a policy policy a , which which , ) . 書画分離 ( implemented implemented to this day this to marginalized within the official official within the marginalized culture 1912) when it was introducing was 1912) when it introducing shoga bunri bunri shoga – E-mail: [email protected]: as sho and left left sho work ed Modern art followed paths of Modern followed different art has , which means the East Asian cultural sphere, the cultural sphere, Asian East that resulted in in that resulted means “the separation of and painting”. painting”. and of calligraphy separation “the means This development in and in the West. In the West, the West. West, In in in the and development Japan the to reexplore movement a began as art modern the nature from by strict rules of painting departing In contrast, academies. the in taught conventions and a adopted government the when began it in Japan, during the time same around the system fine arts new era (1868 Meiji of aim with the technology scientific Western canon of Japanese canon of Japanese Modern Artistic Endeavor artists revisit shoga itchi a Shinoda’s early from its newly adopted fine work and writingsfrom the sho , . ) ) ) sho 書画 ) is a is ) , painting , has since remained marginalized within in the broad broad in the suibokuga 画 – 1913 ( Their work cametobe known as avant-garde Sho her early work her early . , . 書, calligraphy ( ga equal shoga itchi ( itchi shoga as Seen Through the Work of of Shinoda the Work Through as Seen (Collaborative Researcher, Researchfor Center PromotingStudies, Intercultural Kobe University) based on the concept of This paper considers sho and and 水墨画 . Thetwo artforms were equally respectedunder this ” . to be to a sho st sho Sho focusesmainly on Shinoda’s 篠田桃紅 and discusses how her work was received. arti is widely known for her abstract paintings, but she started her modern art form a ( sho sho considered considered offers an analysis of analysis an offers Akiko MUKAI MUKAI Akiko This paper century, Japan, despite being part of being part despite Japan, century, . was originally was originally th Shinoda Tōkō Shinoda did not begin her career in the art field art the in her career not begin did ; she ; she Shinoda Shinoda Tōkō , which means “calligraphy and painting are are painting and “calligraphy means which , traditionally traditionally his paper . This paper after WWII calligraphy and painting are one spectrum of the arts in East Asian cultures. However, However, cultures. Asian East in arts of the spectrum in 19 the late 一致) concept, Under this one”. were manifestations of modernism in “ arts system modeled on that of the West concept before the Meiji government officially excluded artistic career as a Introduction Introduction Japanese artist who is widely recognized for her for her recognized widely who is artist Japanese ( paintings abstract ink-wash artist while focusing on the concept of concept the on focusing while abstract Modernism in Modernism Avant-Garde Japanese Calligraphyas Tōkō: Japaneseculture. However,Japan as modernized, some 1950s to examine how sheincorporated traditional techniques and sensibilities in developing hermodern explored its potential as sho Shinoda however

ART RESEARCH SPECIAL ISSUE vol.1 Modernism in Sho as Seen Through the Work of Shinoda T kō: Avant-Garde Japanese Calligraphy as a Modern Artistic Endeavor ō 112 ART RESEARCH SPECIAL ISSUE vol.1 Modernism in Sho as Seen Through the Work of Shinoda Tōkō: Avant-Garde Japanese Calligraphy as a Modern Artistic Endeavor 113 , , , sho sho and and ther ther sho titled titled as a O ) – 1912 in People People -wash - 井上有一 森田子龍 ( ( and searched searched and shoga itchi shoga sho sho “The Ink Reemergence of of Reemergence : , 比田井南谷 ( lit. lit. known in the art world world art the known in , can be loosely defined as as defined be loosely can is Inoue Inoue Yūichi ” Morita Morita Shiryū who wereduring active the “The “The Beauty of Ink” sho through through looking at Shinoda’s was born in Dalian in 1913 was Dalian born and in 墨人会 lit. lit. modernized Japan Japan modernized ( artists , overseas; overseas; sho oku oku Nank Hidai activities overseas to the US. to the overseas activities sho in a , who published a magazine , who published a magazine , who formed a group with Morita called called Morita with group a formed who , sho ) his his 墨美 ( ; and ; and ) “modernism in “modernism 1998) 1985 garde garde The focus of this research has been on been has research this of focus The Tōkō Shinoda , like Shinoda, , like , who , - – – was and what it could be amidst the drastic drastic the amidst be could it what and was Shinoda’s early incorporation of ink of incorporation early Shinoda’s postwar period include period include postwar 1912 Bokubi introduced 1916 the Bokujinkai the Bokujinkai avant Group” 1999) the 1950s while from mainly work and activities of concept the mind in keeping “a movement to develop new expressions expressions new develop to movement “a examining critically through the age for appropriate to the sensitive being whilst conventions classical but medium, of not being the properties expressive and of meaning legibility with the concerned overly of notion this examines paper This characters”. in modernism keyword. 1. sho by modernization. on brought changes societal for taking for taking postwar avant-garde of such activities the examining in modernism of manifestations as sho artists of the meaning which questioned forThe the times. appropriate for expressions new discourse to the contribute to is research of this aim of avant-garde genre unevaluated as-yet on the of this purposes For the standpoint. historical a from paper painting techniques into sho was She year. following the in Tokyo to moved shoga itchi of art” art” sho sho sho ’ei which which 上田桑 , ( made for for made ” garde - sho sho ’s possibilities ’s possibilities 前衛書 today can help can help today ( “Westernization”. “Westernization”. sho sho sho as an art form, and a and form, an art as Ueda Ueda Sōkyū modernization “ sho sho . That . That marked the moment brushes gradually fell out fell gradually brushes sho sho made for display. Some early Some display. for made , having , having been dismissed as an sho artists, such as as such artists, calligraphy painting) was split into was split painting) calligraphy Modern “Modern state. modern a into Japan at qualified as “art”, and it made the the made it and “art”, as qualified at , was placed at the center of the modern modern of the center the at placed was sho 1968), revisited revisited 1968), century and printing technology became became technology printing and century began to appear in exhibitions and a and exhibitions in appear to began Japan continued to modernize into the the into modernize to continued Japan th Ga 書画 . As ( after the Second World War. Avant World Second the after ga sho sho ) , where the traditional artistic genre of genre artistic traditional the where bunri , shoga sho was essentially a movement that questioned what what questioned that movement a essentially was movement took shape to explore took to explore shape movement for modern artistic expression. for artistic worktomodern Their came as avant-garde recognized be – 鳩, 1899 Showa era Showa era more widely available, available, widely more of everyday use. It was around that time works that time that It was use. around of everyday of between to drawn be came distinction practical use and and use practical in Japan was hence born from a policy reform reform policy a from born was hence in Japan when the a time at the establishment by implemented country was undergoing transforming transforming was essentially synonymous with synonymous was essentially the redefined selectively government The Meiji ofscope wh decision not to include of shoga artistic genre, was left out of the new art policies, and and policies, art new the of out was left genre, artistic marginal undefined, an to relegated itself found it studyposition. critical of The and but sho art system, were that things of the characteristics reveal the to add art and modern as Japanese accepted discourse on things that were excluded it. from It conducted was research this that noted be should in shift recent the of awareness conscious a with on which focusing is research, history world art practices artistic roles that vital the reevaluating in the played have contexts non-Western of modernism. strains various of development 20 early - n o the sho, it as as it nijimi where where not overlap dagger , character character where where 戈 . ( nijimi hana . o along the along first same same k focused . This piece can can piece . This understand and practical and 4) extent of the extent the conventions of conventions the . Anthology that incorporates the that incorporates nijimi nijimi Anthology sho in Fig , and ho in ( can be seen be seen can ) . The . sho hoko 2) wash painting technique technique painting wash - . hana kusa grass ijimi ink a study visual of combining ink of different different of ink of combining breaks it and concentrations, both from classical are written where in characters way. an orderly and legible thus can One , Fig N ( the first stroke of the character 艸 . ( n as as a work of kusa are written with overlapping strokes of strokes overlapping with written are , ) in darker ink darker that flows to the right from where the stroke stroke the where from right the to flows that overlap. I overlap. . , but there is a lot of butis a lot , there in kusa 2. Detail of the character character of the Detail 2. depending on the amount on depending of the light amount dark and ink 3. Detail of the character character of the Detail 3. 4. Detail of the of the Detail 4. s written with the lighter ink, there is a large area area large is a there ink, the lighter with written , which ) , flower , described described nijimi Figure Fig. 3) Fig. 華 Figure Figure character Anthology ( the horizontal strokes of the character character strokes of the the horizontal ( character of the stroke axe be used. For example, there is notmuch example, For used. light and dark ink dark light and strokes hoko of of the stroke second with the overlaps written differ , : ) is ō . 墨 k 83 ō hana hana 詩花 wash wash ( in her in her sho - to the to the × aidan Z ) abstract abstract ed attention attention , of with with the Japanese Japanese the , characters characters Shinoda T Shinoda bleeding Colors of Sumi, Sumi, of Colors Anthology Anthology endaibijutsu G — and travel and 書壇 used the ink the used is seen as a separate a as seen is ( ifu to only be directed at only be directed to 展 とどめ得ぬもの is one of Shinoda’s is one of Shinoda’s G 滲み, 1948. Ink on paper. 60 ( , , ) sho s tend applied it to her with work applied - by respecting the concept of concept the respecting by shodan shodan Ueda City Museum City Ueda of Art in nijimi nijimi Shinoda Shinoda aidanhojin Anthology Z Sumi no iro, kokoro no katachi kokoro no iro, Sumi 篠田桃紅 the ( — eki It is composed of the It ofis composed the : Transient : Things 心のかたち , it becomes easier to appreciate the to appreciate easier becomes , it held at at held Shinoda Tōkō, . 1 Due to the fact that fact that to Due the The first piece (Fig. 1), titled 1), (Fig. titled piece The first This section provides an analysis of her early of early her an analysis provides This section , lit. “Poem Flower” “Poem , lit. Collection of Kō Collection of artistic work while her earlier work work her earlier while work artistic Figure cm. Forms of the Mind のいろ mono Todomeenu given to Shinoda’s work work Shinoda’s given to her overlooked. However, However, overlooked. itchi shoga how in continuity painting of painting technique re later and work early abstraction. shika ink-wash paintings, and she also went on to on to went also she and paintings, ink-wash publications. onand projects collaborate architectural titled retrospective in the shown was work that Shinoda Tōkō which was which 2018. today in Japan to art field marginal and earliest works. earliest initially active in active in the initially calligraphic society), and she even served on the on the served even she and society), calligraphic later However, she public of juries competitions. the shodan from herself distanced became she to Japan, returned When she 1956. US in mainly painter field as a art the in active

ART RESEARCH SPECIAL ISSUE vol.1 Modernism in Sho as Seen Through the Work of Shinoda T kō: Avant-Garde Japanese Calligraphy as a Modern Artistic Endeavor ō 114 ART RESEARCH SPECIAL ISSUE vol.1 Modernism in Sho as Seen Through the Work of Shinoda Tōkō: Avant-Garde Japanese Calligraphy as a Modern Artistic Endeavor 115 . . 6) sho nijimi these gaps these gaps and ),為近摩巨登 a , inkstones, and paper paper and , inkstones, nijimi . created from overlapping overlapping from created nijimi om Bos to create a gradation of tones. tones. of gradation a create to nijimi 6. Detail 6.of Detail Paper is made by laying down many layers layers down many by laying made is Paper of fine fibers, are so there countless gaps Water between the fibers. imperceptible will surface paper’s the onto dropped is that but fibers surface wet the only not therefore penetrate simultaneously also cranny and nook into every way its make is ink is true if same The paper. inside the spread also will ink of water; instead used the into seep and surface paper’s the across occurs when ink comes into contact into contact comes when ink occurs Nijimi that extends downward from the top left to the top the left from downward extends that Figure and ambiguous. For example, if one looks at the area area the at one if looks example, For and ambiguous. right middle the at begin that strokes the where back loop to start and center top the up toward extend of lines three are there see that can one downward, has line, which bottom The darkness. different is the line around the is the middle darkest; it, of darkness medium (Fig. top is andlightest; the line This merging of lines also occurs in the large area of the large in occurs also of lines This merging nijimi together fused have lines The piece. ofthe center their through a study understood be as therefore This piece can the on how focused over spread and darkness change different oflines time. ( Makoto Tamechika with paper. analyzed who expert the explains microscope, electronic using an follows: as phenomenon in , for , for that 内側 nijimi ( by om nijimi 45.6 cm. Bos × them. In other drawing them. ), is another piece piece ), another is . on Ink on paper. 70paper. Ink on . om is made through the application application the through made is Bos -tech Kaisha -tech Bi . While it is difficult to decipher any any decipher to difficult is it While . nijimi , lit. “Inner Side” “Inner lit. , have formed as a have formed of nijimi areas wet. These the characters but but characters the s The second piece (Fig. 5), titled 5), titled (Fig. piece The second 5. Shinoda Tōkō, Shinoda Tōkō, 5. Figure of Nabeya Collection result of layering ink of different concentrations, and and concentrations, of different ink of layering result blurry become to edges stroke the have caused they create a watery feel and give the impression that the the that impression the give and feel watery a create piece i specific characters in it, the large areas of areas large the it, in characters specific which Shinoda makes use of different concentrations ofconcentrations makes different use which Shinoda and of ink blurs the stroke edges, and no alterations appear to to appear no alterations and edges, blurs the stroke themselves characters to the made been have not be should that strokes extra adding example, present. words, the depicted characters have neither been been neither have characters depicted words, the semiotic communicating of purpose the for written brushwork; content rather, nor for practicing they far as As forms. as graphical purely drawn have been break only the piece, the at by looking can be told sho traditional from of technique of painting the ink-wash uchigawa in the the sho sho sho In “the way way “the shoga itchi shoga lit. lit. has revealed has revealed 2) was growing was growing . are grounded on a are grounded work and writings and work 書道, ( gaining acceptance gaining shodan sho is shoga itchi shoga her time. time. her This led Shinoda to leave to This led Shinoda shodō 3) traditional aesthetic aesthetic traditional , the , the of , too, ) ing fit for our times our fit for sho and in the latter, she expressed expressed she latter, the in and form form introduc , nijimi . Shinoda Shinoda achieved . thus re sho in everyday items such as tablecloths, as tablecloths, such items in everyday her book, Shinoda discusses herher book, Shinoda new discusses nalyzing Shinoda’s early early Shinoda’s nalyzing be liberated from outmoded the from be various liberated and our lifestyle surrounding conventions spirit, the world of of calligraphy” art as an A It should be noted, however, that Shinoda did did Shinoda that however, noted, be It should In However, at the time when Shinoda was was Shinoda when the time at However, sho sho to be discussed as art. as discussed be to respect for classical practices. practices. for classical respect of keyword the on based forms as characters drew she former, the that, in ink-wash painting the traditional using while of technique aesthetic traditional in applying an interest respecting while also life to modern sensibilities classical book, she also emphasizes the importance of importance the emphasizes book, also she for foundation as a ways classical the understanding words, other In beauty. of expressions new creating with modern her explorations relation to seasonal customs and modern living. For For living. and modern customs seasonal to relation as used a photograph is her of work there example, incorporated also She room. Western-style a décor in her belts, the Japanese handbags, and age-old applying everyday in beauty seeing of sensibility aesthetic lifestyle. modern new the things to not only for advocate new experimentation. through through This confirms that Shinoda considered new her that considered Shinoda This confirms art form to be a modern Japan for the US, where she stayed to hold to hold shestayed where US,for Japan the sensibilities into her time as a modern art form. form. art modern as a time into her sensibilities new this exploring more conservative, and it did not offernot did for it and a setting conservative, more sho was once nijimi during during That led That led sho sho . released was sho in nijimi sho in Japan and 1) s with incorporating s with incorporating under the concept of under the concept confirmed that ink confirmed the ink and water’s own own water’s and ink the sho , and nijimi can therefore be understood as be understood as can therefore sho spreads is determined not by how one one how by not determined is spreads . that time at restored was that ’s experiments into into nijimi interior at the same time. same at the interior In the same way that the present age seeks to to seeks age present the that way same In the Traditionally, the use of the use Traditionally, This section looks at documentary sources that sources documentary at looks This section . Shinoda’s experiment Shinoda’s . occurs, and he observed how water that does not not that does water how observed he and occurs, is ink, light in as particles, ink many contain to words, the degree other In fluid. particularly which Tamechika environmental and type, paper concentration, how determine humidity and temperature from its role as a means for writing neatly writing for means role a as its from of aspects artistic on the placed be value to handles their brush but by but brush by handles their by which are affected properties, temporal and as temperature factors such environmental humidity. characters makes it because unacceptable considered and However, modernized as Japan illegible. available, widely more became technology printing characters to represent anyone for possible became it any without clearly 2.of receptions Different sho about thought on Shinoda how light shed the made when she career of her period the early and how her pieces considers discussed previously from passage her work was following received. The her into 1954insight offers January book from thoughts: shoga itchi itchi shoga of art categorizations Beyond the US: again nijimi to reexamine attempts

ART RESEARCH SPECIAL ISSUE vol.1 Modernism in Sho as Seen Through the Work of Shinoda T kō: Avant-Garde Japanese Calligraphy as a Modern Artistic Endeavor ō 116 ART RESEARCH SPECIAL ISSUE vol.1 Modernism in Sho as Seen Through the Work of Shinoda Tōkō: Avant-Garde Japanese Calligraphy as a Modern Artistic Endeavor 117 be sho sho sho confirms confirms discussed in this in this discussed is shoga itchi shoga that mised on the understanding that that understanding on the mised from art. When considering where where Whenart. considering from sho sho ow might Shinoda’s modern modern Shinoda’s ow might H Before ending, Before it ending, is worth noting how art Conclusion Conclusion diversified more our on based today evaluated have that advancements the and of “art” definition work her of The analysis research? art in been made of the concept around centered traditional of applying stance Shinoda’s that understood be should life modern to values aesthetic that system art modern Japanese the of as a critique separated different aesthetic sensibilities and art histories exist histories art and sensibilities aesthetic different to aims it and regions, and countries in different to the attention giving through art history rewrite artistic different between exchanges and interactions sho avant-garde The cultures. Shinoda’s work should be positioned within art within art positioned be work should Shinoda’s artistic of as a body it recognize should one history, questioned day and her of art the explored work that being even while system of the the validity art system. Japanese the outside developed from apparent is as globalizing, currently is research the body ofon growing research avant-garde period modern The Japan. outside developed being research history in art reevaluated being is itself is history landscape art and the world, around the that has Critique transformation. great a undergoing Eurocentric towards biased been historically of the arts the to focus shifting now is perspectives previously were that genres and world, non-Western being are now also research art in marginalized of art the framework studied. Furthermore, actively the to incorporate reconsidered itself is being emerging This arts. marginal the of viewpoints art as “global to being referred is which research, is pre history”, paper can also be considered as part of this work in in work of this part as be considered also can paper . d 4) exhibitions were well received and received were well exhibitions US When When the paper is rolled out, it amakes The ground ink quickly becomes tacky, tacky, becomes quickly ink ground The outside the domain of art through taking taking of art through domain the outside lled. sho crackling sound, and even when laid down, down, when laid even and sound, crackling The settle. not does up and to float seems it absent was ink the pull to needed moisture air. the in and paper the in both the lines dry up as soon as they are drawn, drawn, are as they up as soon dry the lines paint, oil like heavy becomes ink the dark and even driesthe light faster ink than it can the ink of is sensitivity bleed. The color is also and its blunted, considerably du Shinoda thus returned home, deciding that she that she deciding home, returned Shinoda thus in the it but show Japan work in her produce should neededher for Japan to While US.had humidity the make her work, the USa offered where setting she was her art. work as the present latter The could incorporate that values artistic her where place the buttranscended values aesthetic traditional of After art could thrive. modern categorizations the scope Shinoda expanded also to Japan, returning as by such domestically, activities of her producing and projects on architectural collaborating for characters and letters of composed pieces be seen work can Such book covers. and newspapers apply to efforts sustained Shinoda’s of fruits as the life. She to modern values aesthetic traditional had that divide categorical the overcome to managed placed tradition. stance towards an affirmative Though her Though exhibitions and develop work from 1956 to 1958 work from develop and exhibitions her of phase later the of foundations the shaped to be ill- climate American dry the found she career, this as writes work. about She her for suited making follows: , . . a – Iroha Iroha Tokyo: Tokyo: Tokyo: Tokyo: (1920s

Yaraishoin . Transcultural shi to nijimi Atarashii shodō

yō ō . In Jeong-hee Lee- Shod 近磨巨登

. 為 Atarashii shodō jūnikagetsu

書道用紙とにじみ .

Iroha shijūhachimoji Iroha いろは四十八文字 Through the Analysis of Morit 篠田桃紅 — 16. 篠田桃紅 2. 新しい書道十二ヶ月 p. p. 同学社 矢来書院 木耳社 shi to nijimi Tōkō ’s Theory and Practice yō ō gakusha, 111. Shiryu Kalisch and AnnegretBergmann (Ed.), Intertwinements in East Asian Art andCulture Mokujisha, Do Shinoda, T. (1976) p. Tamechika, M. (2011) Shinoda, T. (1984) Mukai,A. (2018) Closer Coming and Apart: Coming Avant-garde Calligraphy and AbstractPainting in Postwar Japan ) (pp.127-147).1950s) VDG als Imprint von arts + science Weimar GmbH Dogakusha shijūhachimoji shijūhachimoji Yaraishoin Shod jūnikagetsu Mokujisha SHINODA Tōkō TAMECHIKA Makoto Notes Works Cited Works SHINODA the sense that it, too, deals with the interaction and and interaction with the deals too, it, that the sense However, sensibilities. artistic different of exchange history art research on world of academic current the gain begun to just only has still history global and art developed be go on to will How it momentum. to choose researchers that directions the on depends ahead. years take in the

ART RESEARCH SPECIAL ISSUE vol.1 Modernism in Sho as Seen Through the Work of Shinoda T kō: Avant-Garde Japanese Calligraphy as a Modern Artistic Endeavor ō 118