Blue and white porcelain pot Kazuhiro Matsukawa

Blue and white porcelain box by Kazuhiro Matsukawa (φ: 8.1cm H: 8.1cm)
-- "White ridges carve into the pale blue silence. The shadows created by the carvings give the box a silent rhythm."

Ⅰ Ceramic boxes as "vessels that refine your behavior"

The ceramic box is a container for storing things, but at the same time it is a tool that transforms the act of opening and closing into beauty . The moment the lid is lifted and the air is slightly replaced, the density of the space changes. The "space" that has been valued in the tea ceremony is manifested here in the structure of the box itself.
This piece, "Blue and White Porcelain Box," has a volume that is almost cubic, and its center of gravity is stable when picked up. It is easy to handle, but not light. It is a box that feels "settled" in the palm of your hand.

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

2-1 Blue as a quality of light, not a color

The appeal of pale blue porcelain lies not just in its pale blue color, but in its texture, which absorbs and diffuses light . The purity of the white porcelain is enhanced by the subtle hint of blue, which prevents the vessel from appearing cold, but rather gives it a clear, breathing quality.
The slope of the surface creates a smooth transition in shadow, and the corners appear to rise softly, creating a sense of depth within the stillness.

2-2 The subtle warmth that resides in the joint line

A thin horizontal line appears at the boundary between the lid and the body. The pale color (a faint orange) that peeks through there, resulting from the firing process, adds a touch of warmth to the ascetic world of pale blue porcelain. It is not a perfect, pure piece, but only a "single trace" of the flame and the hand remains. This understatement gives the box a sense of elegance.

III. Highlights of the Design: The Contrast Between "Carved" and "Plain" Surfaces

3-1 Shadows created by carvings: A quiet design that can be felt by touch

The most distinctive feature of this piece is the vertical carvings (ridge-like ribs) on one side (or one corner). The evenly arranged grooves catch the light as "lines" and carve out regular shadows.
If the smooth surface of the blue-and-white porcelain represents still water, then the carved surface represents a windy shore. By designing the box to reflect the movement of light rather than decoration, it does not become monotonous, even though it is small.

3-2 Diagonally Falling Ridge: Movement in Silence

The carved surface changes diagonally at the top, creating a stepped rhythm. This is an effective feature. Repeated straight lines tend to be stiff, but the diagonal cuts draw the eye naturally and create a sense of movement in the vessel.
It's not just that the scenery is neatly arranged, but that it moves within that arrangement - Matsukawa Kazuhiro's sense of form is neatly displayed.

IV Inside with the lid open - Putting away the "pale blue space"

When the lid is removed, a pale blue interior is revealed. While the carvings on the exterior capture the light, the interior is a blank, "inner" view.
It can hold anything: incense, sugar candy, small seals, tea ceremony accessories... But at the same time, it can also hold nothing. A ceramic box can also be a vessel for storing blank space itself.
This box has a rhythm of shadows on the outside and a space of still water on the inside. The double serenity makes the act of opening and closing even more beautiful.

V. Combination Suggestions: Making the Most of "Cleanliness" and "Shadows"

This piece is based on the clear blue-and-white porcelain, with the carved shadows providing a strong accent. When placed on a black shelf or dark floorboard, the outline stands out, and when combined with white cloth or Japanese paper, the purity is enhanced.
In terms of seasonal sensations, it looks particularly beautiful in seasons with high transparency, such as thin ice, the light of early spring, and the clarity of winter. On the other hand, the carved shadows stand up to the strong light of summer and act as a cool sensation.

summary

The pale blue porcelain box is a refined, architectural piece that combines the clear silence of pale blue porcelain with the rhythm of shadows created by the carved surface. The smooth surface contrasts with the ridged carvings, and the light rearranges depending on the angle from which it is viewed. Opening the lid reveals a pale blue space, and the space is arranged with your movements.
This work combines purity and shadow, stillness and movement in a small box - it is the crystallization 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