{"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":932.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_mkawa_01-01.jpg?v=1773465832","url":"https:\/\/amakido.art\/en-us\/products\/%ef%bc%91%e7%99%bd%e7%a3%81%e9%a6%99%e5%99%a8","provider":"高級陶器の専門店【甘木道】","version":"1.0","type":"link"}