Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 10.1cm D: 2.5cm H: 2.2cm)
-- "A thin line of pale blue is coated with silver frost. A long, thin box quietly sharpens its movements."
I. The ceramic box as a "tool of lines" - the tension created by thinness
Before 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 thin and long 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.
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.
II. Blue-and-white porcelain—a band of still water clearer than white and softer than blue
2-1 Pale blue is not a color, but a quality of light
The 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.
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.
2-2 Temperature seen at the joint line
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.
III. Ginsai—Not a mirror, but a “frosty skin,” and a punctuation mark that concludes the edge
3-1 Fine Sparkle: Why Silver Doesn't Disturb the Serenity
The 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.
In a thin box, a little sparkle can be excessive, but this silver glaze stays on the side of silence , sharpening the outline of serenity.
3-2 Compositional Trick: Giving an Edge to the Pale Blue Line
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.
This gives the vessel a relaxed feel without feeling stretched out. The silver glaze gently supports the tension inherent in the thin, long shape.
IV. The view when opened: A canal-like view
When you remove the lid, a pale blue, narrow opening appears inside, a silent, straight line of empty space like a narrow waterway.
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 serves to arrange the appearance of the contents - this essence is expressed in the beauty of the interior.
V. Combination and Seasonal Feelings—The Brightness of Winter, 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.
Rather than asserting itself, it serves as a focal point for the space, creating a sense of space - the dignity of the long, thin box quietly brings the entire dougu set together.
summary
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.
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."
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
