{"id":29768,"date":"2024-07-11T18:43:12","date_gmt":"2024-07-11T16:43:12","guid":{"rendered":"https:\/\/www.maisonwabisabi.com\/?p=29768"},"modified":"2025-09-22T09:37:15","modified_gmt":"2025-09-22T07:37:15","slug":"shuji-fujimura","status":"publish","type":"post","link":"http:\/\/www.maisonwabisabi.com\/en\/shuji-fujimura\/","title":{"rendered":"Rencontre avec Shu\u0304ji FUJIMURA \u85e4\u6751\u5dde\u4e8c C\u00e9ramiste japonais \u00e0 Tsu"},"content":{"rendered":"
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Shu\u0304ji FUJIMURA et<\/mark> ses cr\u00e9ations<\/a><\/strong><\/h2>\n\n\n\n

(1965-)<\/p>\n\n\n\n

Originaire de la ville de Fukuchi, district de Tagawa, pr\u00e9fecture de Fukuoka, au Japon. C\u00e9ramiste, il cr\u00e9e principalement des \u0153uvres artisanales, des objets utilisables, bas\u00e9s sur la \u00ab\u00a0beaut\u00e9 de l’utilit\u00e9\u00a0\u00bb.<\/p>\n\n\n\n

\u00ab\u00a0Ma maison familiale est un four de poterie (Agano-yaki \u4e0a\u91ce\u713c<\/mark><\/a>). En 1989, j’ai commenc\u00e9 mon apprentissage au four Hironaga-gama \u5ee3\u6c38\u7aaf, situ\u00e9 \u00e0 Tsu, dans la pr\u00e9fecture de Mie (aujourd’hui connu sous le nom de Senkaku-gama \u73fe\u5728\u306e\u4ed9\u9db4\u7aaf). Mon ma\u00eetre \u00e9tait D<\/mark><\/a>ohei TSUBOSHIMA \u576a\u5cf6\u571f\u5e73<\/mark><\/a> (1929-2013).<\/p>\n\n\n\n

Le four Senkaku-gama a \u00e9t\u00e9 fond\u00e9 par Handeishi KAWAKITA \u5ddd\u559c\u7530\u534a\u6ce5\u5b50 (1878-1963). Ce four se sp\u00e9cialise dans divers types de c\u00e9ramiques et porcelaines, principalement en fabriquant des th\u00e9i\u00e8res et des outils pour la c\u00e9r\u00e9monie du th\u00e9 selon des m\u00e9thodes traditionnelles. Ils cherchent \u00e0 ajouter une touche de cr\u00e9ativit\u00e9 nouvelle tout en pr\u00e9servant les qualit\u00e9s de la c\u00e9ramique japonaise traditionnelle, en mettant l’accent sur l’\u00e9l\u00e9gance et l’accessibilit\u00e9. La texture rugueuse de l’argile et la profondeur du tour sont des caract\u00e9ristiques distinctives des \u0153uvres.<\/p>\n<\/div><\/div>\n\n\n\n

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Handeishi KAWAKITA \u5ddd\u559c\u7530\u534a\u6ce5\u5b50<\/mark><\/a> (1878-1963) est n\u00e9 dans une famille de grands commer\u00e7ants ayant plus de 200 ans d’histoire, parmi les plus riches de la pr\u00e9fecture de Mie. Peu apr\u00e8s sa naissance, Handeishi perdit successivement son grand-p\u00e8re et son p\u00e8re, devenant \u00e0 peine \u00e2g\u00e9 d’un an, le 16\u00e8me chef de la famille KAWAKITA. Sa jeune m\u00e8re \u00e9tant retourn\u00e9e chez ses parents, Handeishi fut \u00e9lev\u00e9 par sa grand-m\u00e8re, Masu. Le nom de Handeishi est un pseudonyme (son vrai nom est Kawakita Kutaemon Masayoshi), donn\u00e9 par un ma\u00eetre zen. Il signifie \u00ab\u00a0\u00catre \u00e0 moiti\u00e9 argile, et \u00e0 moiti\u00e9 non-argile\u00a0\u00bb. Cela exprime l’id\u00e9e que, tout en \u00e9tant absorb\u00e9 par tout ce que l’on fait et en se salissant. Il est n\u00e9cessaire de rester capable de se regarder de mani\u00e8re objective.<\/p>\n\n\n\n

\u00ab\u00a0Je perp\u00e9tue l’esprit de cr\u00e9ation en c\u00e9ramique de mes ma\u00eetres.\u00a0\u00bb<\/p>\n\n\n\n

\u00ab\u00a0Je m’inspire de l’esth\u00e9tique de la c\u00e9ramique japonaise de l’\u00e9poque Momoyama (1568-1600). Impr\u00e9gn\u00e9e de l’esprit zen, ainsi que des \u0153uvres de K\u014detsu HON\u2019AMI \u672c\u963f\u5f25\u5149\u60a6<\/mark><\/a> (\u00c9cole Rinpa<\/mark><\/a>) (1558-1637). Artiste japonais d’abord connu en son temps comme calligraphe et dans un esprit qui s’appuie sur les arts \u00e0 l’\u00e9poque de Heian dans une cr\u00e9ation tr\u00e8s libre et subtile. Kenzan OGATA \u5c3e\u5f62\u4e7e\u5c71<\/mark><\/a> (1663-1743), n\u00e9 Ogata Shinsei, et connu aussi sous le pseudonyme de Shisui. Peintre et c\u00e9ramiste japonais de l’\u00e9poque d’Edo, fr\u00e8re cadet du c\u00e9l\u00e8bre peintre K\u014drin OGATA \u5c3e\u5f62 \u5149\u7433<\/mark><\/a> (\u00c9cole Rinpa) (1658-1716).\u00a0\u00bb<\/p>\n<\/div>

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\u00ab\u00a0Pour la peinture sur c\u00e9ramique, je privil\u00e9gie des traits libres et expressifs. Influenc\u00e9s par le style des dynasties Song (960-1279) et Ming (1368-1644) en Chine, o\u00f9 l’\u00e9coulement des lignes est central.\u00a0\u00bb<\/p>\n\n\n\n

\u00ab\u00a0Je pense \u00eatre influenc\u00e9 non seulement par la nature, mais aussi par diverses choses et \u00e9v\u00e9nements. L’argile est l’essence, le tour est le corps, et l’\u00e9mail est le v\u00eatement. Peu importe \u00e0 quel point la cuisson est r\u00e9ussie. Si l’int\u00e9rieur (l’argile et le tour) n’est pas solide, ce n’est pas bon (selon l’esprit de cr\u00e9ation du ma\u00eetre). La d\u00e9coration est un hommage \u00e0 ce que j’ai appris de mon ma\u00eetre. Je l’exprime \u00e0 ma mani\u00e8re, donc la d\u00e9coration est originale.\u00a0\u00bb<\/p>\n\n\n\n

\u00ab\u00a0Nous utilisons 3 fours : un four \u00e0 bois \u85aa\u7aaf pour la poterie (terre cuite). Il est utilis\u00e9 une fois tous les 2 \u00e0 3 ans. Le Pin est le bois que nous utilisons car la flamme s’\u00e9tire bien. La dur\u00e9e de cuisson est de 3 jours et 3 nuits, entre 1200 et 1300\u00b0C. Pendant la cuisson, on retire une pi\u00e8ce d’\u00e9chantillon de couleur pour v\u00e9rifier l’\u00e9tat de fusion de l’\u00e9mail. Ensuite le four \u00e9lectrique \u96fb\u6c17\u7aaf pour le biscuit (premi\u00e8re cuisson). Le d\u00e9cor sur couverte et enfin un four \u00e0 gaz \u30ac\u30b9\u7aaf pour la porcelaine. La dur\u00e9e de cuisson est de 11 heures \u00e0 1330\u00b0C maximum.<\/p>\n<\/div><\/div>\n\n\n\n

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Shu\u0304ji FUJIMURA<\/strong><\/strong> en 4 dates importantes :<\/mark><\/strong><\/h3>\n\n\n\n

1989 : Dipl\u00f4m\u00e9 de l\u2019Universit\u00e9 de Seinan Gakuin \u897f\u5357\u5b66\u9662\u5927\u5b66. D\u00e9but de la formation dans la c\u00e9ramique avec l’apprentissage aupr\u00e8s de Dohei TSUBOSHIMA \u576a\u5cf6\u571f\u5e73<\/mark><\/a>,au four Hironaga-gama.<\/p>\n\n\n\n

2005 : Premi\u00e8re exposition personnelle chez Takashimaya, \u00e0 \u014csaka, puis tous les 2 ans.<\/p>\n\n\n\n

2013 : Responsable du four Hironaga-gama<\/mark><\/a>.<\/p>\n\n\n\n

2022 : Ind\u00e9pendance avec le changement de nom du four en Senkaku-gama, devenu artiste sous contrat exclusif avec Senkaku-gama. Adoption d’un design par la marque KENZO\u00ae pour la Paris Fashion Week\u00ae<\/mark><\/a>.<\/p>\n\n\n\n

Expositions des disciples du four Hironaga-gama : Au salon de s\u00e9lection sp\u00e9ciale de Takashimaya \u00e0 Nihonbashi. Chez Tachikichi<\/mark><\/a> \u00e0 Ky\u014dto et Ginza. \u00c0 la Kakiden Gallery<\/mark><\/a> \u00e0 Shinjuku, entre autres.<\/p>\n<\/div>

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Tomoaki NAGAO \u9577\u5c3e \u667a\u660e alias NIGO<\/mark><\/a>\u00ae, directeur artistique de KENZO\u00ae. Il a travaill\u00e9 avec Sh\u016bji FUJIMURA pour les motifs de la collection Automne 2022 de KENZO<\/mark><\/a>\u00ae, \u00e0 Paris. Merci infiniment NIGO\u00ae sama pour avoir gracieusement accord\u00e9 l’autorisation d’utiliser, les photographies du d\u00e9fil\u00e9 de cette collection, o\u00f9 les mod\u00e8les portaient des tissus con\u00e7us par Sh\u016bji FUJIMURA<\/mark><\/a>.<\/p>\n\n\n\n

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Source des photos et des textes : Shu\u0304ji FUJIMURA, Yann san, KENZO\u00ae<\/p>\n\n\n\n

<\/div>","protected":false},"excerpt":{"rendered":"

Shu\u0304ji FUJIMURA et ses cr\u00e9ations (1965-) Originaire de la ville de Fukuchi, district de Tagawa, pr\u00e9fecture de Fukuoka, au Japon. 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