White porcelain silver-colored ceramic box by Kazuhiro Matsukawa

White porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 7.8cm D: 3.3cm H: 2.9cm)
-- "A silver frost falls on the white silence. The thin box in my hand seals the gaps and clears the air."

Ⅰ The "small barrier" of a ceramic box

A 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.
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.

II. The Beauty of White Porcelain: White is the Most Ascetic and the Most Eloquent

2-1 White is not a color, but a vessel of light

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.
Because 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 a material that designs the quality of light , and it harbors a rich density within its silence.

2-2 Single line at the joint: Tightens the silence

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.

III. Ginsai - Not a mirror but a frosted surface, catching the light in points

3-1 Fine sparkle: Why silver doesn't look flashy

The 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.
The impression is of frost, light snow, moonlight - a cold, transparent glow . The silver is placed not to break the silence of the white porcelain, but rather to outline its tranquil contours.

3-2 Dialogue between White and Silver: Purity becomes two-tiered

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.
Gin is not the main character, but rather the "opponent" who highlights Shiro's silence. This relationship determines the quality of this work.

IV. The view inside – the “pale light blue” that appears when opened

When 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.
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 also shapes their appearance . This quality is enhanced by the interior scenery.

V. Combination and Seasonal Feelings - The Brightness of Winter, the Thin Ice of Early Spring

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.
Among the props, it does not make a flashy statement, but rather acts as the center of the blank space , 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.

summary

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.
Small and neat, yet with the power to transform a space, this work is a culmination of Matsukawa Kazuhiro's unique "design of tranquility."

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