{"id":5511,"date":"2025-11-06T18:54:57","date_gmt":"2025-11-06T17:54:57","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5511"},"modified":"2025-11-06T18:56:45","modified_gmt":"2025-11-06T17:56:45","slug":"expo-chine-empreintes-du-passe-musee-cernuschi","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/expo-chine-empreintes-du-passe-musee-cernuschi\/","title":{"rendered":"\u201cChine. Empreintes du pass\u00e9\u201d au mus\u00e9e Cernuschi : visite guid\u00e9e"},"content":{"rendered":"

Inscriptions sur pierre, bronzes archa\u00efques, sceaux, bas-reliefs… Le mus\u00e9e Cernuschi \u00e0 Paris invite \u00e0 un fascinant voyage dans la Chine lettr\u00e9e avec “Chine. Empreintes du pass\u00e9 \u2013 D\u00e9couverte de l\u2019antiquit\u00e9 et renouveau des arts (1786\u20131955)”. Cette exposition explore comment l\u2019\u00e9tude des vestiges anciens a nourri un renouveau artistique majeur entre le XVIIIe et le XXe si\u00e8cle. \u00c0 travers 145 \u0153uvres venues du mus\u00e9e provincial du Zhejiang, elle d\u00e9voile un pan m\u00e9connu de la modernit\u00e9 chinoise : celle qui na\u00eet du dialogue entre m\u00e9moire et cr\u00e9ation.<\/strong><\/p>\n

\"\"
Liuzhou (1791-1858), encre sur papier, 1831<\/figcaption><\/figure>\n

Au c\u0153ur du parcours, une figure revient comme un fil d\u2019encre : celle du moine Liuzhou, lettr\u00e9, calligraphe et inventeur virtuose de l\u2019estampage tridimensionnel vers 1830. \u00c9ric Lefebvre, directeur du mus\u00e9e et commissaire de l\u2019exposition, le d\u00e9crit comme \u00ab un pionnier de la r\u00e9volution visuelle chinoise, capable de transformer la trace du pass\u00e9 en matrice d\u2019un art nouveau \u00bb. Liuzhou, en cherchant \u00e0 reproduire fid\u00e8lement les inscriptions des bronzes et st\u00e8les, invente sans le savoir une forme d\u2019avant-garde : un art de la reproduction devenu art de la transformation.<\/p>\n

Le parcours montre comment, d\u00e8s la dynastie Qing, les lettr\u00e9s collectionnent, d\u00e9chiffrent et copient les inscriptions antiques. Cette discipline \u00e9rudite, le jinshixue, ou \u00ab \u00e9tude des m\u00e9taux et des pierres \u00bb, n\u00e9e sous les Song (XIe si\u00e8cle), pr\u00e9figure l\u2019arch\u00e9ologie chinoise. Mais au XIXe si\u00e8cle, cette \u00e9tude savante d\u00e9passe le champ de la connaissance : elle devient un laboratoire esth\u00e9tique. Les estampages, ces empreintes d\u2019encre r\u00e9alis\u00e9es en appliquant un papier humide sur une pierre grav\u00e9e, passent de l\u2019objet d\u2019\u00e9tude \u00e0 l\u2019objet d\u2019art. \u00ab C\u2019est tout un glissement, souligne \u00c9ric Lefebvre, du signe vers l\u2019image, du caract\u00e8re grav\u00e9 \u00e0 la figure po\u00e9tique. \u00bb<\/p>\n

\"\"
\u00c9ric Lefebvre, devant une \u0153uvre sur papier de Wu Changshuo (1844-1927)<\/figcaption><\/figure>\n

Le c\u0153ur de l\u2019exposition s\u2019articule autour de l\u2019estampage comme m\u00e9dium d\u2019invention. D\u2019abord simple outil de reproduction, il devient support d\u2019exp\u00e9rimentation pour les peintres, calligraphes et graveurs de sceaux. L\u2019esth\u00e9tique de l\u2019empreinte, faite de creux et de reliefs, inspire un nouveau rapport \u00e0 la surface. Ce d\u00e9placement nourrit tout un courant que les historiens appellent l\u2019\u00ab \u00e9cole des st\u00e8les \u00bb. \u00c0 la fin du XVIIIe si\u00e8cle, Ruan Yuan et ses disciples substituent les mod\u00e8les classiques de calligraphie par des fragments de st\u00e8les anciennes. Cette relecture produit une \u00e9criture aux formes irr\u00e9guli\u00e8res, puissantes, qui inspirera jusqu\u2019\u00e0 l\u2019art moderne. Le visiteur d\u00e9couvre des paires de rouleaux (duilian), o\u00f9 le texte devient motif visuel. Les caract\u00e8res s\u2019y dressent comme des arbres, des roches, des silhouettes, affirmant l\u2019unit\u00e9 retrouv\u00e9e de la lettre et de l\u2019image.<\/span><\/p>\n

\"\"
Le moine Liuzhou examinant une lampe antique (1837)<\/figcaption><\/figure>\n

Le moine Liuzhou incarne cette fusion. Un autoportrait le repr\u00e9sente minuscule, pench\u00e9 sur une lampe antique d\u2019\u00e0 peine dix centim\u00e8tres : une image manifeste d\u2019humilit\u00e9 savante. Son g\u00e9nie r\u00e9side dans l\u2019invention d\u2019un estampage en trois dimensions, une prouesse technique qui consistait \u00e0 mouler le relief d\u2019un bronze sur plusieurs feuilles de papier, r\u00e9v\u00e9lant m\u00eame les inscriptions internes des tripodes ding. Ces pi\u00e8ces, mont\u00e9es en rouleaux annot\u00e9s, sont d\u2019une modernit\u00e9 stup\u00e9fiante : collages visibles, alternance d\u2019encre et de vide, jeu de textures \u00e9voquant les premi\u00e8res exp\u00e9rimentations photographiques.<\/p>\n

Autour de lui gravitent d\u2019autres figures majeures : Chen Hongshou, He Shaoji, Wu Changshuo ou Pan Tianshou, chacun r\u00e9interpr\u00e9tant \u00e0 sa mani\u00e8re cette esth\u00e9tique du fragment. Un chef-d\u2019\u0153uvre vers 1900 associe estampage et peinture florale, fusionnant la rigueur arch\u00e9ologique et la libert\u00e9 du geste. \u00ab Cette hybridation, commente Lefebvre, c\u2019est le moment o\u00f9 la Chine lettr\u00e9e d\u00e9couvre la modernit\u00e9 par le prisme du pass\u00e9. \u00bb<\/p>\n

\"\"
Peinture bapo<\/figcaption><\/figure>\n

Le parcours \u00e9voque aussi la migration des motifs archa\u00efques vers les arts d\u00e9coratifs : porcelaines, miroirs, tissus, jusqu\u2019aux billets de tramway de Tianjin vers 1906. L\u2019esth\u00e9tique du collage, du signe isol\u00e9, envahit la culture mat\u00e9rielle urbaine. La trace du bronze ou de la pierre devient ornement moderne. Ce passage du lettr\u00e9 au marchand, du temple \u00e0 la rue, r\u00e9v\u00e8le un basculement social : la culture des \u00e9rudits se diffuse dans les ateliers et les march\u00e9s. \u00ab On assiste \u00e0 la naissance d\u2019un regard populaire sur l\u2019antique, \u00e0 Shanghai notamment, o\u00f9 les estampages circulent comme des images \u00e0 collectionner \u00bb, note encore Lefebvre.<\/p>\n

Au-del\u00e0 de son apport artistique, “Empreintes du pass\u00e9” interroge la valeur m\u00e9morielle des images. Chaque estampage conserve la trace d\u2019un original souvent disparu. Dans une Chine en transformation, ces papiers encr\u00e9s deviennent archives, preuves, et parfois seuls vestiges d\u2019un patrimoine d\u00e9truit. \u00ab L\u2019estampage, rappelle \u00c9ric Lefebvre, n\u2019est pas seulement un document d\u2019\u00e9tude : c\u2019est une m\u00e9moire du monde en creux, une arch\u00e9ologie du regard. \u00bb<\/p>\n

Informations pratiques<\/strong>
\n“Chine. Empreintes du pass\u00e9 \u2013 D\u00e9couverte de l\u2019antiquit\u00e9 et renouveau des arts (1786\u20131955)”<\/a>
\nMus\u00e9e Cernuschi, mus\u00e9e des arts de l\u2019Asie de la Ville de Paris
\nDu 7 novembre 2025 au 15 mars 2026
\nCommissariat : \u00c9ric Lefebvre, en collaboration avec le mus\u00e9e provincial du Zhejiang<\/p>\n","protected":false},"excerpt":{"rendered":"

Inscriptions sur pierre, bronzes archa\u00efques, sceaux, bas-reliefs… Le mus\u00e9e Cernuschi \u00e0 Paris invite \u00e0 un fascinant voyage dans la Chine lettr\u00e9e avec “Chine. Empreintes du pass\u00e9 \u2013 D\u00e9couverte de l\u2019antiquit\u00e9 et renouveau des arts (1786\u20131955)”. Cette exposition explore comment l\u2019\u00e9tude des vestiges anciens a nourri un renouveau artistique majeur entre le XVIIIe et le XXe […]<\/p>\n","protected":false},"author":1,"featured_media":5512,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1163],"tags":[],"class_list":{"0":"post-5511","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-exposition"},"yoast_head":"\n\u201cChine. 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