Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa

Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 13.4cm D: 3.5cm H: 3.5cm)
-- "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."

I. The linear form of a ceramic box – simply placing it creates a sense of space

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.
If 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.

II. Blue-and-white porcelain—"Clearer than white, softer than blue"—the skin of still water

2-1 Pale Blue Surface: It's not the color, it's the quality of light

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.
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.

2-2 Joint line: A slight temperature deepens the clarity

A 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.

III. Ginsai—“Punctuation marks” placed on the edges, a frosty texture

3-1 Silver is not a mirror, but a fine grain of frost

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 - a cold, transparent glow .

3-2 Compositional Trick: Giving an edge to the long pale blue

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.
This 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.

IV. The view when opened: A canal-like view

When you remove the lid, a thin, pale blue window appears inside, a silent, straight line of empty space, like a waterway.
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 regulates the movements of your hands - this effect is particularly clear when it is in this shape.

V. Combination and Seasonal Feelings - The clarity of winter and the thin ice of early spring

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.
This piece is excellent not as a tool to make a statement, but as a tool to create space and organize the space .

summary

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.
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.

Biography

1977 Born in Kawachinagano, Osaka Prefecture
1998 Graduated from Nara College of Arts, Ceramic Art Course
2000 Graduated from Nara College of Arts
2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo
2006 Independent and opened a kiln in Kawachinagano City

Major solo exhibitions and exhibitions

2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)
Two-person exhibition (Matsuzakaya Nagoya Art Gallery/Nagoya)
Solo exhibition (Kyoto Takashimaya Art and Craft Salon/Kyoto)
2008 Solo Exhibition (Campanule/Chiba)
Solo exhibition (Paramita Museum Small Gallery/Mie)
2009 Solo Exhibition (Gallery Espace/Nagoya)
2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery/Hokkaido)
Solo exhibition (Matsuzakaya Nagoya Art Gallery/Nagoya)
Solo exhibition (Alpark Tenmaya Art Gallery/Hiroshima)
2011 Solo Exhibition (Ceramics Gallery Furyo/Osaka) ('07)
2012 Solo Exhibition (Gallery Okumura/Tokyo) ('07 '09)
2013 Solo Exhibition (Lovely Hall 20th Anniversary Event/Osaka)
2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery/Hiroshima) ('11)
2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery/Hiroshima) ('08 '12)
Three-person exhibition (Hakata Hankyu Muse/Fukuoka)
2017 Solo Exhibition (Pinacotheca / Tokyo) ('14 '15)
Solo exhibition (Tenmaya Okayama Art Gallery/Okayama) ('08)
Solo exhibition (Atelier Hiro/Osaka)
2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery/Tokyo)
Solo exhibition (Takashimaya Osaka Gallery NEXT/Osaka) ('08 '11 '15)
2020 Solo Exhibition (Hana Asagi/Tokyo)
2021 Solo Exhibition (Gallery Tachibana/Nara) ('15 '17 '19)
2022 Two-person exhibition (Hana Asagi/Tokyo)
2023 Two-person exhibition (Atelier Hiro/Osaka)
2025 Two-person exhibition (Hana Asagi/Tokyo)
Solo exhibition (Midorigaoka Museum of Art/Nara)

Awards

36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)
55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)

Public Collection

Midorigaoka Museum of Art