Jômon 「縄 文 - 日本 に お け る 美 美 美 美 美 美 美
Jomon「縄 文 - 日本 に お る る 美 美 美 美 美 展 展 展 展 Birth of art in prehistoric Japan.
From October 17 to 8 December 2018 to House of Culture of Japan, 101 bis, Quai Branly. 75015. PARIS.
This autumn, it will be the great return of the time Jômon (11 000 years BC - 400 years BC) in Paris since the exhibition Jômon, the art of Japan origins organized in 1998 at the MCJP. The exhibition will bring together numerous archaeological objects, including several items classified as "National Treasure" and "Important Cultural Property". Figurines Dogu, jars and utensils will help you (re) discover the amazing cultural and spiritual life that develops during the Jômon era.
With the ice age ending soon after the beginning of the Jomon era, Japan enjoys a mild climate where hunting, fishing and gathering activities develop. The appearance of pottery marks the entrance to this era, which takes its name from the motifs obtained by printing ropes. The first section of the exhibition presents 10000 years of evolution of plastic beauty through various types of Jômon pottery patterns: nail, finger, rope or shell markings, clay application, engraved drawings ... The jar flamboyant with voluminous crest rooster projections is one of the pieces illustrating the richness of the forms of these ceramics.
The second section is devoted to objects evoking the beliefs and spirituality of the Jômon people. The Dogu - anthropomorphic statuettes in baked clay - are a remarkable example of aesthetics related to the spiritual realm. The majority of these dôgu are feminine figurines, the oldest representing simple busts with generous breasts. Those with opulent forms would have had a role in propitiatory practices related to fertility or food resources. While infant mortality was high, dogu of pregnant, breastfeeding or childbirth-giving women, as well as children's handprints on clay plates, seemed to express parents' intense desire to see their offspring grow from healthy way. Other figurines used as funerary or ossuary offerings also provide information on the relationships of the men of Jômon with the afterlife.
Hunting scenes adorning jars and Dogu zoomorphes could also be related to certain beliefs. Game of choice, the wild boar occupies a large place in this prehistoric bestiary composed of shells, monkeys, etc. Even everyday objects such as pottery for cooking and food storage, axes, wicker baskets or hooks have a striking beauty beyond their functional aspect. Equally surprising are the lacquered vessels presented in this last section: it is hard to believe that the use of lacquer dates back to so remote a time. Created from various materials, the jewels indicated the social rank of those who wore them. They also testify to the admirable capacity of the people of Jômon to marry the beautiful and the useful.