{"product_id":"30白黒銀彩陶筥-松川和弘","title":"Black and white silver-colored ceramic box by Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"69\"\u003e Black and white silver-painted ceramic box (Made by Kazuhiro Matsukawa, W5.2 x D5.2 x H5.2cm)\u003cbr data-start=\"31\" data-end=\"34\"\u003e --\"Black is silence, white is white space. Silver brings a moonlight-like presence to the border.\" \u003c\/p\u003e\n\n\u003chr data-start=\"71\" data-end=\"74\"\u003e\n\n\u003ch2 data-section-id=\"elhd09\" data-start=\"76\" data-end=\"107\"\u003e I. The \"beauty of storage\" of ceramic boxes: A vessel that is complete the moment the lid is closed\u003c\/h2\u003e\n\n\u003cp data-start=\"109\" data-end=\"241\"\u003e A ceramic box is not simply a container for storing small items. When the lid is opened, it becomes a vessel that welcomes the contents, and when closed, it becomes a form that maintains silence; each piece has two aspects. In the tea ceremony, it quietly supports the status of the utensils as a \"universe in the palm of your hand,\" similar to an incense container or a small tea caddy.\u003c\/p\u003e\n\n \u003cp data-start=\"243\" data-end=\"389\"\u003eThis piece is based on a neat, square mass, but the seam lines of the lid are precisely aligned, and when closed, it exudes the \"tension of being a box.\" The angles of the faces, the rising of the ridges, and the restraint of the glaze pooling are all concentrated within a small flat surface, creating a composition that naturally leads the eye to the \"relationship between the surfaces.\" \u003c\/p\u003e\n\n\u003chr data-start=\"391\" data-end=\"394\"\u003e\n\n\u003ch2 data-section-id=\"1k2u8pz\" data-start=\"396\" data-end=\"430\"\u003e II. Three layers of white, black, and silver - captivating not through contrast but through \"temperature differences\"\u003c\/h2\u003e\n\n\u003cp data-start=\"432\" data-end=\"590\"\u003e The \"black and white\" in the title is more than just a contrast of colors. The impression one gets from the photograph is that the white is placed as a place of quiet reflection rather than \"brightness,\" and the black acts as a deep sinking rather than a heavy one. The inclusion of silver paint here prevents the boundary between black and white from being sharply cut off, but rather establishes a \"blurred boundary\" like pale moonlight.\u003c\/p\u003e\n\n \u003cp data-start=\"592\" data-end=\"747\"\u003eSilver glaze changes its appearance over time. As it transitions from its initial clear brilliance to a more subdued antique color, the piece responds to the passage of time in daily life and the tea ceremony. Matsukawa Kazuhiro's silver glaze does not stand out with its flashiness, but rather plays the role of \"raising the shadows and contours of the surface just one level more elegantly,\" giving a softness like breathing to the quiet tension between black and white. \u003c\/p\u003e\n\n\u003chr data-start=\"749\" data-end=\"752\"\u003e\n\n\u003ch2 data-section-id=\"qxf6in\" data-start=\"754\" data-end=\"784\"\u003e III. The core of the design: The sense of touch created by the slight collapse of the cube\u003c\/h2\u003e\n\n \u003cp data-start=\"786\" data-end=\"955\"\u003eThe appeal of this piece lies in the coexistence of its geometrical precision with the slight \"wavering\" of handmade pottery. It is not a perfect cube like an industrially produced product, but rather has slightly rounded corners and subtle undulations on the surface, which stimulate not only the visual sense but also the tactile sense. When held in the palm of your hand, you can certainly feel the temperature of the fired clay amid the tension of the rigid straight lines - this \"sense of completion through touch\" is the beauty of the ceramic box as a vessel.\u003c\/p\u003e\n\n\u003cp data-start=\"957\" data-end=\"1092\"\u003e The fit of the lid and the body also embodies the \"beauty of the gap.\" Rather than sealing excessively tightly and making noise, they settle in and out quietly. It is in this gesture that the dignity of the tool is born. In the tea ceremony, the sound, speed, and even breathing of opening and closing a lidded container become part of the scenery, so this precision is directly connected to the \"beauty of the gesture.\" \u003c\/p\u003e\n\n\u003chr data-start=\"1094\" data-end=\"1097\"\u003e\n\n\u003ch2 data-section-id=\"anq14i\" data-start=\"1099\" data-end=\"1135\"\u003e IV. What to include: incense, sugar candy, a seal, or something indescribable\u003c\/h2\u003e\n\n \u003cp data-start=\"1137\" data-end=\"1298\"\u003eGiven its size, it would also be attractive for storing incense-making implements such as fragrant wood, incense paste, and incense pieces, or for konpeito sugar, small dried sweets, condiments, and salt. However, perhaps what ceramic boxes are truly suited to are \"small, personal treasures\" that don't have a specific purpose. A seal, a ring, a pebble from a trip, a short letter. When storing such items, the serenity of the black and white silver coloring gently protects the owner's time.\u003c\/p\u003e\n\n\u003cp data-start=\"1300\" data-end=\"1456\"\u003e If used at a tea ceremony, it is most natural to think of it as an incense container. An incense container is not only a container for the incense itself, but also a container for the aura of the seasons. The silver light placed on the border between white and black evokes the lingering snow of spring, the moon at night, or the crisp air of winter, and does not fixate on the interpretation of the season. It is precisely because it does not impose an interpretation that the host's intentions and the guests' sensibilities come to life.\u003c\/p\u003e\n\n\u003chr data-start=\"1458\" data-end=\"1461\"\u003e\n\n \u003ch2 data-section-id=\"1vydmhe\" data-start=\"1463\" data-end=\"1493\"\u003eⅤ What the black and white and silver paint represent: not conflict, but the art of coexistence\u003c\/h2\u003e\n\n\u003cp data-start=\"1495\" data-end=\"1679\"\u003e Black and white are often spoken of as opposing concepts. However, rather than emphasizing their opposition, this piece allows the two to coexist in the same vessel, softening the boundary between them with the use of silver glaze. This is not a strong statement, but an expression of mature sensibility. Rejecting extravagance and loving silence, he still holds on to a single point of light (silver). The sense of clarity that Matsukawa Kazuhiro cultivated in his blue-and-white porcelain remains at the core of his work, even as he moves into the world of black and white. \u003c\/p\u003e\n\n\u003chr data-start=\"1681\" data-end=\"1684\"\u003e\n\n\u003ch2 data-section-id=\"if3l5x\" data-start=\"1686\" data-end=\"1713\"\u003e Ⅵ Minor handling precautions (to cultivate beauty)\u003c\/h2\u003e\n\n \u003cp data-start=\"1715\" data-end=\"1849\"\u003eGinsai changes to a more subdued color over time, but that is also its charm. After use, lightly wipe with a dry, soft cloth and avoid storing it in a humid environment for long periods of time to help maintain its appearance. This piece will be very appealing to those who see change as a \"growing landscape\" rather than \"deterioration.\"\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1612\" data-end=\"1620\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1621\" data-end=\"1740\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1637\" data-end=\"1640\"\u003e 1998 Graduated from Nara College of Art and Design, Ceramic Art Course\u003cbr data-start=\"1660\" data-end=\"1663\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1681\" data-end=\"1684\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"vx22u2\" data-start=\"1742\" data-end=\"1756\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1757\" data-end=\"2467\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1783\" data-end=\"1786\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1809\" data-end=\"1812\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1834\" data-end=\"1837\"\u003e 2008 Solo Exhibition (Campanule\/Chiba) \u003cbr data-start=\"1856\" data-end=\"1859\"\u003eSolo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1885\" data-end=\"1888\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1910\" data-end=\"1913\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1937\" data-end=\"1940\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1962\" data-end=\"1965\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"1987\" data-end=\"1990\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2016\" data-end=\"2019\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2049\" data-end=\"2052\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2081\" data-end=\"2084\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2118\" data-end=\"2121\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-start=\"2156\" data-end=\"2159\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2178\" data-end=\"2181\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2208\" data-end=\"2211\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2239\" data-end=\"2242\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2258\" data-end=\"2261\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo) \u003cbr data-start=\"2287\" data-end=\"2290\"\u003eSolo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2328\" data-end=\"2331\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2384\" data-end=\"2387\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2404\" data-end=\"2407\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2426\" data-end=\"2429\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2446\" data-end=\"2449\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2469\" data-end=\"2478\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2479\" data-end=\"2529\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2503\" data-end=\"2506\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2531\" data-end=\"2548\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2549\" data-end=\"2557\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51742792024344,"sku":null,"price":359.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_30-01.jpg?v=1773814462","url":"https:\/\/amakido.art\/en-us\/products\/30%e7%99%bd%e9%bb%92%e9%8a%80%e5%bd%a9%e9%99%b6%e7%ad%a5-%e6%9d%be%e5%b7%9d%e5%92%8c%e5%bc%98","provider":"高級陶器の専門店【甘木道】","version":"1.0","type":"link"}