Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa

Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 7.5cm D: 2.7cm H: 3.7cm)
-- "A drop of pale blue is accompanied by a silver grain. The 'line' in the palm of your hand minimizes the scent and presence."

Ⅰ The ceramic box: a "minimal ritual"

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.
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.

II. Blue-and-white porcelain - "Clearer than white, softer than blue" still water

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

The 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.
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."

2-2 Temperature seen at the joint line

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.

III. Ginsai - "Punctuation marks" placed on the edges, particles of frost

3-1 Silver is not a mirror, but a grainy frost

The 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.
The reason why silver decoration is effective in small boxes is that its brilliance does not take center stage, but rather outlines the tranquil contours .

3-2 Compositional Trick: Adding an Edge to the Pale Blue Band

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.
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 a structure that draws the eye in .

IV. The view when opened: the prospect of a "narrow waterway"

Removing the lid reveals a thin, pale blue opening inside, a silent, straight line of empty space like a small waterway.
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; storing them also helps regulate the pace of the mind . This size makes its effectiveness particularly apparent.

V. Combinations and Seasonal Feelings - Tools for Sharpness

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.
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.

summary

The 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.
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."

Biography

1977 Born in Kawachinagano, Osaka Prefecture
1998 Graduated from Nara College of Art and Design, 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