{"product_id":"25青白磁銀彩振出し-松川和弘","title":"Blue-and-white porcelain, silver color, Kazuhiro Matsukawa","description":"\u003ch2 data-section-id=\"19l6icl\" data-start=\"137\" data-end=\"168\"\u003e Blue and white porcelain with silver glaze, made by Kazuhiro Matsukawa (Φ6.1×h8.1)\u003c\/h2\u003e\n\n\u003cp data-start=\"169\" data-end=\"200\"\u003e -- \"The tranquility of blue, the lingering feeling of silver. The beginning of adjusting the 'presence' in the palm of your hand.\"\u003c\/p\u003e\n\n \u003ch3 data-section-id=\"uqreoh\" data-start=\"202\" data-end=\"226\"\u003eⅠ Furidashi, a small \"core of hospitality\"\u003c\/h3\u003e\n\n\u003cp data-start=\"227\" data-end=\"397\"\u003e Among the tools used in the tea ceremony, the furidashi is an exceptionally small vessel that embodies the essence of hospitality. It holds dried sweets, especially granular sweets like konpeito and arieito, and is passed around quietly around the table, with guests taking only the amount they need. What is required for this is not just the storage capacity of the container, but \u003cstrong data-start=\"345\" data-end=\"394\"\u003edimensions that look beautiful in the hand when used, a center of gravity that does not clutter the space when placed, and a design that takes into account the sound and feel when handling the container\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"399\" data-end=\"498\"\u003e This piece by Matsukawa Kazuhiro meets this demand, combining the transparent serenity of the pale blue porcelain with the subtle tension created by the silver glaze, elevating the piece from a \"pet utensil\" to \u003cstrong data-start=\"472\" data-end=\"489\"\u003ea small core that helps to set the mood for the tea ceremony\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1lxplwi\" data-start=\"500\" data-end=\"528\"\u003e II. Blue-and-white porcelain: A color \"clearer than white, softer than blue\"\u003c\/h3\u003e\n\n \u003cp data-start=\"529\" data-end=\"654\"\u003eThe blue-and-white porcelain glaze that encases the body is not a strong blue, but rather has a faint blue tinge that seems to glow from within as it comes into contact with light.While maintaining the brightness of white porcelain, it is not cold, but rather has a softness that is almost breathtaking - this \"difficulty of blue-and-white porcelain\" is precisely what Kazuhiro Matsukawa is at the forefront of.\u003c\/p\u003e\n\n\u003cp data-start=\"656\" data-end=\"826\"\u003e In this particular piece, the rounded body of the vessel slowly rotates the light, and the highlight does not stand sharply in one spot, but rather glides across the surface. As a result, the entire vessel fluctuates subtly from \"blue close to white\" to \"white close to blue\" depending on the angle from which it is viewed, creating \u003cstrong data-start=\"755\" data-end=\"771\"\u003ea quiet gradation of color\u003c\/strong\u003e . In the soft light of a tea room, this fluctuation appears even more delicate, deepening the vessel's presence as a tool.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1hby9cu\" data-start=\"828\" data-end=\"855\"\u003e III. Ginsai - Not \"metallic light\" but \"particles of presence\"\u003c\/h3\u003e\n\n \u003cp data-start=\"856\" data-end=\"978\"\u003eThe upper part of this piece is decorated with silver glaze, creating a clear transition from the blue-and-white porcelain surface. However, the impression it gives is not a flashy metallic look. The silver glaze certainly sparkles when it catches the light, but at the same time, a fine pattern emerges on the surface, and it does not become a uniform mirror finish. This is important.\u003c\/p\u003e\n\n\u003cp data-start=\"980\" data-end=\"1138\"\u003e In other words, Matsukawa Kazuhiro does not apply the silver glaze as \"decoration,\" but rather \u003cstrong data-start=\"1011\" data-end=\"1049\"\u003eplaces it as a \"lingering echo\" that subtly changes the density of the air against the serenity of the pale blue porcelain\u003c\/strong\u003e . A tea ceremony is not a world of strong light. Rather, it is in a space with subdued light that the reflection of the silver glaze emerges as dots, particles, and a sense of presence. Therein lies the beauty of the vessel resonating with the setting.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1a9mnpp\" data-start=\"1140\" data-end=\"1169\"\u003e IV. Shape: Rounded torso, firm shoulders, and \"standing up\"\u003c\/h3\u003e\n\n \u003cp data-start=\"1170\" data-end=\"1300\"\u003eThe shape of the vessel gently bulges downwards and narrows naturally at the top. The rounded body creates a cute look, but at the same time, the center of gravity is low, making it stable to place. Furthermore, the tightness at the top prevents the whole piece from simply being \"cute,\" ensuring \u003cstrong data-start=\"1279\" data-end=\"1290\"\u003eits dignified utility\u003c\/strong\u003e .\u003c\/p\u003e\n\n\u003cp data-start=\"1302\" data-end=\"1451\"\u003e Achieving both \"softness\" and \"tightness\" is one of the most difficult aspects of tea ceremony pottery. If it is only soft, the atmosphere becomes loose, but if it is only tight, it becomes suffocating. This piece is somewhere in between, positioned to allow for proper breathing. When you pick it up, your fingers naturally wrap around the body, and the neck guides your hand - the necessity of the form is understood through the gesture.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"ycjod5\" data-start=\"1453\" data-end=\"1473\"\u003e V. The “sound” and “space” of the lid (stopper)\u003c\/h3\u003e\n\n \u003cp data-start=\"1474\" data-end=\"1597\"\u003eThis piece is equipped with a wooden stopper (with a string). This creates an experience that is not just visual. The act of removing and replacing the stopper involves slight resistance and release, which creates a \"ma\" (interval). In the tea ceremony, the ma is a time of silence, a space for movement, and a moment when the guests' breathing is synchronized.\u003c\/p\u003e\n\n\u003cp data-start=\"1599\" data-end=\"1732\"\u003e The faint sound of one or two sugar candies being taken out, the dry thud of the candy rolling around inside the bowl, and the stillness of the pale blue porcelain that catches them all. On top of this, Ginsai adds a momentary \"interjection\" as a reaction to the light. \u003cstrong data-start=\"1697\" data-end=\"1722\"\u003eThe comprehensiveness of the tea ceremony, where hearing, touch and sight are united,\u003c\/strong\u003e is incorporated into this small bowl called Furidashi.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"1ugdcex\" data-start=\"1734\" data-end=\"1755\"\u003e VI. Combinations - A dialogue between seasons and ingredients\u003c\/h3\u003e\n\n \u003cp data-start=\"1756\" data-end=\"1884\"\u003eIn terms of seasons, pale blue porcelain strongly resonates with the white of winter and the pale light of early spring. On the other hand, silver glaze is reminiscent of moonlight, frost, or the sparkle of thin ice, evoking the quiet night air. It pairs extremely well with bamboo and wooden utensils, light-colored cloth, and white kaishi paper, and really shines in settings with a limited number of colors.\u003c\/p\u003e\n\n\u003cp data-start=\"1886\" data-end=\"2011\"\u003e Furthermore, while it is also blue-and-white porcelain, unlike painted or ornate designs, this piece is made up of \"white space.\" This is why, depending on the owner's aesthetic sense, it can be swung from cool and pure to soft and poetic. \u003cstrong data-start=\"1963\" data-end=\"1987\"\u003eThe vessel does not give a definitive conclusion, but rather blends in with the atmosphere of the dining room\u003c\/strong\u003e - this depth is the appeal of Kazuhiro Matsukawa's work.\u003c\/p\u003e\n\n\u003ch3 data-section-id=\"suwalc\" data-start=\"2013\" data-end=\"2039\"\u003e VII Summary: A great silence dwells in a small tool\u003c\/h3\u003e\n\n \u003cp data-start=\"2040\" data-end=\"2149\"\u003eThe \"Blue and White Porcelain with Silver Lacquer\" is a vessel for storing dried sweets, but it is also a \"device of tranquility\" to help regulate your breathing during the tea ceremony. The clarity of the blue and white porcelain, the lingering impression of the silver laquer, the firmness of the shape, and the movement of the stopper. All of these elements come together just right, and are completed quietly in the palm of your hand.\u003c\/p\u003e\n\n\u003cp data-start=\"2151\" data-end=\"2232\"\u003e Small, yet with a definite presence. The props do not assert themselves, but rather clarify the atmosphere. I feel that this is the kind of elegance that Kazuhiro Matsukawa has given to this piece.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1620\" data-start=\"1612\" data-section-id=\"1bs35mf\"\u003e Biography\u003c\/h3\u003e\n\n\u003cp data-end=\"1740\" data-start=\"1621\"\u003e 1977 Born in Kawachinagano, Osaka Prefecture\u003cbr data-end=\"1640\" data-start=\"1637\"\u003e 1998 Graduated from Nara College of Arts, Ceramic Art Course\u003cbr data-end=\"1663\" data-start=\"1660\"\u003e 2000 Graduated from Nara College of Arts\u003cbr data-end=\"1684\" data-start=\"1681\"\u003e 2001 Graduated from Kyoto Prefectural Pottery Technical College and studied under Takahiro Kondo\u003cbr data-end=\"1721\" data-start=\"1718\"\u003e 2006 Independent and opened a kiln in Kawachinagano City\u003c\/p\u003e\n\n\u003ch3 data-end=\"1756\" data-start=\"1742\" data-section-id=\"vx22u2\"\u003e Major solo exhibitions and exhibitions\u003c\/h3\u003e\n\n\u003cp data-end=\"2467\" data-start=\"1757\"\u003e 2007 Kyoto Prefecture Fine Arts and Crafts New Artists Selection Exhibition (Kyoto Museum) \u003cbr data-end=\"1786\" data-start=\"1783\"\u003eTwo-person exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1812\" data-start=\"1809\"\u003e Solo exhibition (Kyoto Takashimaya Art and Craft Salon\/Kyoto)\u003cbr data-end=\"1837\" data-start=\"1834\"\u003e 2008 Solo Exhibition (Campanule\/Chiba)\u003cbr data-end=\"1859\" data-start=\"1856\"\u003e Solo exhibition (Paramita Museum Small Gallery\/Mie)\u003cbr data-end=\"1888\" data-start=\"1885\"\u003e 2009 Solo Exhibition (Gallery Espace\/Nagoya)\u003cbr data-end=\"1913\" data-start=\"1910\"\u003e 2010 Solo Exhibition (Sapporo Mitsukoshi Art Gallery\/Hokkaido)\u003cbr data-end=\"1940\" data-start=\"1937\"\u003e Solo exhibition (Matsuzakaya Nagoya Art Gallery\/Nagoya)\u003cbr data-end=\"1965\" data-start=\"1962\"\u003e Solo exhibition (Alpark Tenmaya Art Gallery\/Hiroshima)\u003cbr data-end=\"1990\" data-start=\"1987\"\u003e 2011 Solo Exhibition (Ceramics Gallery Furyo\/Osaka) ('07)\u003cbr data-end=\"2019\" data-start=\"2016\"\u003e 2012 Solo Exhibition (Gallery Okumura\/Tokyo) ('07 '09)\u003cbr data-end=\"2052\" data-start=\"2049\"\u003e 2013 Solo Exhibition (Lovely Hall 20th Anniversary Event\/Osaka)\u003cbr data-end=\"2084\" data-start=\"2081\"\u003e 2014 Solo Exhibition (Tenmaya Hiroshima Hatchobori Art Gallery\/Hiroshima) ('11)\u003cbr data-end=\"2121\" data-start=\"2118\"\u003e 2016 Solo Exhibition (Tenmaya Fukuyama Art Gallery\/Hiroshima) ('08 '12)\u003cbr data-end=\"2159\" data-start=\"2156\"\u003e Three-person exhibition (Hakata Hankyu Muse\/Fukuoka)\u003cbr data-end=\"2181\" data-start=\"2178\"\u003e 2017 Solo Exhibition (Pinacotheca \/ Tokyo) ('14 '15) \u003cbr data-end=\"2211\" data-start=\"2208\"\u003eSolo exhibition (Tenmaya Okayama Art Gallery\/Okayama) ('08)\u003cbr data-end=\"2242\" data-start=\"2239\"\u003e Solo exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2261\" data-start=\"2258\"\u003e 2018 Solo Exhibition (Nihonbashi Mitsukoshi Main Store Art Gallery\/Tokyo)\u003cbr data-end=\"2290\" data-start=\"2287\"\u003e Solo exhibition (Takashimaya Osaka Gallery NEXT\/Osaka) ('08 '11 '15)\u003cbr data-end=\"2331\" data-start=\"2328\"\u003e 2020 Solo Exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2350\" data-start=\"2347\"\u003e 2021 Solo Exhibition (Gallery Tachibana\/Nara) ('15 '17 '19)\u003cbr data-end=\"2387\" data-start=\"2384\"\u003e 2022 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2407\" data-start=\"2404\"\u003e 2023 Two-person exhibition (Atelier Hiro\/Osaka)\u003cbr data-end=\"2429\" data-start=\"2426\"\u003e 2025 Two-person exhibition (Hana Asagi\/Tokyo)\u003cbr data-end=\"2449\" data-start=\"2446\"\u003e Solo exhibition (Midorigaoka Museum of Art\/Nara)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2478\" data-start=\"2469\" data-section-id=\"1t7yy2j\"\u003e Awards\u003c\/h3\u003e\n\n\u003cp data-end=\"2529\" data-start=\"2479\"\u003e 36th Japan Traditional Crafts Kinki Exhibition (Osaka Prefecture Board of Education Award)\u003cbr data-end=\"2506\" data-start=\"2503\"\u003e 55th Japan Traditional Crafts Exhibition (Japan Crafts Association President's Award)\u003c\/p\u003e\n\n\u003ch3 data-end=\"2548\" data-start=\"2531\" data-section-id=\"33d0d0\"\u003e Public Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\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":51742745919768,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsukwa_25-01.jpg?v=1773813752","url":"https:\/\/amakido.art\/en\/products\/25%e9%9d%92%e7%99%bd%e7%a3%81%e9%8a%80%e5%bd%a9%e6%8c%af%e5%87%ba%e3%81%97-%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"}