Quel est le nom et le sens de cette sculpture ?<\/strong><\/em><\/p>\nElle s\u2019appelle Permanescence, que je d\u00e9finirais comme la succession des moments essentiels de la vie, \u00e9ternellement r\u00e9p\u00e9t\u00e9s au cours du temps. Mes amis se moquent parfois de moi : \u00ab\u00a0Voila que les japonais se m\u00ealent d\u2019enrichir notre langue\u2026 O\u00f9 va-t-on !?\u00a0\u00bb Mais je ne l\u2019ai pas fait expr\u00e8s ! Je cherchais seulement \u00e0 trouver le mot qui allait exprimer ce que j\u2019avais en t\u00eate de dire. Un mot, juste un mot. Un n\u00e9ologisme ? Ce serait bien peu pour remercier la France pour tout ce qu\u2019Elle m\u2019a apport\u00e9.
\nCe th\u00e8me de \u00ab\u00a0Permanescence\u00a0\u00bb peut \u00eatre li\u00e9 \u00e0 celui de ma p\u00e9riode pr\u00e9c\u00e9dente : Plein est vide, vide est plein (Shiki soku ze\u00ef Ku \u2013 Ku soku Ze\u00ef Shiki), qui est une maxime zen. \u00ab\u00a0Est\u00a0\u00bb et non \u00ab\u00a0et\u00a0\u00bb ! Le premier dont le sens est \u00e0 d\u00e9couvrir et qui est n\u00e9cessaire pour esp\u00e9rer atteindre un jour le \u00ab\u00a0satori\u00a0\u00bb (r\u00e9v\u00e9lation). Le second ne veut dire que ce qu\u2019il dit. Cette p\u00e9riode faisait elle-m\u00eame suite \u00e0 celle que j\u2019avais nomm\u00e9e \u00ab\u00a0Les \u00e9l\u00e9ments\u00a0\u00bb, symbolis\u00e9s par le Carr\u00e9 (la terre), le triangle (le feu) et le cercle (l\u2019eau).
\nEn bon japonais, je suis d\u2019abord shinto\u00efste, puis bouddhiste (grand v\u00e9hicule) et enfin agnostique. Au Japon, c\u2019est possible. Vide ET Plein ? Ma prochaine p\u00e9riode ? Pourquoi pas \u00ab\u00a0Vacuit\u00e9 ET Pl\u00e9nitude\u00a0\u00bb !?<\/p>\n
Comment est n\u00e9 ce projet ?<\/strong><\/em><\/p>\nIl est le fruit d\u2019une rencontre, au d\u00e9but des ann\u00e9es 80, avec KURASAWA RO-SHI (\u00ab\u00a0vieux Ma\u00eetre\u00a0\u00bb) \u00e0 l\u2019occasion d\u2019un stage \u00ab\u00a0Zen\u00a0\u00bb de mon cru pour lequel j\u2019avais r\u00e9uni pendant une semaine mes \u00e9l\u00e8ves d\u2019Happoka\u00ef-France et d\u2019Happoka\u00ef-Japon*. Trente ans plus tard donc, souhaitant lui exprimer ma reconnaissance, je lui proposai la r\u00e9alisation de cette \u0153uvre. Sa r\u00e9ponse :
\n– Figurez-vous que je souhaitais justement installer, quelque part, \u00ab\u00a0quelque chose\u00a0\u00bb de contemporain, \u00e9videmment dans l\u2019esprit du lieu. Vous avez dit \u00ab\u00a0Permanescence\u00a0\u00bb ?\u00a0 Votre proposition est un signe\u2026
\nAvoir pu, si modestement soit-il, apporter (juxtaposition d\u00e9licate de styles diff\u00e9rents) une touche contemporaine \u00e0 ce v\u00e9n\u00e9rable sanctuaire est pour moi un honneur.<\/p>\n
Avez-vous d\u00fb travailler dans le cadre de contraintes particuli\u00e8res ?<\/strong><\/em><\/p>\nDes contraintes lors de sa r\u00e9alisation ? Le travail du fer, auquel je ne connaissais pratiquement rien, et un\u00a0 temps ex\u00e9crable durant toute son \u00e9dification\u2026 Le soleil revint juste pour l\u2019inauguration ! Autre signe !?<\/p>\n
Est-ce une r\u00e9alisation dont vous \u00eates particuli\u00e8rement fier ?<\/strong><\/em><\/p>\nFier de mon travail ? Je ne dirais pas \u00e7a. Je suis le huiti\u00e8me enfant d\u2019un pr\u00eatre shinto\u00efste, calligraphe reconnu, qui nous a quitt\u00e9s en 2005, \u00e0 l\u2019\u00e2ge de 105 ans. Il \u00e9tait p\u00e8re, grand-p\u00e8re et arri\u00e8re grand-p\u00e8re d\u2019artistes, eux-m\u00eames parents, ou grands-parents d\u2019encore plus d\u2019artistes ! \u00c0 commencer par mon fr\u00e8re a\u00een\u00e9 KEIUN KANNO, fondateur de l\u2019\u00e9cole KE\u00cf YU KA\u00cf, qui renon\u00e7a tr\u00e8s jeune au titre de futur chef de famille pour se consacrer totalement \u00e0\u00a0 la calligraphie. Je suis particuli\u00e8rement fier d\u2019eux tous.
\nPour en revenir \u00e0 l\u2019Auteur de mes jours, je l\u2019ai entendu trois fois (en soixante-dix ans !) donner son avis sur mon travail : \u00ab\u00a0C\u2019est bien\u00a0\u00bb. C\u2019est tout. A ces occasions-l\u00e0, oui, j\u2019\u00e9tais presque fier de moi.
\nMaintenant, il me suffirait d\u2019esp\u00e9rer que certains, gr\u00e2ce aux questions que ma sculpture va leur faire se poser, vont s\u2019approcher de ce fameux \u00ab\u00a0satori\u00a0\u00bb. Ils y arriveront avant moi peut-\u00eatre. Probablement\u2026
\nFier ? Non. Seulement content. Content de croire entendre mon p\u00e8re : \u00ab\u00a0C\u2019est bien\u00a0\u00bb\u2026<\/p>\n
* Ecole fond\u00e9e au Japon \u00e0 la fin des ann\u00e9es 1970<\/p>\n
![\"\"](\"https:\/\/artistics.com\/wp-content\/uploads\/2023\/04\/article2Hachiro20Kanno20Permanescence202.jpg\")
<\/p>\n
L’oeuvre pendant son montage. Photo : Jean-Claude Garnier<\/p>\n","protected":false},"excerpt":{"rendered":"
Depuis cet \u00e9t\u00e9, le temple zen DA\u00cf \u00d4 JI au Japon accueille une sculpture de Hachiro Kanno : trois figures g\u00e9om\u00e9triques \u00e9l\u00e9mentaires (carr\u00e9, triangle et cercle) suspendues devant un rideau de lianes m\u00e9talliques.<\/p>\n","protected":false},"author":2,"featured_media":3266,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_searchwp_excluded":"","inline_featured_image":false,"footnotes":""},"categories":[1182,1184,1188],"tags":[1220],"class_list":["post-4622","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-commissioned-artworks","category-actualites-de-nos-artistes","category-oeuvres-de-commande","tag-japon"],"acf":[],"yoast_head":"\n
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