrong data-start=\"554\" data-end=\"575\"\u003ea background that brings out the green of the matcha without clouding it\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"583\" data-end=\"721\"\u003e Furthermore, a faint circular shape (a quiet outline reminiscent of the potter's wheel's marks) that appears in the center of the cup acts as a silent focal point. The movements of the tea whisk converge there, the bubbles settle, and the drinker's gaze is naturally drawn to the center.\u003cbr data-start=\"679\" data-end=\"682\"\u003e The appeal of this blue-and-white porcelain is not its flashiness, but \u003cstrong data-start=\"690\" data-end=\"708\"\u003eits design that leads the eye in a direction that brings peace of mind\u003c\/strong\u003e . \u003c\/p\u003e\n\n\u003chr data-start=\"723\" data-end=\"726\"\u003e\n\n\u003ch2 data-section-id=\"mh74vc\" data-start=\"728\" data-end=\"764\"\u003e III. Silver Obi: Silver as a Fine Texture, Not a Metal\u003c\/h2\u003e\n\n \u003cp data-start=\"766\" data-end=\"942\"\u003eThe silver glaze wrapped around the body is not a reflective silver like a mirror, but rather a silver with \u003cstrong data-start=\"794\" data-end=\"815\"\u003ea fine texture like the surface of a stone or frost pillars\u003c\/strong\u003e . In a close-up photo, countless fine particles run densely across it, creating a uniform yet not monotonous \"rough\" appearance.\u003cbr data-start=\"876\" data-end=\"879\"\u003e This texture is a type of silver glaze that gives information back to your hand the moment you touch it, and it is important that \u003cstrong data-start=\"908\" data-end=\"933\"\u003eit conveys a sense of calm not only visually but also to the sense of touch\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"944\" data-end=\"1088\"\u003e The appearance of Ginsai changes depending on the angle of the light. At times it appears white, and at other times it sinks into a leaden hue. In other words, the belt around the body is not a fixed surface of color, but a \"film of light\" that breathes in response to the ambient light.\u003cbr data-start=\"1027\" data-end=\"1030\"\u003e The light from the tea ceremony room, the natural light coming through the window, the lighting at night - under each set of conditions the bowl shows a different face, and each time it blends in with the atmosphere of the \"here and now.\"\u003c\/p\u003e\n\n\u003chr data-start=\"1090\" data-end=\"1093\"\u003e\n\n \u003ch2 data-section-id=\"1r1jja5\" data-start=\"1095\" data-end=\"1123\"\u003eIV. The Beauty of Boundaries: The Tension of the \"Line\" that Separates Blue-and-White Porcelain and Silver Glaze\u003c\/h2\u003e\n\n\u003cp data-start=\"1125\" data-end=\"1253\"\u003e The clear surface of the pale blue porcelain and the texture of the silver glaze. The boundary between them is clear, yet not too rigid. This is where Kazuhiro Matsukawa's artistic sense is evident.\u003cbr data-start=\"1179\" data-end=\"1182\"\u003e If the boundaries are vague, the vessel becomes scattered, but if the boundaries are too strong, the vessel becomes rigid. This work is somewhere in between, \u003cstrong data-start=\"1224\" data-end=\"1243\"\u003emaintaining order while establishing a boundary that leaves a lingering impression\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"1255\" data-end=\"1387\"\u003e Furthermore, at the bottom of the silver glaze, the end of the glaze appears as a slight line, creating a cohesive \"belt.\"\u003cbr data-start=\"1305\" data-end=\"1308\"\u003e This \"band structure\" tightens the vessel as a whole, making the blue of the inside appear clearer and the silver appear deeper. Rather than creating a strong contrast, the two colors subtly complement each other. \u003c\/p\u003e\n\n\u003chr data-start=\"1389\" data-end=\"1392\"\u003e\n\n\u003ch2 data-section-id=\"1ckwnpu\" data-start=\"1394\" data-end=\"1416\"\u003e V. Cleanliness of the hills - Reliability as a tool\u003c\/h2\u003e\n\n \u003cp data-start=\"1418\" data-end=\"1608\"\u003eLooking at the back, the base is white and neatly trimmed, providing a stable seat. The edges of the base are also gently processed, making it easy to handle and less likely to catch on the touch.\u003cbr data-start=\"1486\" data-end=\"1489\"\u003e Before being a vessel for appreciation, a tea bowl is a vessel for action. Picking it up, turning it, putting it down, wiping it - the smoothness of these actions determines its quality as a tool. This piece is not only beautiful in appearance, but also possesses the quiet practicality to withstand daily use. \u003c\/p\u003e\n\n\u003chr data-start=\"1610\" data-end=\"1613\"\u003e\n\n\u003ch2 data-section-id=\"rrdbq3\" data-start=\"1615\" data-end=\"1639\"\u003e VI. The allure of tea ceremony: A bowl with a clear green matcha color\u003c\/h2\u003e\n\n\u003cp data-start=\"1641\" data-end=\"1824\"\u003e This tea bowl is not the type that emphasizes the color of the matcha, but rather acts as a background that allows the green of the matcha to stand out naturally.\u003cbr data-start=\"1700\" data-end=\"1703\"\u003e The blue-and-white porcelain on the inside does not cloud the green of the matcha, and the silver-colored band adds a \"thickness of presence\" to the outside. \u003cbr data-start=\"1741\" data-end=\"1744\"\u003eIn other words, while the drinker concentrates on the taste of the matcha, the silver texture speaks quietly in the hand, and the blue-and-white porcelain maintains a clear space before the eyes. This tea bowl perfectly balances taste, touch, and sight. \u003c\/p\u003e\n\n\u003chr data-start=\"1826\" data-end=\"1829\"\u003e\n\n\u003ch2 data-section-id=\"11z8ek7\" data-start=\"1831\" data-end=\"1860\"\u003e VII Conclusion - Sealing the blue and silver silence of water in one bowl\u003c\/h2\u003e\n\n\u003cp data-start=\"1862\" data-end=\"1950\"\u003e The pale blue porcelain is as clear as water, and the silver glaze is silent and filled with light.\u003cbr data-start=\"1890\" data-end=\"1893\"\u003e Rather than simply juxtaposing the two, Matsukawa Kazuhiro \u003cstrong data-start=\"1916\" data-end=\"1944\"\u003ehas layered them as layers of tranquility on an everyday item such as a bowl\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"1952\" data-end=\"2071\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e When you pour matcha into the cup, the blue of the inside spreads softly like breathing, and the silver of the body deepens the outline of the atmosphere.\u003cbr data-start=\"1996\" data-end=\"1999\"\u003e This tea bowl does not dominate the space with its splendor, but rather works to harmonize the space and calm people's minds.It is a dignified bowl that embodies the word \"tranquility.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture \u003cbr data-start=\"1637\" data-end=\"1640\"\u003e1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09) \u003cbr data-start=\"2049\" data-end=\"2052\"\u003e2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award) \u003cbr data-start=\"2503\" data-end=\"2506\"\u003e55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742841078040,"sku":null,"price":143000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukaa_33-01.jpg?v=1773815230"},{"product_id":"34青白磁銀彩茶碗-松川和弘","title":"Blue and white porcelain silver bowl Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"68\"\u003e Blue and white porcelain silver-glazed tea bowl by Kazuhiro Matsukawa (Φ14.7×H6.3cm)\u003cbr data-start=\"28\" data-end=\"31\"\u003e -- \"The silver forms the edge, and the blue forms the space between the two. A bowl that exudes serenity from its rim.\" \u003c\/p\u003e\n\n\u003chr data-start=\"70\" data-end=\"73\"\u003e\n\n\u003ch2 data-section-id=\"1bs3hwh\" data-start=\"75\" data-end=\"108\"\u003e I. My first impression of this tea bowl: the reversed composition of \"silver on top, blue on bottom\"\u003c\/h2\u003e\n\n\u003cp data-start=\"110\" data-end=\"252\"\u003e This work is composed \u003cstrong data-start=\"143\" data-end=\"173\"\u003eof silver glaze that extends widely from the rim to the upper half, with the blue-and-white porcelain supporting the lower half\u003c\/strong\u003e .\u003cbr data-start=\"178\" data-end=\"181\"\u003e In other words, the eye first touches the silver rim, then slides into the blue-and-white porcelain interior.The \u003cstrong data-start=\"230\" data-end=\"249\"\u003edesign gives a hint of elegance to the rim, which is extremely essential for a tea bowl\u003c\/strong\u003e .\u003c\/p\u003e\n\n \u003cp data-start=\"254\" data-end=\"362\"\u003eThe dimensions are Φ14.7cm, H6.3cm. It is slightly large, with a generous surface area, allowing the poured tea to gently unfold. The rim opens neatly, giving the bowl a light appearance. The base is tight, giving the bowl a stable, taut feel, neither floating nor sinking. \u003c\/p\u003e\n\n\u003chr data-start=\"364\" data-end=\"367\"\u003e\n\n\u003ch2 data-section-id=\"1yv1ebq\" data-start=\"369\" data-end=\"395\"\u003e II. The texture of Ginsai: like frost, delicate and radiant\u003c\/h2\u003e\n\n\u003cp data-start=\"397\" data-end=\"565\"\u003e The silver glaze that spreads around the rim is not a mirror-like silver, but rather has \u003cstrong data-start=\"421\" data-end=\"446\"\u003ea texture similar to frost pillars or the surface of stone, with fine particles running densely\u003c\/strong\u003e . In close-up photographs, countless fine undulations are visible, softly dispersing the light.\u003cbr data-start=\"484\" data-end=\"487\"\u003e This silver glaze is not \"brightly shining\" but \u003cstrong data-start=\"504\" data-end=\"514\"\u003equietly bright\u003c\/strong\u003e . It changes color to white or lead depending on the light of the tea room or natural light, and acts like a \"thin film\" that reflects the seasons and time.\u003c\/p\u003e\n\n \u003cp data-start=\"567\" data-end=\"674\"\u003eEven more striking are the tiny holes and dots that appear on the edges of the silver glaze. These do not appear to be harsh, but rather like \u003cstrong data-start=\"612\" data-end=\"631\"\u003ebreathing holes that prevent the piece from becoming too homogenous\u003c\/strong\u003e . The rawness of the ceramic material remains on the metallic surface, instantly making the piece more poetic. \u003c\/p\u003e\n\n\u003chr data-start=\"676\" data-end=\"679\"\u003e\n\n\u003ch2 data-section-id=\"g0ahgk\" data-start=\"681\" data-end=\"705\"\u003e III. The lower half of the pale blue porcelain: The volume of water supporting the bowl\u003c\/h2\u003e\n\n\u003cp data-start=\"707\" data-end=\"804\"\u003e The pale blue porcelain that occupies the lower half of the piece creates a pale blue layer that calms the center of gravity of the vessel.\u003cbr data-start=\"746\" data-end=\"749\"\u003e If the silver glaze represents \"light spreading outward,\" then the pale blue porcelain represents \"water sinking inward.\" This contrast gives the tea bowl \u003cstrong data-start=\"787\" data-end=\"798\"\u003ea spiritual depth\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"806\" data-end=\"888\"\u003e The glaze is not cloudy, leaning towards white, but there is a definite hint of blue. When you hold it in your hand, the texture of the silver glaze gives information to your fingers, while the blue-and-white porcelain surface fits smoothly into your palm. The contrast in sensations is also part of the charm of this tea bowl.\u003c\/p\u003e\n\n\u003chr data-start=\"890\" data-end=\"893\"\u003e\n\n \u003ch2 data-section-id=\"2cuf16\" data-start=\"895\" data-end=\"926\"\u003eIV. The calmness of the prospect: Matcha is not \"shining\" but \"clear\"\u003c\/h2\u003e\n\n\u003cp data-start=\"928\" data-end=\"1064\"\u003e The inside is uniformly blue-and-white porcelain, with a faint circular shape visible in the center. This is the silent focal point when whisking matcha, and the movement of the tea whisk naturally converges here.\u003cbr data-start=\"996\" data-end=\"999\"\u003e This blue is not meant to make the matcha look flashy, but rather to not overpower the green color and \u003cstrong data-start=\"1040\" data-end=\"1056\"\u003eto allow the flavor and aroma to stand out\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"1066\" data-end=\"1146\"\u003e The silver glaze around the rim makes customers first sense the light around the rim, and then their eyes fall to the blue inside.\u003cbr data-start=\"1111\" data-end=\"1114\"\u003e The flow of your gaze itself creates the calmness necessary for a cup of tea. \u003c\/p\u003e\n\n\u003chr data-start=\"1148\" data-end=\"1151\"\u003e\n\n\u003ch2 data-section-id=\"as1mia\" data-start=\"1153\" data-end=\"1176\"\u003e V. Around the base: Thin lines give it a sense of dignity\u003c\/h2\u003e\n\n\u003cp data-start=\"1178\" data-end=\"1309\"\u003e Looking at the back, pale blue-white porcelain is quietly accumulated inside the foot, and \u003cstrong data-start=\"1210\" data-end=\"1223\"\u003ea thin reddish (orange) line\u003c\/strong\u003e runs around the edge of the foot. \u003cbr data-start=\"1231\" data-end=\"1234\"\u003eThese lines are not merely decorative, but rather a finishing touch that balances the overall tension of the vessel. The silver glaze particles, the pale blue porcelain surface, and these thin lines create a three-layered rhythm that naturally elevates the vessel's elegance. \u003c\/p\u003e\n\n\u003chr data-start=\"1311\" data-end=\"1314\"\u003e\n\n\u003ch2 data-section-id=\"pei80\" data-start=\"1316\" data-end=\"1340\"\u003e VI. Expressions during the tea ceremony: \"The rim shines and the tea is clear\"\u003c\/h2\u003e\n\n\u003cp data-start=\"1342\" data-end=\"1495\"\u003e This piece is particularly striking in a tea ceremony setting, because the moment the tea bowl is picked up, the silver rim is illuminated by the light and glows pale, before fading into a tranquil blue on the inside.\u003cbr data-start=\"1422\" data-end=\"1425\"\u003e Before drinking, the guest touches the silver rim, and at the moment of drinking, they bring their mouth to the blue-and-white porcelain. In other words, this bowl is a tea bowl \u003cstrong data-start=\"1462\" data-end=\"1490\"\u003ethat gives a sense of elegance to the drinking rim and a margin of space for reflection\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"1497\" data-end=\"1575\"\u003e It goes well with white sweets in winter, light main sweets in early spring, or cool summer combinations.It is not limited to a particular season, and its appearance changes depending on the lighting conditions, making it versatile and suitable for use all year round.\u003c\/p\u003e\n\n\u003chr data-start=\"1577\" data-end=\"1580\"\u003e\n\n \u003ch2 data-section-id=\"12p0vib\" data-start=\"1582\" data-end=\"1606\"\u003eVII. Musubi - A tranquil design with silver edging\u003c\/h2\u003e\n\n\u003cp data-start=\"1608\" data-end=\"1724\"\u003e The clarity of the blue-and-white porcelain is layered with the grains of light of the silver glaze.\u003cbr data-start=\"1634\" data-end=\"1637\"\u003e Even if the combination is the same, the moment the silver is placed on the rim instead of the body, the character of the tea bowl changes.\u003cbr data-start=\"1680\" data-end=\"1683\"\u003e This piece first guides the gaze and movements of the viewer around the edge, then calms them down as they look out - a perfect vessel for tea.\u003c\/p\u003e\n\n\u003cp data-start=\"1726\" data-end=\"1851\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e Kazuhiro Matsukawa's blue and white porcelain is not just beautiful, it also has a warmth that calms the soul.\u003cbr data-start=\"1766\" data-end=\"1769\"\u003e This silver glaze does not just shine, but also gives shape to the atmosphere.\u003cbr data-start=\"1799\" data-end=\"1802\"\u003e Within the bowl, light and water subdue each other, deepening the sense of tranquility. This is a dignified and elegant blue-and-white porcelain silver-glazed tea bowl.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo \u003cbr data-start=\"1718\" data-end=\"1721\"\u003e2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1856\" data-end=\"1859\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11) \u003cbr data-start=\"2118\" data-end=\"2121\"\u003e2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2287\" data-end=\"2290\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742849630488,"sku":null,"price":143000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matukawa_34-01.jpg?v=1773815438"}],"url":"https:\/\/amakido.art\/en-us\/collections\/%e6%9d%be%e5%b7%9d%e5%92%8c%e5%bc%98.oembed?page=3","provider":"高級陶器の専門店【甘木道】","version":"1.0","type":"link"}