Toko Shinoda calligraphy at its best

Toko Shinoda calligraphy at its best

2020.09.02(Wed) - 2020.10.04 (Sun)

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私はいつも書を書いていて「炎」も「川」も「木」も「雪」も、好きな文字が、自分で創ったものでないことが物足りなかった。文字の創造者が妬ましかった。妬ましいとは、はしたないことと思い、私は私の心の記号を作りたいと希うようになっていた。



(自分と出会う 朝日新聞 1989. 4. 24)



When I was producing calligraphic specimens of the words I particularly liked - the words like 「flame」, 「river」「tree」and 「snow」, Felt chagrined that they were not of my own creation. I became unbearably envious of those who created such words. As feeling envy for others constituted a gross breach of ladies' code, I decided to someday create my own heart's symbols.



(Meeting with Myself, The Asahi Shinbun, April 24, 1989)















 


















ザ・トールマン コレクションのお客様へ



前回に引き続き、篠田桃紅の書の作品をご紹介します。今回はより書に重きを置いた作品を取り上げました。自身を墨象作家とし、表現する作品の中には文字であり抽象である、抽象であり文字である作品を制作しています。言葉ではなく、一本の線が伝える魅力を楽しんでください。



作品のお問い合わせは、tc@tolmantokyo.comまでご連絡ください。

弊社では現在11時から6時までの短縮営業を行なっております。休廊日は変わらず月曜日と火曜日です。 



















 






























 




Yuki (2007) ed. 13/50  38 x 28 cm, lithograph, hand-colored

Yuki (雪): Shinoda often employs actual words in her work with no reason but that she liked the shape of the word.




















 




Ancient Dream (2007) ed. 19/50  38 x 28 cm, lithograph, hand-colored

Asaki Yumemishi: This is from the Iroha poem.




















 




Longing (1996) ed. 19/35  63 x 46 cm, lithograph, hand-colored




















 




Ancient Journey (1996) ed. 18/30  72 x 53 cm, lithograph, hand-colored

Tabi (旅): This lithograph was released for a special Shinoda exhibition at the Singapore National Museum in 1996.




















 




Ancient Poem (1996) ed.  18/30  72 x 53 cm, lithograph, hand-colored

Irohanihoheto (伊呂波): This lithograph was released for a special Shinoda exhibition at the Singapore National Museum in 1996.
















 





















「硯。大きいものを作ることが多いので、二尺と一尺ぐらいの宋端渓を使っている。毎朝1合ほどの水を硯の海に注ぐ。・・・

墨を磨る、というしぐさは、単調な繰り返しに過ぎないが、一種言いようのない官能が、磨墨を通して、手から身に伝わる・・・」




(いろは四十八文字, 教育書籍 1983)



"Inkstone.  As I often work in large format, I use Sung Tuan Hsi inkstone of about two shaku(1) by one. Every morning I pour as much as a go(1) of water into the well of my inkstone・・・

"The gesture of rubbing down an ink stick is only a monotonous repetition and yet an indescribable kind of sensual pleasure comes up from the stick, through my hand, to my body・・・"



(Iroha 48 words, Kyoiku publication 1983)















 




















 




Anthology B (1985) ed. 20/38  72 x 53 cm, lithograph, hand-colored

This early work made in 1985 draws our attention  to Shinoda’s  imagination and her  love of classical Japanese literature. 




















 




Heian Verse (1996) ed. 18/35  53 x 70.5 cm, lithograph, hand-colored

"Saigyo" Hakoyagamineno harunimutsurete: This piece is in the art collection of Yale University, donated by The Tolman Collection. 




















 




Letters (1999) ed. 16/50  38 x 28 cm, lithograph, hand-colored

Asaki Yumemishi: This is from the Iroha poem.




















 




Mystic Texts (2007) ed. 16/35  63 x 46 cm, lithograph, hand-colored

Kokoro mo hanazo mukashi. Hitowa iza shirazu furusato: This piece was one of the last 6 editions that Shinoda-san made in 2007. This piece is in the art collection of Smith College Museum of Art, donated by The Tolman Collection.




















 




Epigraph (2000) ed. 32/35  45 x 63 cm, lithograph, hand-colored




















 




Prodigy (1996) ed. 5/30  45 x 63 cm, lithograph, hand-colored
















 





















墨いろには無数の段階があり、かたちづくる心が、濃淡や、線や空間の質となって作られるが、墨痕というふるいことばが示すように、日々の心のありかたが、そこに跡づけられているのを見て、自分で自分に突き当たることが多い。



『桃紅 私というひとり』 (世界文化社 2000年)





The colors of sumi come in many stages, and forms of the mind are created in varying shades of light and dark, in lines and in qualities of space. One is sometimes brought up sharply to notice there the traces of one's everyday state of mind, just as the old word had it: bokkon literally, "tails of ink"



(Toko: Watashi to iu hitori [This is the Person I Am; Toko], Sekai Bunka Sha, 2000)















 




















 




Cadenza (1998) ed. 17/35  98 x 72 cm, lithograph, hand-colored

Joshua Bell, the famous American violinist explained what cadenza meant to him. I realized that what he was explaining as a virtuoso artist  was exactly the same feeling that this piece meant to Shinoda-san. I titled this piece “Cadenza.”




















 




Iroha (1985) ed. 16/28  90.5 x 63.5 cm, lithograph, hand-colored

Toko-san san has always considered herself an abstract artist, using calligraphy as a source of inspiration. Her imagination takes flight and the brushstrokes undergo a transformation.




















 




Wakayo Tareso (1996) ed. 24/30  72 x 53 cm, lithograph, artis's seal in red

Wakayo tareso tsunenaramu: This "Iroha poem" often appears in Toko-san's work.






















Anniversary (1981) ed. 8/25  70 x 53.5 cm, lithograph, hand-colored

In 1998, I commissioned a portfolio of prints to commemorate the twentieth anniversary of the Tolman Collection. This work is Shinoda san’s contribution to that portfolio. This lithograph is exhibited at the Portland Japanese garden in Portland, Oregon.




















 




Revelation (1981) ed. 6/35 47 x 53 cm, lithograph, hand-colored

On occasion, the artist's calligraphy is undecipherable, even to her. The viewer is compelled to find meaning in the strength of the lines, rather than comprehending the text.

 




















 




New Illusion (1985) ed. 17/38  72 x 53 cm, lithograph, hand-colored

The artist is not a religious person, but is occasionally inspired by Buddhist philosophy.  The quiet simplicity of these pieces asks us to empty our minds, and concentrate on the power of the brush.




















 




Profusion (1998) ed. 26/35 72 x 53 cm, lithograph, hand added color

Made in 1998, this work demonstrates Toko’s wellspring of imagination. With just a touch of Ming dynasty  red, she enlivened the work and a powerful energy emanates from the composition.




















 




Wildfire (2000) ed. 18/35  53 x 72.5 cm, lithograph, hand-colored

This distinctive edition released in 2000 conveys the unlimited range of Shinoda’s creativity.
















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