{"id":35187,"date":"2025-05-24T23:47:06","date_gmt":"2025-05-24T21:47:06","guid":{"rendered":"https:\/\/www.maisonwabisabi.com\/?p=35187"},"modified":"2025-09-12T20:13:13","modified_gmt":"2025-09-12T18:13:13","slug":"shinya-matsunaga","status":"publish","type":"post","link":"https:\/\/www.maisonwabisabi.com\/en\/shinya-matsunaga\/","title":{"rendered":"Rencontre avec Shinya MATSUNAGA \u677e\u6c38 \u771f\u54c9 C\u00e9ramiste japonais \u00e0 Nankan"},"content":{"rendered":"
<\/div>\n\n\n\n
\"Shinya<\/figure>
\n

<\/p>\n\n\n\n

Shinya MATSUNAGA et<\/mark> ses cr\u00e9ations<\/a><\/strong><\/h2>\n\n\n\n

(1964-)<\/p>\n\n\n\n

Originaire de la ville de Nankan, dans le district de Tamana, de la pr\u00e9fecture de Kumamoto. Il cr\u00e9\u00e9 des pi\u00e8ces en s\u2019inspirant de la beaut\u00e9 des poteries de Mino de l\u2019\u00e9poque Momoyama. Son approche se situe \u00e0 mi-chemin entre l’artiste c\u00e9ramiste et l’artisan. Il cherche \u00e0 allier la sensibilit\u00e9 esth\u00e9tique \u00e0 la rigueur du travail de la main, en accordant autant d\u2019importance \u00e0 la forme qu\u2019\u00e0 la fonction.<\/p>\n\n\n\n

Plut\u00f4t que de chercher \u00e0 cr\u00e9er des formes enti\u00e8rement nouvelles. Il trouve une plus grande inspiration dans la reproduction et la r\u00e9interpr\u00e9tation des traditions anciennes. Cette d\u00e9marche lui permet de dialoguer avec l\u2019histoire et l\u2019esth\u00e9tique ancestrale, tout en apportant une sensibilit\u00e9 contemporaine \u00e0 chaque pi\u00e8ce. En revisitant ces formes classiques, il cherche \u00e0 perp\u00e9tuer un savoir-faire tout en explorant les nuances et les variations qui rendent chaque \u0153uvre unique.<\/p>\n<\/div><\/div>\n\n\n\n

\n

<\/p>\n\n\n\n

Aux alentours de 1996, il d\u00e9couvrit la c\u00e9ramique. Au d\u00e9but, il prenait plaisir \u00e0 d\u00e9couvrir tout l\u2019int\u00e9r\u00eat et la richesse de cet art lors d\u2019ateliers \u00e0 Mashiko, dans la pr\u00e9fecture de Tochigi.<\/p>\n\n\n\n

\u00ab\u00a0J\u2019ai d\u00e9cid\u00e9 de me former plus s\u00e9rieusement. J\u2019ai \u00e9tudi\u00e9 \u00e0 l\u2019\u00c9cole sup\u00e9rieure des techniques c\u00e9ramiques de Seto, dans la pr\u00e9fecture d\u2019Aichi, afin d\u2019acqu\u00e9rir des bases techniques solides. Par la suite, j\u2019ai eu la chance d\u2019approfondir mon savoir-faire aupr\u00e8s du c\u00e9ramiste Takehiko KAWAI \u6cb3\u5408\u7af9\u5f66<\/mark><\/a>, \u00e0 Toki, dans la pr\u00e9fecture de Gifu, o\u00f9 j\u2019ai pu enrichir ma pratique artistique et d\u00e9velopper ma propre sensibilit\u00e9.\u00a0\u00bb<\/p>\n\n\n\n

Le style de la c\u00e9ramique Mino Momoyama \u7f8e\u6fc3\u6843\u5c71\u9676 d\u00e9signe les poteries produites dans la r\u00e9gion de Mino (actuelle pr\u00e9fecture de Gifu) durant la p\u00e9riode Momoyama (fin 16\u00e8me \u2013 d\u00e9but 17\u00e8me si\u00e8cle). Ce style est r\u00e9put\u00e9 pour sa grande vari\u00e9t\u00e9 et son innovation, marquant une \u00e9tape cl\u00e9 dans l\u2019histoire de la c\u00e9ramique japonaise. Ce style incarne l\u2019esprit de libert\u00e9 cr\u00e9ative et de raffinement rustique qui a fortement influenc\u00e9 la c\u00e9ramique japonaise ult\u00e9rieure.<\/p>\n<\/div>

\"Shinya<\/figure><\/div>\n\n\n\n
\"Shinya<\/figure>
\n

<\/p>\n\n\n\n

Le style Mino Momoyama se distingue par une grande diversit\u00e9 de techniques et de formes, comprenant notamment les styles Shino, Oribe, Seto et Ki-Seto, chacun avec ses gla\u00e7ures et d\u00e9cors sp\u00e9cifiques. Il se caract\u00e9rise par une esth\u00e9tique audacieuse, m\u00ealant motifs asym\u00e9triques, formes organiques et couleurs contrast\u00e9es, souvent domin\u00e9es par des rouges, verts et blancs. Ce style t\u00e9moigne d\u2019une innovation artistique marqu\u00e9e, avec l\u2019apparition de nouvelles gla\u00e7ures, notamment \u00e0 base de cendres, ainsi que des exp\u00e9rimentations dans les d\u00e9cors peints et grav\u00e9s. Les poteries Mino Momoyama r\u00e9pondaient \u00e0 des usages \u00e0 la fois utilitaires et c\u00e9r\u00e9moniels, destin\u00e9es tant \u00e0 la c\u00e9r\u00e9monie du th\u00e9 qu\u2019\u00e0 la vie quotidienne.<\/p>\n\n\n\n

Son inspiration vient d\u2019anciennes poteries, t\u00e9moins pr\u00e9cieux d\u2019un savoir-faire ancestral, porteurs d\u2019une histoire riche et vivante. Ces \u0153uvres racontent l\u2019\u00e9volution des techniques, des formes et des usages au fil des si\u00e8cles, refl\u00e9tant \u00e0 la fois la culture, la vie quotidienne et l\u2019esth\u00e9tique de leur \u00e9poque. \u00c9tudier ces poteries, c\u2019est plonger dans le pass\u00e9, comprendre les traditions c\u00e9ramiques et appr\u00e9cier la beaut\u00e9 intemporelle qui continue d\u2019inspirer les artisans contemporains.<\/p>\n<\/div><\/div>\n\n\n\n

\n

<\/p>\n\n\n\n

Un four \u00e0 gaz \u30ac\u30b9\u7aaf (Gasu-gama) est un type de four utilis\u00e9 en c\u00e9ramique o\u00f9 le combustible principal est le gaz (gaz naturel ou propane). Contrairement aux fours traditionnels \u00e0 bois, il permet un contr\u00f4le plus pr\u00e9cis de la temp\u00e9rature et de l\u2019atmosph\u00e8re \u00e0 l\u2019int\u00e9rieur du four. Il est tr\u00e8s appr\u00e9ci\u00e9 pour sa pr\u00e9cision thermique, sa facilit\u00e9 d\u2019utilisation et sa r\u00e9gularit\u00e9, ce qui facilite la cuisson de pi\u00e8ces aux exigences techniques sp\u00e9cifiques. Il permet aussi des cuissons plus rapides et plus propres, sans la fum\u00e9e ni les r\u00e9sidus produits par la combustion du bois.<\/p>\n\n\n\n

Ce type de four est donc un excellent outil pour les c\u00e9ramistes cherchant un bon \u00e9quilibre entre ma\u00eetrise technique et efficacit\u00e9, tout en conservant la possibilit\u00e9 d\u2019exp\u00e9rimenter des finitions vari\u00e9es. Il est appr\u00e9ci\u00e9 pour sa facilit\u00e9 de contr\u00f4le, ce qui le rend particuli\u00e8rement adapt\u00e9 \u00e0 la cuisson du Shino-yaki.<\/p>\n<\/div>

\"Shinya<\/figure><\/div>\n\n\n\n
\"Shinya<\/figure>
\n

<\/p>\n\n\n\n

Il r\u00e9alise une trentaine de cuissons par an, entre 20 et 150 heures par cuisson. Les surprises sont rares, mais chaque cuisson donne un r\u00e9sultat l\u00e9g\u00e8rement diff\u00e9rent, ce qui l\u2019am\u00e8ne \u00e0 d\u00e9couvrir \u00e0 chaque fois des m\u00e9thodes adapt\u00e9es pour obtenir la cuisson id\u00e9ale. Ci-dessous, les principaux \u00e9maux qu’ils utilisent :<\/p>\n\n\n\n

Gla\u00e7ure Shino \u5fd7\u91ce\u91c9 (Shino-yu) : une gla\u00e7ure blanche ou cr\u00e8me avec des nuances rouges\/orang\u00e9es dues au feu, souvent \u00e9paisse et textur\u00e9e.<\/p>\n\n\n\n

Gla\u00e7ure Oribe \u7e54\u90e8\u91c9 (Oribe-yu) : caract\u00e9ris\u00e9e par des tons verts vifs et des motifs asym\u00e9triques peints en brun ou noir.<\/p>\n\n\n\n

Gla\u00e7ure Ofuke \u5fa1\u6df1\u4e95\u91c9 (Ofuke-yu) : un blanc cass\u00e9 opaque, lisse et brillante, souvent utilis\u00e9e dans les poteries de style Ofuke.<\/p>\n\n\n\n

Gla\u00e7ure de cendre \u7070\u91c9 (Hai-yu) : r\u00e9alis\u00e9e avec des cendres de bois ou de plantes, qui fondent en cuisson et cr\u00e9ent des textures naturelles et des effets vari\u00e9s.<\/p>\n<\/div><\/div>\n\n\n\n

\n

<\/p>\n\n\n\n

\u00ab\u00a0Pour moi, la pratique de la c\u00e9ramique ne se limite pas \u00e0 la ma\u00eetrise technique. Il est tout aussi crucial de partager et de transmettre une sensibilit\u00e9 esth\u00e9tique commune, un regard port\u00e9 sur la beaut\u00e9 qui d\u00e9passe la simple fabrication des objets. Cette dimension intangible, faite d\u2019\u00e9motions, d\u2019histoire et de culture, donne vie aux pi\u00e8ces et leur conf\u00e8re une profondeur unique. En perp\u00e9tuant cette esth\u00e9tique, je participe \u00e0 un dialogue entre g\u00e9n\u00e9rations d\u2019artisans et d\u2019artistes, contribuant ainsi \u00e0 la pr\u00e9servation d\u2019un h\u00e9ritage vivant, tout en invitant \u00e0 son renouvellement constant. C\u2019est cette harmonie entre technique et sensibilit\u00e9 que je cherche \u00e0 cultiver dans mon travail.\u00a0\u00bb<\/p>\n\n\n\n

\u00ab\u00a0Je consid\u00e8re qu\u2019une technique, une fois perdue, est tr\u00e8s difficile \u00e0 retrouver. C\u2019est pourquoi la pr\u00e9servation des savoir-faire traditionnels est une responsabilit\u00e9 essentielle pour tout artisan ou c\u00e9ramiste. Ces techniques ne sont pas seulement des gestes, mais des accumulations de connaissances, d\u2019exp\u00e9riences et de subtilit\u00e9s transmises de g\u00e9n\u00e9ration en g\u00e9n\u00e9ration. Leur sauvegarde permet de maintenir vivante une culture artisanale riche et unique.\u00a0\u00bb<\/p>\n<\/div>

\"Shinya<\/figure><\/div>\n\n\n\n
\"Shinya<\/figure>
\n

<\/p>\n\n\n\n

\u00ab\u00a0La cuisson au four, notamment dans les techniques traditionnelles, est intimement li\u00e9e aux conditions m\u00e9t\u00e9orologiques du moment : temp\u00e9rature, humidit\u00e9, vent\u2026 Ces \u00e9l\u00e9ments naturels influencent directement le r\u00e9sultat final des pi\u00e8ces, rendant chaque cuisson unique et impr\u00e9visible. Au-del\u00e0 de cette interaction technique, la c\u00e9ramique japonaise incarne une profonde harmonie avec la nature, reflet de l\u2019environnement sp\u00e9cifique du Japon, marqu\u00e9 par ses saisons distinctes, ses paysages vari\u00e9s et ses \u00e9l\u00e9ments naturels puissants.\u00a0\u00bb<\/p>\n\n\n\n

\u00ab\u00a0Cette relation \u00e9troite avec la terre, le feu, l’eau, le vent, la c\u00e9ramique et les \u00e9maux, se manifeste aussi dans la conception m\u00eame des \u0153uvres, qui expriment une sensibilit\u00e9 particuli\u00e8re face au cycle de la vie et de la mort, \u00e0 l\u2019impermanence des choses. La poterie devient ainsi un moyen d\u2019exprimer une philosophie de respect et d\u2019acceptation de la nature, en capturant dans chaque pi\u00e8ce cette beaut\u00e9 fugace et pr\u00e9cieuse. C\u2019est cette alliance entre ma\u00eetrise technique, observation attentive de la nature, et profondeur spirituelle qui fait toute la richesse et la singularit\u00e9 de la c\u00e9ramique japonaise.\u00a0\u00bb<\/p>\n<\/div><\/div>\n\n\n\n

\n

<\/p>\n\n\n\n

Shinya MATSUNAGA<\/strong> en 5 dates importantes :<\/mark><\/strong><\/h3>\n\n\n\n

Le jour o\u00f9 j\u2019ai d\u00e9couvert la poterie \u00e0 Mashiko.<\/p>\n\n\n\n

Le jour o\u00f9 je suis entr\u00e9 \u00e0 l\u2019\u00e9cole de poterie de Seto, dans la pr\u00e9fecture d\u2019Aichi.<\/p>\n\n\n\n

Le jour o\u00f9 j\u2019ai int\u00e9gr\u00e9 un atelier de poterie \u00e0 Mino.<\/p>\n\n\n\n

Le jour o\u00f9 je me suis mari\u00e9 avec ma femme.<\/p>\n\n\n\n

Le jour o\u00f9 je suis retourn\u00e9 dans ma r\u00e9gion natale, \u00e0 Kumamoto.<\/p>\n<\/div>

\"Shinya<\/figure><\/div>\n\n\n\n

Source des photos et des textes : Shinya MATSUNAGA et Yann san<\/p>\n\n\n\n

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Shinya MATSUNAGA et ses cr\u00e9ations (1964-) Originaire de la ville de Nankan, dans le district de Tamana, de la pr\u00e9fecture […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[76],"tags":[],"class_list":["post-35187","post","type-post","status-publish","format-standard","hentry","category-ceramistes"],"yoast_head":"\nShinya MATSUNAGA - Maison Wabi-Sabi - C\u00e9ramistes<\/title>\n<meta name=\"description\" content=\"Shinya MATSUNAGA \u677e\u6c38 \u771f\u54c9 est \u00e0 Nankan, pr\u00e9fecture de Kumamoto. 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