{"product_id":"19青白磁銀彩合子-松川和弘","title":"Blue and white porcelain silver saiko Kazuhiro Matsukawa","description":"\u003cp data-start=\"0\" data-end=\"50\"\u003e Blue and white porcelain silver-colored bowl by Kazuhiro Matsukawa (Φ7.5×h3.5)\u003cbr data-start=\"25\" data-end=\"28\"\u003e --\"The silver of the moonlight sinks softly into the circle of pale water.\" \u003c\/p\u003e\n\n\u003chr data-start=\"52\" data-end=\"55\"\u003e\n\n\u003ch2 data-section-id=\"1vfy1yo\" data-start=\"57\" data-end=\"90\"\u003e Ⅰ The \"small universe\" of Goko: The act of opening the lid sets the stage\u003c\/h2\u003e\n\n\u003cp data-start=\"92\" data-end=\"290\"\u003e Unlike incense containers or sweets dishes, a gosu is not a tool whose value is determined solely by what is placed inside. Rather, the fleeting act of \u003cstrong data-start=\"139\" data-end=\"147\"\u003eremoving the lid\u003c\/strong\u003e creates a moment of pause in the atmosphere of the tea ceremony, allowing the guests' gazes and breathing to align for a moment - it is a vessel for this purpose.\u003cbr data-start=\"199\" data-end=\"202\"\u003e This piece, \"Blue and White Porcelain Silver-Colored Bowl,\" fits in the palm of your hand and neatly embodies all the qualities required of a bowl ( \u003cstrong data-start=\"249\" data-end=\"272\"\u003eeasy opening and closing, a snug fit for the lid, and the dignity of the vessel\u003c\/strong\u003e ).\u003c\/p\u003e\n\n \u003cp data-start=\"292\" data-end=\"408\"\u003eA round shape, without any sharp edges, can easily lean towards \"sweetness,\" but this is not the case with Kazuhiro Matsukawa's Aiko. The rounded edges are plump, yet the outlines are clear and somehow dignified. The \u003cstrong data-start=\"374\" data-end=\"390\"\u003ecoexistence of softness and tension\u003c\/strong\u003e is the primary appeal of this piece. \u003c\/p\u003e\n\n\u003chr data-start=\"410\" data-end=\"413\"\u003e\n\n\u003ch2 data-section-id=\"qvogfc\" data-start=\"415\" data-end=\"443\"\u003e II. The color of pale blue porcelain: quieter than \"white\" and paler than blue\u003c\/h2\u003e\n\n\u003cp data-start=\"445\" data-end=\"640\"\u003e The pale blue porcelain body is not captivating with its strong color, but rather has \u003cstrong data-start=\"485\" data-end=\"494\"\u003ea pale, watery color\u003c\/strong\u003e that brightens from within as it receives more light. It has the cleanliness of white porcelain, but is not cold. It has a hint of celadon, but is not too assertive. \u003cbr data-start=\"540\" data-end=\"543\"\u003eThis \"beauty in between\" may appear simply pale in a photograph, but in person it is clearly different. With each change in environment—the soft light of a room, the slanting evening light, the dim light of a tea room—the blue hidden deep within the texture changes its expression ever so slightly.\u003c\/p\u003e\n\n\u003cp data-start=\"642\" data-end=\"760\"\u003e The surface of the vessel is smooth, but not completely glassy, ​​and one can sense a slight breath of life remaining. When your fingertips touch it, they don't just slide, but \u003cstrong data-start=\"709\" data-end=\"726\"\u003esettle with a gentle resistance\u003c\/strong\u003e . This \"tactile design\" is especially effective because the bowl is a vessel that is held in the hand. \u003c\/p\u003e\n\n\u003chr data-start=\"762\" data-end=\"765\"\u003e\n\n\u003ch2 data-section-id=\"j96cv4\" data-start=\"767\" data-end=\"794\"\u003e III. The Presence of Ginsai: A Metal that Speaks Not Through Its Shine, But Through Its Silence\u003c\/h2\u003e\n\n \u003cp data-start=\"796\" data-end=\"1005\"\u003eThe silver glaze in this work does not have the so-called flashy metallic sparkle. Rather, it absorbs light, gives it back, and then sinks back down again - in this cycle, it gives off \u003cstrong data-start=\"859\" data-end=\"873\"\u003ea dull reflection like moonlight\u003c\/strong\u003e .\u003cbr data-start=\"879\" data-end=\"882\"\u003e Silver is more delicate than gold and is easily affected by its environment. That's why, while silver glaze can easily create a sense of luxury, there is also the risk that the entire piece could look vulgar if not done properly. However, Matsukawa Kazuhiro's silver glaze does not destroy the pure atmosphere of the pale blue porcelain, but rather tightens it up.\u003c\/p\u003e\n\n\u003cp data-start=\"1007\" data-end=\"1110\"\u003e If the pale blue porcelain represents \"water,\" then the silver glaze represents the moon. When the moon is reflected on the water's surface, the water appears deeper and the moon appears more tranquil. \u003cstrong data-start=\"1056\" data-end=\"1084\"\u003eEach complements the other, and neither takes center stage\u003c\/strong\u003e - this restraint determines the high quality of this bowl.\u003c\/p\u003e\n\n\u003chr data-start=\"1112\" data-end=\"1115\"\u003e\n\n \u003ch2 data-section-id=\"t9qrxh\" data-start=\"1117\" data-end=\"1141\"\u003eIV. Precision of form: The core of the beauty of a goko is that it \"fits\" together\u003c\/h2\u003e\n\n\u003cp data-start=\"1143\" data-end=\"1290\"\u003e The beauty of a bowl lies in the fact that it \"fits\" perfectly. If the boundary between the lid and the body is not perfect, the bowl will lose its tension and will not function as a \"tool\" no matter how beautiful the interior is.\u003cbr data-start=\"1215\" data-end=\"1218\"\u003e This piece features a smooth, even join between the lid and the body, giving the appearance of a single piece, while still providing a secure grip for opening and closing. This is where the sincerity of Matsukawa Kazuhiro's design is evident.\u003c\/p\u003e\n\n\u003cp data-start=\"1292\" data-end=\"1398\"\u003e The height is neither too low nor too high, and the proportions are such that \u003cstrong data-start=\"1325\" data-end=\"1341\"\u003ethe eye naturally falls from above\u003c\/strong\u003e . It does not have an excessive presence on the table, but it does not get lost either. It is a very easy-to-use size for tea ceremonies and table coordination. \u003c\/p\u003e\n\n\u003chr data-start=\"1400\" data-end=\"1403\"\u003e\n\n\u003ch2 data-section-id=\"veolyf\" data-start=\"1405\" data-end=\"1443\"\u003e V. Imagine its uses: as an incense container, a sweets container, or a memento container\u003c\/h2\u003e\n\n \u003cp data-start=\"1445\" data-end=\"1609\"\u003eThe first thing that comes to mind when thinking of uses for this incense holder is its use. The smaller the incense, the denser it becomes, whether it's kneaded incense, incense seals, or small incense for listening to incense. The serenity of the pale blue porcelain does not disturb the scent of the incense, and the silver glaze enhances the incense's \"stature.\"\u003cbr data-start=\"1538\" data-end=\"1541\"\u003e It would also be beautiful as a small sweets dish to hold a small amount of dried sweets at a thin tea ceremony. The silver-colored surface prevents white or light-colored dried sweets from sinking into the air, creating a visual focal point.\u003c\/p\u003e\n\n\u003cp data-start=\"1611\" data-end=\"1761\"\u003e Furthermore, the goko is also a container for storing things. A ring, a piece of fragrant wood, a pebble picked up on a trip - you can quietly store away those precious things in your life that are hard to put into words. Once the lid is closed, no one can see what is inside. This anonymity makes the contents even more precious.\u003cbr data-start=\"1718\" data-end=\"1721\"\u003e This bowl is also a perfect container for storing such personal memories. \u003c\/p\u003e\n\n\u003chr data-start=\"1763\" data-end=\"1766\"\u003e\n\n\u003ch2 data-section-id=\"v9qetl\" data-start=\"1768\" data-end=\"1795\"\u003e VI. How the seasons suit each other: the light haze of spring, the moon of autumn, and the clear air of winter\u003c\/h2\u003e\n\n \u003cp data-start=\"1797\" data-end=\"1831\"\u003eAlthough blue-and-white porcelain seems to be suitable for any season, it actually reflects the atmosphere of each season.\u003c\/p\u003e\n\n\u003cp data-start=\"1834\" data-end=\"1870\"\u003e Spring: The light dissolves into a soft, hazy light, and the vessel appears to be \"quietly warming.\"\u003c\/p\u003e\n\n\u003cp data-start=\"1873\" data-end=\"1900\"\u003e Autumn: The silver color evokes moonlight, and the vessel evokes the feeling of long nights.\u003c\/p\u003e\n\n\u003cp data-start=\"1903\" data-end=\"1939\"\u003e Winter: The clearer the air, the brighter the pale blue porcelain becomes, and the silence of the silver glaze becomes even more apparent.\u003c\/p\u003e\n\n\u003cp data-start=\"1941\" data-end=\"1987\"\u003e Although it can be used all year round, its appearance changes with each season. This is the strength of Kazuhiro Matsukawa's blue-and-white porcelain. \u003c\/p\u003e\n\n\u003chr data-start=\"1989\" data-end=\"1992\"\u003e\n\n\u003ch2 data-section-id=\"j1rrjv\" data-start=\"1994\" data-end=\"2020\"\u003e Ⅶ Important points for handling - To develop beautiful Ginsai\u003c\/h2\u003e\n\n\u003cp data-start=\"2022\" data-end=\"2233\"\u003e The color tone of Ginsai may change depending on the environment (the so-called aged appearance). This is not a defect, but rather a way of life for the silver material.\u003cbr data-start=\"2088\" data-end=\"2091\"\u003e For safe storage, avoid high temperatures, humidity, and direct sunlight, and if possible, avoid placing it in close contact with other metal products. For care, wipe it dry with a soft cloth and avoid using strong abrasives. \u003cbr data-start=\"2170\" data-end=\"2173\"\u003eRather than fixating on the \"initial glow,\" \u003cstrong data-start=\"2191\" data-end=\"2208\"\u003eenjoy the silvery scenery as it quietly grows\u003c\/strong\u003e -- this attitude brings out the most charm of this Goko. \u003c\/p\u003e\n\n\u003chr data-start=\"2235\" data-end=\"2238\"\u003e\n\n\u003ch2 data-section-id=\"rcb7as\" data-start=\"2240\" data-end=\"2259\"\u003e Summary: Small but classy\u003c\/h2\u003e\n\n\u003cp data-start=\"2261\" data-end=\"2397\"\u003e The pale blue of the pale blue porcelain and the sunken moonlight of the silver glaze. The gentleness of the round shape and the strict precision of the bowl.\u003cbr data-start=\"2302\" data-end=\"2305\"\u003e This piece is not meant to be a show piece, but rather \u003cstrong data-start=\"2324\" data-end=\"2349\"\u003eto enhance the atmosphere, enhance one's manners, and increase serenity\u003c\/strong\u003e . Though it is a small piece, it has a certain dignity. For this reason, the longer you keep it, the more its value will grow.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1bs35mf\" data-start=\"1665\" data-end=\"1673\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-start=\"1674\" data-end=\"1793\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-start=\"1690\" data-end=\"1693\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-start=\"1713\" data-end=\"1716\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-start=\"1734\" data-end=\"1737\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-start=\"1771\" data-end=\"1774\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"vx22u2\" data-start=\"1795\" data-end=\"1809\"\u003eMajor solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-start=\"1810\" data-end=\"2520\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum)\u003cbr data-start=\"1836\" data-end=\"1839\"\u003e Two-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"1862\" data-end=\"1865\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-start=\"1887\" data-end=\"1890\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-start=\"1909\" data-end=\"1912\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-start=\"1938\" data-end=\"1941\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-start=\"1963\" data-end=\"1966\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-start=\"1990\" data-end=\"1993\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-start=\"2015\" data-end=\"2018\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-start=\"2040\" data-end=\"2043\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-start=\"2069\" data-end=\"2072\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-start=\"2102\" data-end=\"2105\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-start=\"2134\" data-end=\"2137\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-start=\"2171\" data-end=\"2174\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12) \u003cbr data-start=\"2209\" data-end=\"2212\"\u003eThree-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-start=\"2231\" data-end=\"2234\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15)\u003cbr data-start=\"2261\" data-end=\"2264\"\u003e Solo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-start=\"2292\" data-end=\"2295\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2311\" data-end=\"2314\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-start=\"2340\" data-end=\"2343\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-start=\"2381\" data-end=\"2384\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2400\" data-end=\"2403\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-start=\"2437\" data-end=\"2440\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2457\" data-end=\"2460\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-start=\"2479\" data-end=\"2482\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-start=\"2499\" data-end=\"2502\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1t7yy2j\" data-start=\"2522\" data-end=\"2531\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-start=\"2532\" data-end=\"2582\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-start=\"2556\" data-end=\"2559\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"33d0d0\" data-start=\"2584\" data-end=\"2601\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-start=\"2602\" data-end=\"2610\"\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":51742654234904,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukaa_19-01.jpg?v=1773799522","url":"https:\/\/amakido.art\/en\/products\/19%e9%9d%92%e7%99%bd%e7%a3%81%e9%8a%80%e5%bd%a9%e5%90%88%e5%ad%90-%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"}