{"id":42723,"date":"2026-09-17T15:43:08","date_gmt":"2026-09-17T13:43:08","guid":{"rendered":"https:\/\/www.maisonwabisabi.com\/?p=42723"},"modified":"2026-10-10T13:04:11","modified_gmt":"2026-10-10T11:04:11","slug":"hiroki-onishi","status":"publish","type":"post","link":"https:\/\/www.maisonwabisabi.com\/en\/hiroki-onishi\/","title":{"rendered":"Rencontre avec Hiroki ONISHI \u5c3e\u897f\u5b8f\u7d00 C\u00e9ramiste japonais \u00e0 Nara"},"content":{"rendered":"
<\/div>\n\n\n\n
\"Hiroki<\/figure>
\n

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

Hiroki ONISHI et<\/mark> ses cr\u00e9ations<\/a><\/strong><\/h2>\n\n\n\n

(1985-)<\/p>\n\n\n\n

La terre n\u2019est jamais une mati\u00e8re neutre. Elle porte en elle l\u2019histoire du lieu o\u00f9 elle est pr\u00e9lev\u00e9e, la m\u00e9moire des paysages de Nara et celle des g\u00e9n\u00e9rations qui l\u2019ont travaill\u00e9e avant lui. Dans son atelier K\u014dhaku-gama, il fa\u00e7onne principalement des objets destin\u00e9s \u00e0 \u00eatre utilis\u00e9s : bols, tasses, guinomi ou tokkuri. Le geste reste volontairement proche de la mati\u00e8re, laissant appara\u00eetre les variations de la terre, les irr\u00e9gularit\u00e9s de la surface et les effets impr\u00e9visibles de la cuisson.<\/p>\n\n\n\n

Certaines de ses \u0153uvres utilisent m\u00eame des terres li\u00e9es au patrimoine ancien de Nara, notamment celle provenant des fondations du Yakushiji. Cette mati\u00e8re vieille de plusieurs si\u00e8cles retrouve alors une nouvelle existence entre les mains du potier. Le temps ne dispara\u00eet pas dans la cuisson : il devient visible. Chaque pi\u00e8ce conserve quelque chose du sol, du feu et du geste qui l\u2019ont transform\u00e9e, comme une m\u00e9moire silencieuse que l\u2019usage quotidien vient progressivement prolonger.<\/p>\n<\/div><\/div>\n\n\n\n

\n

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

Son travail repose sur une relation particuli\u00e8rement sensible entre le geste du potier et le temps. Fa\u00e7onner une pi\u00e8ce, appliquer une gla\u00e7ure, attendre la cuisson : chaque \u00e9tape demande de l\u2019attention et une certaine acceptation de l\u2019inattendu.<\/p>\n\n\n\n

Le feu intervient ensuite comme un partenaire que le potier ne peut jamais totalement contr\u00f4ler. Les nuances de surface, les variations de couleur et les accidents de cuisson deviennent ainsi partie int\u00e9grante de l\u2019\u0153uvre.<\/p>\n\n\n\n

Cette mani\u00e8re de travailler rejoint profond\u00e9ment l\u2019esprit de l\u2019Akahada-yaki<\/a>, tradition c\u00e9ramique intimement li\u00e9e \u00e0 Nara et \u00e0 l\u2019histoire de la c\u00e9r\u00e9monie du th\u00e9. Pourtant, ONISHI san ne cherche pas \u00e0 reproduire le pass\u00e9. Son geste consiste plut\u00f4t \u00e0 le poursuivre. Il re\u00e7oit une forme, une technique et une connaissance transmises par sa famille, puis les fait \u00e9voluer \u00e0 travers sa propre sensibilit\u00e9. Le temps devient alors une mati\u00e8re suppl\u00e9mentaire : celui de la tradition, celui de la fabrication, mais aussi celui qui commence lorsque la pi\u00e8ce quitte l\u2019atelier et entre dans la vie de celui qui l\u2019utilise.<\/p>\n<\/div>

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

La force du travail d’ONISHI san r\u00e9side peut-\u00eatre dans cette capacit\u00e9 \u00e0 faire du patrimoine japonais quelque chose de vivant.<\/p>\n\n\n\n

Ses r\u00e9f\u00e9rences \u00e0 Nara, \u00e0 ses temples, \u00e0 ses paysages ou \u00e0 ses tr\u00e9sors anciens ne transforment pas ses pi\u00e8ces en objets de mus\u00e9e. Elles restent avant tout des objets que l\u2019on peut prendre en main, remplir, partager et utiliser au quotidien.<\/p>\n\n\n\n

Un bol ou un petit r\u00e9cipient devient ainsi un point de rencontre entre une histoire plusieurs fois centenaire et un geste contemporain. Le patrimoine n\u2019est plus seulement quelque chose que l\u2019on regarde : il devient quelque chose que l\u2019on touche. Cette dimension est essentielle dans son approche. En inscrivant dans la mati\u00e8re des fragments de l\u2019histoire de Nara, il donne une profondeur particuli\u00e8re \u00e0 des objets simples en apparence. Leur beaut\u00e9 se r\u00e9v\u00e8le progressivement, dans la lumi\u00e8re, au contact de la main, dans les traces laiss\u00e9es par les repas et les ann\u00e9es.<\/p>\n\n\n\n

La pi\u00e8ce continue alors son histoire apr\u00e8s le potier, et le temps de son usage devient \u00e0 son tour une partie de son h\u00e9ritage.<\/p>\n<\/div><\/div>\n\n\n\n

\n

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

Hiroki ONISHI\u00a0en 5 dates importantes :<\/strong><\/mark><\/h3>\n\n\n\n

2015<\/strong> : Apr\u00e8s des \u00e9tudes \u00e0 l\u2019universit\u00e9 Doshisha et une 1\u00e8re exp\u00e9rience dans le monde de l\u2019entreprise. Il choisit de changer de voie et entre \u00e0 l\u2019\u00c9cole pr\u00e9fectorale de Ky\u014dto des techniques c\u00e9ramiques. Il commence son apprentissage aupr\u00e8s de son p\u00e8re.<\/p>\n\n\n\n

Vers 2017<\/strong> : Apr\u00e8s sa formation \u00e0 Ky\u014dto, il poursuit son apprentissage aupr\u00e8s du 8\u00e8me Rakusai, son fr\u00e8re a\u00een\u00e9, et se consacre pleinement \u00e0 la production au K\u014dhaku-gama.<\/p>\n\n\n\n

Vers fin 2010<\/strong> : Il d\u00e9veloppe une expression personnelle de l\u2019Akahada-yaki, en associant techniques traditionnelles, terres locales et r\u00e9f\u00e9rences au patrimoine de Nara.<\/p>\n\n\n\n

2026<\/strong> : Son travail continue d\u2019\u00eatre pr\u00e9sent\u00e9 dans des expositions consacr\u00e9es \u00e0 la c\u00e9ramique contemporaine japonaise, notamment \u00e0 travers des pi\u00e8ces destin\u00e9es \u00e0 la table et au th\u00e9.<\/p>\n\n\n\n

Aujourd\u2019hui <\/strong>: il poursuit la transmission de l\u2019Akahada-yaki tout en faisant \u00e9voluer cet h\u00e9ritage \u00e0 travers des objets du quotidien, o\u00f9 la terre, le feu, le geste et la m\u00e9moire de Nara restent intimement li\u00e9s.<\/p>\n<\/div>

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

Source des photos et des textes : Hiroki ONISHI et Yann san<\/p>\n\n\n\n

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

Hiroki ONISHI et ses cr\u00e9ations (1985-) La terre n\u2019est jamais une mati\u00e8re neutre. Elle porte en elle l\u2019histoire du lieu o\u00f9 elle est pr\u00e9lev\u00e9e, la m\u00e9moire des paysages de Nara et celle des g\u00e9n\u00e9rations qui l\u2019ont travaill\u00e9e avant lui. Dans son atelier K\u014dhaku-gama, il fa\u00e7onne principalement des objets destin\u00e9s \u00e0 \u00eatre utilis\u00e9s : bols, tasses, […]<\/p>\n","protected":false},"author":1,"featured_media":42957,"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":"disabled","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-42723","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ceramistes"],"yoast_head":"\nHiroki ONISHI - Maison Wabi-Sabi - C\u00e9ramiste<\/title>\n<meta name=\"description\" content=\"Hiroki ONISHI \u5c3e\u897f\u5b8f\u7d00 est situ\u00e9 \u00e0 Nara, pr\u00e9fecture de Nara, sur Honsh\u016b. 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