{"product_id":"9青白磁緋流陶筥","title":"Blue and white porcelain Hiryu porcelain bowl Kazuhiro Matsukawa","description":"\u003cp data-end=\"73\" data-start=\"0\"\u003e Blue and white porcelain box with red flow design by Kazuhiro Matsukawa (Φ: 7.9cm H: 7.6cm)\u003cbr data-end=\"34\" data-start=\"31\"\u003e -- \"A stream of scarlet breathes into the still pale blue water. Every time you open the lid, the scenery changes in this ceramic box.\" \u003c\/p\u003e\n\n\u003chr data-end=\"78\" data-start=\"75\"\u003e\n\n\u003ch2 data-end=\"97\" data-start=\"80\" data-section-id=\"5qwc2m\"\u003e Ⅰ The Ceramic Box Opening and Closing Ceremony\u003c\/h2\u003e\n\n\u003cp data-end=\"319\" data-start=\"99\"\u003e A ceramic box is not only a container for storing things, but also \u003cstrong data-end=\"146\" data-start=\"118\"\u003ea tool that transforms the act of opening and closing itself into beauty\u003c\/strong\u003e . The tension at the moment the lid is closed, the release at the moment it is removed. Even before what is stored inside, the box plays a role in changing the atmosphere. \u003cbr data-end=\"202\" data-start=\"199\"\u003eThis \"Blue and White Porcelain Scarlet Ceramic Box\" has a neat rise and a precise joint between the lid and the body, making it feel very quiet when you hold it in your hand. Even the sound is modest, and the movement itself becomes a sign of courtesy. This is why the spirit of the tea ceremony naturally resides in this small box. \u003c\/p\u003e\n\n\u003chr data-end=\"324\" data-start=\"321\"\u003e\n\n\u003ch2 data-end=\"353\" data-start=\"326\" data-section-id=\"r3iz54\"\u003e II. Blue-and-white porcelain: Clearer than white, softer than blue\u003c\/h2\u003e\n\n\u003ch3 data-end=\"380\" data-start=\"355\" data-section-id=\"1spd4nv\"\u003e 2-1 Porcelain skin that collects light: A tranquil, unclouded white\u003c\/h3\u003e\n\n\u003cp data-end=\"566\" data-start=\"381\"\u003e The appeal of pale blue porcelain lies not in the strength of the color itself, but in \u003cstrong data-end=\"417\" data-start=\"402\"\u003ethe elegance of how it catches light\u003c\/strong\u003e . By incorporating the purity of white porcelain into the base tone, and adding a touch of pale blue, the vessel stands out as \"clear\" rather than \"cold.\" \u003cbr data-end=\"483\" data-start=\"480\"\u003eShadows shift smoothly along the gradient of the surface, and the gradations that converge at the corners highlight the precision of the form. With less unnecessary information, the viewer's senses are sharpened, and the density of the stillness increases.\u003c\/p\u003e\n\n\u003ch3 data-end=\"592\" data-start=\"568\" data-section-id=\"rpz0c7\"\u003e 2-2 The shape speaks: A presence that transcends the box's dimensions\u003c\/h3\u003e\n\n\u003cp data-end=\"713\" data-start=\"593\"\u003e The palm-sized size is like a condensed stage. Its small size is not modest, but rather a focus. The shape is clean, the contours clear, and \u003cstrong data-end=\"676\" data-start=\"657\"\u003ethe space is brought to order simply by being placed there\u003c\/strong\u003e —the spatial harmony of blue-and-white porcelain is more clearly expressed in the form of a box. \u003c\/p\u003e\n\n\u003chr data-end=\"718\" data-start=\"715\"\u003e\n\n\u003ch2 data-end=\"746\" data-start=\"720\" data-section-id=\"13u08i5\"\u003e III. Hinagare - A \"scent of crimson\" running through still water\u003c\/h2\u003e\n\n\u003ch3 data-end=\"770\" data-start=\"748\" data-section-id=\"x64pl2\"\u003e 3-1 Scarlet is not a decoration, but a part of the scenery\u003c\/h3\u003e\n\n \u003cp data-end=\"957\" data-start=\"771\"\u003eThe greatest appeal of this piece is the flow of scarlet that runs continuously from surface to surface across the pale blue porcelain surface. The scarlet does not scream red, but rather \u003cstrong data-end=\"847\" data-start=\"825\"\u003egently but surely injects warmth\u003c\/strong\u003e .\u003cbr data-end=\"851\" data-start=\"848\"\u003e The flow does not stay in one place, but flows from the top of the lid to the side, and then over the gap to the body. This is what makes a box so interesting. When closed, the lines are continuous, but when opened, the lines are divided. In other words, a box is a vessel with a changing appearance.\u003c\/p\u003e\n\n\u003ch3 data-end=\"986\" data-start=\"959\" data-section-id=\"1u17kd2\"\u003e 3-2 Flames and Handprints: The Sophistication of Designing Chance\u003c\/h3\u003e\n\n\u003cp data-end=\"1172\" data-start=\"987\"\u003e The beauty of Hiryu is not simply a \"pattern,\" but rather the way the firing process remains intact. Shades, bleeding, fading, thin branches - these fluctuations give a slight breath to the ascetic orderliness of the pale blue porcelain. \u003cbr data-end=\"1081\" data-start=\"1078\"\u003eIf it is too tidy, it will die, and if it is too rough, it will lose its elegance. At that boundary, Kazuhiro Matsukawa exercises \u003cstrong data-end=\"1133\" data-start=\"1111\"\u003ethe minimum amount of control to turn chance into beauty\u003c\/strong\u003e . This is why scarlet is vivid, but never vulgar. \u003c\/p\u003e\n\n\u003chr data-end=\"1177\" data-start=\"1174\"\u003e\n\n\u003ch2 data-end=\"1205\" data-start=\"1179\" data-section-id=\"utfv9k\"\u003e IV. The structural beauty of the lid and body – the tension created by the “joint line”\u003c\/h2\u003e\n\n\u003cp data-end=\"1438\" data-start=\"1207\"\u003e The beauty of the box is not limited to the top surface of the lid. The line at the joint tightens the vessel. The thin division visible in the photo acts as a functional boundary as well as \u003cstrong data-end=\"1281\" data-start=\"1270\"\u003ea visual horizon\u003c\/strong\u003e . \u003cbr data-end=\"1292\" data-start=\"1289\"\u003eThe diagonal flow (movement) of the red flow intersects with the horizontal line (stillness) of the joint, giving the vessel a unique appearance. Moving your eyes further inward, a pale blue still water spreads across the interior, creating a \"space in the depths\" that is different from the exterior. It is the space that encases the items stored inside, and the purity of the space itself is valuable - the essence of the ceramic box is neatly displayed here. \u003c\/p\u003e\n\n\u003chr data-end=\"1443\" data-start=\"1440\"\u003e\n\n\u003ch2 data-end=\"1470\" data-start=\"1445\" data-section-id=\"vkh428\"\u003e V. Combinations and Uses - The Benefits of Adding a Point of \"Scarlet\"\u003c\/h2\u003e\n\n\u003cp data-end=\"1735\" data-start=\"1472\"\u003e This piece is based on the tranquility of pale blue, so it can be combined with a wide range of items, yet the addition of a single scarlet piece brings out a sense of the season.\u003cbr data-end=\"1532\" data-start=\"1529\"\u003e For example, in early spring, when the sun shines faintly into the still-cold air, pale blue evokes images of thin ice and spring mist, while scarlet is a sign of young sunlight and flowers. In autumn and winter, pale blue porcelain conveys clarity, while scarlet conveys the warmth of the hearth. \u003cbr data-end=\"1622\" data-start=\"1619\"\u003eIt can be used to store incense, small sweets, or other decorative items. It can also be used to store empty space. Boxes are not just there to protect their contents, but also to slow down the mind - this piece is one of the most beautiful answers to that question. \u003c\/p\u003e\n\n\u003chr data-end=\"1740\" data-start=\"1737\"\u003e\n\n\u003ch2 data-end=\"1748\" data-start=\"1742\" data-section-id=\"1huqhjm\"\u003e summary\u003c\/h2\u003e\n\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1923\" data-start=\"1750\"\u003e The blue-and-white porcelain box with its scarlet flow creates a scene in the palm of your hand, where the pure silence of the blue-and-white porcelain is given a ray of life by the scarlet. The scarlet flow runs continuously across the lid and body, coming together when the box is closed and separating when it is opened, bringing beauty to the very act of holding the box.\u003cbr data-end=\"1853\" data-start=\"1850\"\u003e Purity and warmth, stillness and movement, space and presence. These elements coexist in a small vessel, and simply placing it there changes the density of the space - this is a neat and poetic ceramic box that is unique to Kazuhiro Matsukawa.\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\"\u003e2001 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\"\u003e Two-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\"\u003e2014 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\"\u003e Solo 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\"\u003ePublic Collection\u003c\/h3\u003e\n\n\u003cp data-end=\"2557\" data-start=\"2549\"\u003e Midorigaoka Museum of Art\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e","brand":"高級陶器の専門店【甘木道】","offers":[{"title":"Default Title","offer_id":51737092292888,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/2332\/3928\/files\/amakido_matsuawa_09-01.jpg?v=1773723622","url":"https:\/\/amakido.art\/en\/products\/9%e9%9d%92%e7%99%bd%e7%a3%81%e7%b7%8b%e6%b5%81%e9%99%b6%e7%ad%a5","provider":"高級陶器の専門店【甘木道】","version":"1.0","type":"link"}