Blue and white porcelain silver-colored pottery Kazuhiro Matsukawa

Blue and white porcelain silver-glazed ceramic box by Kazuhiro Matsukawa (W: 9.5cm D: 6.0cm H: 6.7cm)
-- "The pale blue still water is protected by the silvery rock surface. A dialogue of textures between the moon and the stone is encapsulated in a box of straight lines."

I. The ceramic box as a stage for storing things

A ceramic box is not only a container for storing something, but also a tool that transforms the act of storing something into beauty . The moment the lid is slid on and the gaps fit together, the air becomes quieter. When opened, the space inside is revealed, revealing not only the contents stored inside but also the atmosphere that permeates it.
This piece, "Blue and White Porcelain Silver-Decorated Ceramic Box," is easy to handle and fits in the palm of your hand, while its rectangular proportions give it a sense of stability when placed down. Though small, it stands tall and dignified—its appearance is captivating.

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

2-1 Pale blue spreading inside: A space to purify what you put away

When you remove the lid, the view is filled with the serenity of pale blue. The blue-and-white porcelain does not assert itself with color, but acts as a skin that softly contains and quietly diffuses light .
When incense, small tea ceremony utensils, sugar candy, or a seal is placed inside the box, the pale blue color does not disrupt the outline of the contents, but rather acts as a "clean background" to enhance them. The essence of a box lies not only in the design on the outside, but also in the white space on the inside. This box is one in which the white space is extremely beautiful.

2-2 Temperature at the joint line

A pale orange hue resulting from the firing process can be seen faintly in the line that runs along the boundary between the body and lid. It is not completely pristine, and traces of the flame and the hands remain as slight warmth. This understatement further accentuates the purity of the pale blue porcelain.

III. Ginsai - Not a mirror, but a "rock-like light"

3-1 Fine irregularities: Silver receives light in points

The silver glaze on this piece is not a smooth metallic glow. As you can see from the photo, the surface has fine grain and unevenness, and the light is not reflected all over the surface, but rather it is received in points and scattered softly .
The impression it gives is of moonlight, frost, snow, or the dull shine of stone. The silver stands out as a texture rather than a flashy look, giving the box an air of tranquility.

3-2 Contrast of Silver and Blue: A duet of clarity, not coldness

The silver glaze represents the "hard light" on the outside, while the pale blue porcelain represents the "still water" on the inside. The roles of the outside and inside are clearly separated, giving the box a dual structure reminiscent of "stone and water."
The outside protects, the inside encases. A closed box creates tension, while an open box allows it to breathe - the interesting nature of the box form is made even more apparent by the contrast in materials.

IV. The Art of Form: The Direction of White Space Created by Rectangles

4-1 It is rectangular, not square.

This box has the "directionality" of a rectangle, rather than the "completeness" of a square or cube. When placed, the eye naturally flows to the long side, creating a sense of spaciousness and open space, even though the box is small.
In the tea ceremony utensil set, rectangular vessels easily match the vertical and horizontal relationships of the hanging scrolls and flower vases in the alcove, and are also a shape that is easy to use as a spatial component .

4-2 Corner treatment: Neat and gentle

The edges are neither too sharp nor too soft. The corners are softened slightly, preventing the roughness of the silver glaze from appearing too strong, giving the piece a neat and tidy appearance. Kazuhiro Matsukawa's sculptures always lie on the border between "strength" and "restraint," and this piece also displays this merit well.

V. Combinations and Uses: A Box of "Purity" and "Texture"

This piece shines particularly in times of cold transparency, such as the crisp winter air, the thin ice of early spring, or the clear night air of autumn. The silver glaze acts as frost and the moon, while the pale blue porcelain balances the atmosphere as water and air.
Its uses are flexible. It can be used to store incense, sweets, or small items. Or it can even be left empty, with nothing inside. Boxes are not just there to protect their contents , but also to slow the mind - and this piece certainly has that quiet effect.

summary

The Blue and White Porcelain Silver-glazed Ceramic Box is a tranquil, architectural piece that contrasts the pale, still water of the blue and white porcelain with the rock-like texture of the silver. When closed, the silver clarifies the space, and when opened, the pale blue white space appears, enhancing the atmosphere of the contents.
This small masterpiece box harmonizes the space with "light" and "texture," and will bring a dignified purity to both tea ceremonies and everyday life.

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