Blue and White Porcelain Hiryu Shushidashi Kazuhiro Matsukawa

Blue and white porcelain Hiryu swing (Φ5.4×H9.8)
-- "A sliver of scarlet in the pale silence. With each shake, a new landscape emerges."

Ⅰ Furidashi: "a vessel that makes movements beautiful"

A furidashi is a small container used to hold konpeito, arubei, dried sweets, etc. and to offer them to guests. At a tea ceremony, rather than the status of the utensil itself, it is the series of actions of "picking it up," "handling the lid," and "gently furiking it out" that regulate the temperature and breathing of the room.
This piece has a dignified vertical proportion and an impressive, slender figure. Small enough to fit in the palm of your hand, the moment you place it down, an axis runs through the space—the form itself guarantees the "starting point of tranquility" that the original role of the shirodashi is to create.

II. Blue-and-white porcelain glaze: The translucency brought about by the whiteness of water

Kazuhiro Matsukawa's blue-and-white porcelain retains the brightness of white porcelain, but takes on a pale blue hue, as if it contains water. Depending on the light, it tends towards white, and in the shadows it sinks towards blue. This fluctuation gives the vessel a "clarity" rather than a "coldness."
The beauty of the continuous surface is also proof that the glaze is not thick or heavy. The glaze surface is smooth and does not stand out with unnecessary shine, but rather has been refined to have a "tranquility that makes you want to touch it." The stronger the white in tea ceremonies, the more dangerous it is, but the white of this piece is soft and blends in with the air.

Ⅲ The stroke of the scarlet flow: The strength of the line that "designs" coincidence

The most striking feature is the scarlet flow running down the torso. Pale vermilion to orange blends smoothly into the blue-white, and it simultaneously shows momentum and space, like the strokes of a brush.
The "Hiryu" is a scene that emerges when the flame, the clay, the thickness of the glaze, and the atmosphere of the firing intersect at a single point, and is not the product of complete control. However, Kazuhiro Matsukawa's "Hiryu" is not an "unevenness" left to chance, but rather a place where the flow fits in with the standing form of the vessel. In other words, it is designed to welcome chance.
As a result, the vertical form is not merely elegant; a single scarlet runs across the vessel as if marking the passage of time, drawing the viewer's gaze upward.

IV. Aesthetics of form: the tension between the slender body and rim

This Furidashi bowl tapers towards the top and has a tightly closed rim, maintaining a sense of tension throughout. Although it is a small piece, it has a somewhat vase-like appearance, making it a "standing piece" that can create a beautiful scene even when placed next to the alcove.
As you can see from the photo, the fit around the lid is very neat, and the joints don't look cluttered. Since handling the lid is the focus of the movement, the precision of the joints is the very essence of aesthetics. In that respect, this piece is quietly perfect.

V. How to use it in a tea ceremony: "White x Scarlet" creates a seasonal breath

Spring : Scarlet works as the "vermilion of budding" while blending in with the pale scent of flowers such as cherry blossoms and Japanese buttercups.

Summer : The coolness of the blue-and-white porcelain comes to the forefront, while the scarlet lingers subtly like the afterglow of twilight.

Autumn : The scarlet color suggests the autumn leaves are turning, while the white color evokes the height of the autumn sky.

Winter : White evokes the stillness of snow, while scarlet suggests the warmth of a hearth fire.

When the confectionery dishes and incense containers create a dignified scene, the Furidashi works as a light and airy "break." In this piece, the tranquility of the white creates a break, while the scarlet adds a touch of elegance. It has a rare character that can play both a leading role and a supporting role.

Ⅵ Practical precautions and handling

This is a "Hiryu" (scarlet) piece, not a silver glaze, so there is a relatively small risk of discoloration of the metallic glaze. However, the blue-and-white porcelain glaze is delicate. Wipe gently with a dry cloth and avoid hard abrasives. Clean with a soft sponge and avoid rapid cooling and heating. When storing, placing a piece of tissue paper between the lid and the body will help keep the joint in good condition.

Summary: A touch of motion in a still vessel

The clear serenity of the pale blue porcelain. The scarlet flow running over it is the fleeting movement left by the flame. This piece supports the "beauty of movement" that the tool called "furidashi" is originally intended to represent in both its form and appearance.
It is small, but it certainly brings the atmosphere to a good state - a vessel of tranquility and presence that is typical of Matsukawa Kazuhiro.

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