{"id":23,"date":"2018-07-13T17:25:22","date_gmt":"2018-07-13T15:25:22","guid":{"rendered":"http:\/\/jlggb.net\/collection\/?page_id=23"},"modified":"2024-03-20T13:06:16","modified_gmt":"2024-03-20T12:06:16","slug":"assiette-1","status":"publish","type":"page","link":"https:\/\/jlggb.net\/collection\/?page_id=23","title":{"rendered":"la question Mingei"},"content":{"rendered":"<ul>\n<li>Note pr\u00e9alable<br \/>\nLa question Mingei doit \u00eatre rapproch\u00e9e de ce qui a donn\u00e9 cours, \u00e0 partir du Mus\u00e9e de l&rsquo;homme et de Georges Henri Rivi\u00e8re, au mouvement Arts et traditions populaires. On notera que Germain Viatte, qui a conduit la r\u00e9trospective Mingei au mus\u00e9e du Quai Branly en 2008 sera aussi le commissaire de l&rsquo;exposition Georges Henri Rivi\u00e8re au MUCEM en 2018.\u00a0Au demeurant, les r\u00e9f\u00e9rences aux Arts et traditions populaires peuvent contribuer directement \u00e0 la recherche pluridisciplinaire au sujet du soba choko.<\/li>\n<\/ul>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2843 aligncenter\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2022\/08\/GH-R-Mucem-2018-scaled.jpg\" alt=\"\" width=\"320\" height=\"392\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2022\/08\/GH-R-Mucem-2018-scaled.jpg 2090w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2022\/08\/GH-R-Mucem-2018-245x300.jpg 245w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2022\/08\/GH-R-Mucem-2018-836x1024.jpg 836w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2022\/08\/GH-R-Mucem-2018-768x941.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2022\/08\/GH-R-Mucem-2018-1254x1536.jpg 1254w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2022\/08\/GH-R-Mucem-2018-1672x2048.jpg 1672w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>Le mouvement nomm\u00e9 en 1925, par Yanagi Soetsu, <em>Mingei<\/em>, \u6c11\u82b8, comporte marginalement mais de fa\u00e7on sp\u00e9cifiquement appuy\u00e9e, le soba choko, gobelet de porcelaine peint au bleu de cobalt, de style Imari, on dirait aujourd&rsquo;hui de la r\u00e9gion d&rsquo;Arita, dans l&rsquo;\u00eele de Kyushu. Quelques phrases de\u00a0Yanagi Soetsu font l&rsquo;\u00e9loge de la simplicit\u00e9 d&rsquo;ex\u00e9cution et d&rsquo;usage d\u00e9mocratique des pi\u00e8ces de sa collection, figurant pour une part dans le mus\u00e9e qu&rsquo;il a cr\u00e9\u00e9 \u00e0 Tokyo, le Mingeikan,\u00a0\u65e5\u672c\u6c11\u85dd\u9928.<\/p>\n<p>Depuis un si\u00e8cle, la notion de Mingei a \u00e9volu\u00e9, s&rsquo;est transform\u00e9e, a connu un renouveau n\u00e9cessairement diff\u00e9rent. Si l&rsquo;on doit comprendre et la juger historiquement, ses r\u00e9f\u00e9rences actuelles, significatives en termes de style, de production ou de mode, peuvent \u00eatre relativis\u00e9es et confront\u00e9es \u00e0 d&rsquo;autres courants internationaux de l&rsquo;art et du design.<\/p>\n<p>Pour m\u00e9moire, on peut rappeler qu&rsquo;originellement, selon Yanagi, les objets Mingei se d\u00e9finissaient selon ces id\u00e9es&nbsp;:<br \/>\n1. Ils ne sont pas sign\u00e9s par un artiste c\u00e9l\u00e8bre, mais cr\u00e9\u00e9s par un artisan anonyme pour l&rsquo;usage dans la vie quotidienne. Leur beaut\u00e9 ne na\u00eet pas de l&rsquo;expression artistique individuelle mais de l&rsquo;exercice et de la pratique de plusieurs g\u00e9n\u00e9rations d&rsquo;artisans.<br \/>\n2. La beaut\u00e9 naturelle du mat\u00e9riau utilis\u00e9 est mise en valeur, car ils sont simples de forme, cette forme qui est aboutie avec le temps et l&rsquo;usage.<br \/>\n3. Ils ont toujours \u00e9t\u00e9 produits en grande quantit\u00e9 et vendus \u00e0 bon march\u00e9, cela implique une beaut\u00e9 qui vient de la pratique et la r\u00e9p\u00e9tition plut\u00f4t que de l&rsquo;effort artistique conscient.<br \/>\n4. Ils ont une apparence naturelle et saine plut\u00f4t que l&rsquo;\u00e9l\u00e9gance affich\u00e9e de l&rsquo;art pour l&rsquo;art.<br \/>\n5. Ils sont fabriqu\u00e9s avec les mat\u00e9riaux locaux et expriment le caract\u00e8re particulier de leur r\u00e9gion.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1236\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-imari-soba-choko-pages-jlggb.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-imari-soba-choko-pages-jlggb.jpg 2400w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-imari-soba-choko-pages-jlggb-300x225.jpg 300w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-imari-soba-choko-pages-jlggb-768x576.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-imari-soba-choko-pages-jlggb-1024x768.jpg 1024w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1237\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-soba-choko-deux-jlggb.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-soba-choko-deux-jlggb.jpg 2400w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-soba-choko-deux-jlggb-300x225.jpg 300w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-soba-choko-deux-jlggb-768x576.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/mingei-soba-choko-deux-jlggb-1024x768.jpg 1024w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/p>\n<p>Pages de l&rsquo;ouvrage en deux tomes d\u00e9di\u00e9 aux collections Mingei de Yanagi&nbsp;:\u00a0Muneyoshi Yanagi; Takeshi Fujimori; Nihon Mingeikan<strong>.\u00a0<\/strong>Published by To\u00c3 \u00ab\u00a0kyo\u00c3 \u00a0\u00bb&nbsp;: Sekai Bunkasha, 2008.<br \/>\nTraduction approximative de la l\u00e9gende&nbsp;: \u00ab\u00a0Soba choko, Arita, p\u00e9riode Edo (XVIIe-XIXe si\u00e8cle). La demande \u00e9tait forte \u00e0 cette \u00e9poque et produisait une exp\u00e9dition du port d&rsquo;Imari vers divers pays. Yanagi a dit que que le charme de la relation \u00e0 ces choses \u00e9tait la raison de leur collecte et de leur collection. La beaut\u00e9 du choko vient de sa forme et de la tr\u00e8s grande vari\u00e9t\u00e9 de ses motifs. La bleu indigo est une couleur tonique et les pi\u00e8ces peintes r\u00e9p\u00e9t\u00e9es sont libres et belles.\u00a0\u00bb<\/p>\n<p>Le soba choko est peu pr\u00e9sent dans les collections et dans les propos de Soetsu Yanagi, mais on rapporte son admiration&nbsp;: \u00ab Regardez ce r\u00e9cipient nomm\u00e9 un choko. Il doit y avoir plusieurs centaines de vari\u00e9t\u00e9s de motifs trac\u00e9s sur cette petite surface.\u00a0\u00bb<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1242\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/9784418082070-uk.jpg\" alt=\"\" width=\"320\" height=\"427\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/9784418082070-uk.jpg 375w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/11\/9784418082070-uk-225x300.jpg 225w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/p>\n<p>La publication ci-dessous, de 2011, ISBN978-4-582-94535-5, pr\u00e9sente un itin\u00e9raire des arts populaires au Japon, un ensemble de lieux d&rsquo;artisanat labellis\u00e9s selon le mouvement Mingei, dont un atelier d&rsquo;Arita et un autre de Tobe produisant des soba choko.<\/p>\n<p><a href=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/01\/yanagi_road_2011.jpg\" data-rel=\"lightbox-image-0\" data-imagelightbox=\"0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1305\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/01\/yanagi_road_2011.jpg\" alt=\"\" width=\"320\" height=\"453\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/01\/yanagi_road_2011.jpg 973w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/01\/yanagi_road_2011-212x300.jpg 212w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/01\/yanagi_road_2011-768x1088.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/01\/yanagi_road_2011-723x1024.jpg 723w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/a><\/p>\n<p>Le Mingei, en d\u00e9pit des opinions contradictoires qu&rsquo;il suscite, et de fa\u00e7on paradoxale, est mis \u00e0 contribution au Japon et \u00e0 destination de l&rsquo;\u00e9tranger, pour la promotion d&rsquo;une certaine modernit\u00e9 du design japonais.<\/p>\n<p>Ce fut le cas en 2009 avec l&rsquo;exposition du mus\u00e9e du Quai Branly, d&rsquo;une exposition au mus\u00e9e des Arts D\u00e9coratifs et aussi de la Maison de la culture du Japon.<\/p>\n<h3><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-832\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/2008-l-esprit-mingei-japon-affiche.jpg\" alt=\"\" width=\"320\" height=\"480\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/2008-l-esprit-mingei-japon-affiche.jpg 400w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/2008-l-esprit-mingei-japon-affiche-200x300.jpg 200w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/h3>\n<p>L&rsquo;ESPRIT MINGEI AU JAPON<\/p>\n<p>De l\u2019artisanat populaire au design<br \/>\n30 septembre 2008 \u2014\u00a011 janvier 2009<\/p>\n<p>Note d&rsquo;intention du commissaire de l&rsquo;exposition, Germain Viatte&nbsp;: \u00ab\u00a0Dans cette exposition, \u00e0 partir d\u2019un cas pr\u00e9cis \u2014 celui du penseur Yanagi Soetsu, promoteur du mouvement \u00ab Mingei \u00bb, et son fils Yanagi Sori, premier designer d\u2019apr\u00e8s-guerre \u2014, il s\u2019agit de r\u00e9fl\u00e9chir au rapport que le XXe si\u00e8cle a \u00e9tabli entre la red\u00e9couverte de certains arts traditionnels et l\u2019\u00e9volution de l\u2019art moderne international \u00e0 travers le design. Cette dynamique sort la perception des arts populaires traditionnels d\u2019un point de vue strictement ethnographique ou anthropologique, pour l\u2019inscrire dans une situation historique pr\u00e9cise&nbsp;: celle du Japon de la premi\u00e8re moiti\u00e9 du XXe si\u00e8cle (jusqu\u2019\u00e0 la fin des ann\u00e9es cinquante). Il s\u2019agit aussi d\u2019une perspective esth\u00e9tique, morale et formelle, qui trouve aujourd\u2019hui ses \u00e9chos dans les \u00ab formes originelles \u00bb de certains designers contemporains. \u00bb<\/p>\n<p><a href=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2024\/03\/Poterie_lesprit_Mingei_2991417240.jpg\" data-rel=\"lightbox-image-1\" data-imagelightbox=\"1\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3524\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2024\/03\/Poterie_lesprit_Mingei_2991417240-1024x1024.jpg\" alt=\"\" width=\"320\" height=\"320\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2024\/03\/Poterie_lesprit_Mingei_2991417240-1024x1024.jpg 1024w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2024\/03\/Poterie_lesprit_Mingei_2991417240-300x300.jpg 300w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2024\/03\/Poterie_lesprit_Mingei_2991417240-150x150.jpg 150w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2024\/03\/Poterie_lesprit_Mingei_2991417240-768x768.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2024\/03\/Poterie_lesprit_Mingei_2991417240.jpg 1200w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/a><br \/>\nPoterie avec \u00e9mail \u00e0 motif d&rsquo;\u00e9pi de millet 17\u00e8me si\u00e8cle, Mino, pr\u00e9fecture de Gifu, Japon Nihon Mingeikan, Tokyo Exposition\u00a0: L\u2019esprit Mingei au Japon\u00a0: de l\u2019artisanat populaire au design Mus\u00e9e du Quai Branly<\/p>\n<p>Ouvrage \/ Catalogue<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-835\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/mingei-actes-sud.jpg\" alt=\"\" width=\"320\" height=\"244\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/mingei-actes-sud.jpg 350w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/mingei-actes-sud-300x229.jpg 300w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/p>\n<p><em>L&rsquo;Esprit Mingei au Japon<\/em>, Actes Sud &#8211; Mus\u00e9e du quai Branly, 2008, 144 pages.<\/p>\n<p>Document pdf \u00e0 t\u00e9l\u00e9charger&nbsp;: Germain Viatte, \u00ab Chronique d\u2019une exposition \u00bb, <em>Revue de la soci\u00e9t\u00e9 des amis du mus\u00e9e national de c\u00e9ramique<\/em>\u00a0:\u00a0<a href=\"http:\/\/jlggb.net\/collection\/wp-pdf\/mingei-viatte.pdf\">http:\/\/jlggb.net\/collection\/wp-pdf\/mingei-viatte.pdf<\/a><\/p>\n<p><a href=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/02\/cipango-mingei-2009.jpg\" data-rel=\"lightbox-image-2\" data-imagelightbox=\"2\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1460\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/02\/cipango-mingei-2009.jpg\" alt=\"\" width=\"320\" height=\"395\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/02\/cipango-mingei-2009.jpg 1200w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/02\/cipango-mingei-2009-243x300.jpg 243w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/02\/cipango-mingei-2009-768x949.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2020\/02\/cipango-mingei-2009-829x1024.jpg 829w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/a><\/p>\n<p>Le revue <em>Cipango, Cahier d&rsquo;\u00e9tudes japonaises<\/em>, 2009, \u00ab L&rsquo;invention des &lsquo;arts populaires&rsquo; Yanagi Soetsu et le Mingei \u00bb publie une s\u00e9rie d&rsquo;\u00e9tudes qui mettent en question les expositions, l&rsquo;histoire et l&rsquo;image que peut avoir le mouvement. \u00c0 lire ici&nbsp;:<br \/>\n<a href=\"https:\/\/journals.openedition.org\/cipango\/179\">https:\/\/journals.openedition.org\/cipango\/179<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1097\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/Capture-d\u2019\u00e9cran-2019-05-14-\u00e0-18.00.00.jpg\" alt=\"\" width=\"320\" height=\"454\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/Capture-d\u2019\u00e9cran-2019-05-14-\u00e0-18.00.00.jpg 1269w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/Capture-d\u2019\u00e9cran-2019-05-14-\u00e0-18.00.00-212x300.jpg 212w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/Capture-d\u2019\u00e9cran-2019-05-14-\u00e0-18.00.00-768x1089.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/Capture-d\u2019\u00e9cran-2019-05-14-\u00e0-18.00.00-722x1024.jpg 722w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/p>\n<p>Tir\u00e9 \u00e0 part de <em>La Revue de la c\u00e9ramique et du verre<\/em>, n\u00b0 163, 2008, textes de Dauphine Scalbert, 1993, \u00ab Yanagi et le Mingei \u00bb et \u00ab Sori Yanagi \u00bb de Issey Miyake&nbsp;:\u00a0<a href=\"http:\/\/jlggb.net\/collection\/wp-pdf\/yanagi-et-le-mingei.pdf\">http:\/\/jlggb.net\/collection\/wp-pdf\/yanagi-et-le-mingei.pdf<\/a>. Bibliographie des textes de Dauphine Scalbert&nbsp;: <a href=\"http:\/\/www.euroceramique.com\/ateo\/francaisateods\/articlesceramique\/articlessurlaceramique\/articlesdedauphinescalbert.html\">lien<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1100\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/soetsu-yanagi-book.jpg\" alt=\"\" width=\"320\" height=\"523\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/soetsu-yanagi-book.jpg 1310w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/soetsu-yanagi-book-184x300.jpg 184w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/soetsu-yanagi-book-768x1254.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/05\/soetsu-yanagi-book-627x1024.jpg 627w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/p>\n<p>Soetsu Yanagi, <em>The Beauty of Everyday Things<\/em>, translated by Michael Brase,\u00a0Penguin Classic, 2018<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-766\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/hamada-leach-and-co.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/hamada-leach-and-co.jpg 640w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/hamada-leach-and-co-150x150.jpg 150w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/01\/hamada-leach-and-co-300x300.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/p>\n<p>Shoji Hamada, Bernard Leach, Soetsu Yanagi et Marguerite Wildenhain (Marguerite Friedl\u00e4nder) au\u00a0Black Mountain College, 1952. <em>Source&nbsp;: American Craft Council<\/em>. La pr\u00e9sence de Marguerite Friedl\u00e4nder manifeste le lien \u00e9tabli entre le Bauhaus \u2014 dont elle fut \u00e9l\u00e8ve d\u00e8s le d\u00e9but (1919-1925) \u2014 le Mingei et leurs prolongements aux \u00c9tats Unis.<\/p>\n<p><span style=\"color: #ffffff;\">white<\/span><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/158256812\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><a href=\"https:\/\/vimeo.com\/158256812\">Leach Pottery 1954 LOOP<\/a> from <a href=\"https:\/\/vimeo.com\/user24763427\">Marty Gross<\/a> on <a href=\"https:\/\/vimeo.com\">Vimeo<\/a>.<\/p>\n<p>Bernard Leach et Shoki Hamada. Voir <em>Mashiko Trailer<\/em>&nbsp;: <a href=\"https:\/\/vimeo.com\/298469197\" target=\"_blank\" rel=\"noopener\">https:\/\/vimeo.com\/298469197<\/a><\/p>\n<h3>2018-2019<\/h3>\n<p>Exposition au mus\u00e9e 21_21 Design Sight de Tokyo, par Naoto Fukasawa, designer et directeur du Mingeikan (mus\u00e9e, Tokyo, <a href=\"http:\/\/www.mingeikan.or.jp\/english\/info\/\" target=\"_blank\" rel=\"noopener\">http:\/\/www.mingeikan.or.jp\/english\/info\/<\/a>), d\u00e9cembre 2018 \u2014 f\u00e9vrier 2019&nbsp;:<br \/>\n<strong><em>Mingei &#8211; Another Kind of Art<\/em>.<\/strong><br \/>\nArticle sur <em>Designboom<\/em>&nbsp;: <a href=\"https:\/\/www.designboom.com\/design\/naoto-fukasawa-interview-mingei-21_21-designsight-12-22-2018\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.designboom.com\/design\/naoto-fukasawa-interview-mingei-21_21-designsight-12-22-2018\/<\/a><\/p>\n<p><a href=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/naoto-fukasawa-interview-mingei-designboom-013.jpg\" data-rel=\"lightbox-image-3\" data-imagelightbox=\"3\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-463\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/naoto-fukasawa-interview-mingei-designboom-013.jpg\" alt=\"\" width=\"320\" height=\"453\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/naoto-fukasawa-interview-mingei-designboom-013.jpg 818w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/naoto-fukasawa-interview-mingei-designboom-013-212x300.jpg 212w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/naoto-fukasawa-interview-mingei-designboom-013-768x1086.jpg 768w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/naoto-fukasawa-interview-mingei-designboom-013-724x1024.jpg 724w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-464\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/mingei2121-1.jpg\" alt=\"\" width=\"640\" height=\"449\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/mingei2121-1.jpg 818w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/mingei2121-1-300x211.jpg 300w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2018\/12\/mingei2121-1-768x539.jpg 768w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/p>\n<p>Plate with reticulate patterns, Jingdezhen (China), Ming dynasty, 17th century, image courtesy the Japan Folk Crafts Museum.<\/p>\n<p>Sori Yanagi (1915-2011), le fils de Soetsu Yanagi (1889-1961), a \u00e9t\u00e9 son successeur au Mingeikan de Tokyo, mus\u00e9e d&rsquo;art populaire. Designer de grande envergure et mondialement reconnu, il ne partage pas, peut-\u00eatre dans un premier temps, les id\u00e9es de son p\u00e8re \u00ab qui pour lui repr\u00e9sentait le pass\u00e9 \u00bb \u00e9crit Charlotte Perriand dans son livre <em>Une vie de cr\u00e9ation<\/em>, Odile Jacob, 1998, pp. 155-156. \u00ab Pourquoi ces objets devraient-ils \u00eatre plus beaux que ceux cr\u00e9\u00e9s pour l&rsquo;industrie&nbsp;? \u00bb Mais \u00ab il r\u00e9alisa la synth\u00e8se de ces deux modes de production&nbsp;: celle de l&rsquo;artisan et celle destin\u00e9e \u00e0 l&rsquo;industrie qu&rsquo;il veut parfaite. \u00bb<\/p>\n<h3>2019<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1163\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/06\/column002_2.jpg\" alt=\"\" width=\"640\" height=\"406\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/06\/column002_2.jpg 1024w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/06\/column002_2-300x190.jpg 300w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2019\/06\/column002_2-768x488.jpg 768w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/p>\n<p>L&rsquo;id\u00e9e de Compact Life d\u00e9velopp\u00e9e par Naoto Fukasawa chez Muji, 2019&nbsp;:\u00a0<a href=\"https:\/\/www.muji.com\/fr\/compactlife\/column002.html\">https:\/\/www.muji.com\/fr\/compactlife\/column002.html<\/a><\/p>\n<h3>2021<\/h3>\n<p><a href=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2021\/07\/muji-mingei-2021.jpg\" data-rel=\"lightbox-image-4\" data-imagelightbox=\"4\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1842\" src=\"http:\/\/jlggb.net\/collection\/wp-content\/uploads\/2021\/07\/muji-mingei-2021.jpg\" alt=\"\" width=\"640\" height=\"853\" srcset=\"https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2021\/07\/muji-mingei-2021.jpg 600w, https:\/\/jlggb.net\/collection\/wp-content\/uploads\/2021\/07\/muji-mingei-2021-225x300.jpg 225w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>Une petite exposition Mingei par Muji et Fukasawa \u00e0 lieu en 2021&nbsp;:\u00a0\u00ab\u00a0Produced with the cooperation of The Japan Folk Crafts Museum (Nihon Mingeikan), the traveling exhibition, \u201cMINGEI\u2014The Shape of Beautiful Living,\u201d hoists high the MUJI banner in an innovative, forward-looking form.\u00a0\u00bb<\/p>\n<p><a href=\"https:\/\/www.muji.com\/jp\/feature\/mingei\/en\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.muji.com\/jp\/feature\/mingei\/en\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Note pr\u00e9alable La question Mingei doit \u00eatre rapproch\u00e9e de ce qui a donn\u00e9 cours, \u00e0 partir du Mus\u00e9e de l&rsquo;homme et de Georges Henri Rivi\u00e8re, au mouvement Arts et traditions populaires. On notera que Germain Viatte, qui a conduit la r\u00e9trospective Mingei au mus\u00e9e du Quai Branly en 2008 sera aussi le commissaire de l&rsquo;exposition [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-23","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/jlggb.net\/collection\/index.php?rest_route=\/wp\/v2\/pages\/23","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jlggb.net\/collection\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/jlggb.net\/collection\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/jlggb.net\/collection\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jlggb.net\/collection\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=23"}],"version-history":[{"count":121,"href":"https:\/\/jlggb.net\/collection\/index.php?rest_route=\/wp\/v2\/pages\/23\/revisions"}],"predecessor-version":[{"id":3525,"href":"https:\/\/jlggb.net\/collection\/index.php?rest_route=\/wp\/v2\/pages\/23\/revisions\/3525"}],"wp:attachment":[{"href":"https:\/\/jlggb.net\/collection\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=23"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}