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Object of the Week: Untitled

In honor of Women’s History Month, Object of the Week will highlight works by celebrated women artists in SAM’s permanent collection throughout the month of March.

Broad black strokes cut across paper, precise sweeps of motion that hold bold strength. Ink trails downward in sharp ribbons dissolving into mist, which run down into watery pools. The shape is abstract, yet gives a sense of dynamism and flow that fully utilizes the monochromatic black that it’s painted in. This piece, left untitled by abstract artist and calligrapher Toko Shinoda, is not intended to have specific form. Instead it seeks to capture a feeling, although what that feeling may be, we’ll never know for certain. Each piece of art she makes is a piece of herself, and each is made meticulously to reflect the “her” that painted it.

At around 107 years old, Shinoda has had a lot of “her” to paint. The daughter of a calligrapher herself, Shinoda has been using a brush and sumi ink since she was six, and has not stopped using them since. For the first 40 years of her life, she focused on calligraphy; an art form traditional to Japanese women, as well as one of few career paths initially open to them. She was extremely successful and exhibited her works all over Japan. The more Shinoda created, the more abstract her pieces became. This resulted in a shift toward Abstract Expressionist art after an exhibition in New York in 1953. Having spent so much of her career trying to strictly copy the work of master calligraphers, she was impressed by the formal freedom of American artists. Abstract Expressionism, she felt, was what she really wanted to achieve with her ink.

Since then, Shinoda has gained international acclaim for her prolific melding of traditional and modern approaches. However, despite her fame, she denies all awards and recognition. Time magazine might write about her, museums may acquire her work and display them in a place of high regard, but she will not take any titles or cash gifts for her accomplishments. The only honor she has accepted is a set of stamps: hers are the first artworks by a living artist to be featured on official Japanese stamps.

Even now, Shinoda paints every day to keep her art, and herself, alive. It is said that all artists go through a process called 守破離 (shu-ha-ri) in their lifetimes. The “shu” being adherence to art form and tradition, the “ha” being a departure from it. Shinoda embodies the final step, “ri”: transcendence through focus and mastery that allows for creative freedom. Still, even though Shinoda is free in her creation, she refuses to be satisfied by the style she developed, and strives to master delicacy in her work. Discontented with safety in art, she will always paint things that require precise balance, capturing that fleeting moment of experience and self.

– Kennedy Simpson, SAM Blakemore Intern for Japanese and Korean Art

Image: Untitled, 1965, Toko Shinoda, lithograph, 25 3/4 x 19 7/8 in., Eugene Fuller Memorial Collection, 66.11 © Artist or Artist’s Estate

Object of the Week: Couplet

Oracle-bone script (jiaguwen) is a form of Chinese writing that emerged during the Shang Dynasty—dating from the 14th–11th century BCE—and is considered the earliest known form of systematic Chinese script.

Some of the oldest oracle-bone inscriptions were short texts inscribed on the flat shoulder blade bones of oxen and shells of tortoises. Such bones were used for divination, a process which involved the inscription of a question with a bronze pin—lending the script its characteristic angularity—and then heating the bone to reveal cracks, which would be divined for answers.

The symbols used eventually became words, which were later developed into a Chinese script that is recognized today as part of China’s long tradition of calligraphic arts. This work by Rao Zongyi, titled Couplet, utilizes the ancient script, brought to life for a contemporary audience.

Rao—a poet, calligrapher, painter, and scholar of the humanities—produced the couplet in 1971 while a visiting professor at Yale University. Composed by Rao, the poem describes in red ink a kun-style operatic performance by Chang Ch’ung. Together the two scrolls read: The wind makes the snow dance amidst the sunlight, the music hangs like clouds on her garments.

Elisabeth Smith, SAM Collection and Provenance Associate

Couplet, 1971, Rao Zongyi, red ink on paper, 74 5/16 x 14 3/16 in., Gift of Chang Ch’ung-ho and Hans Frankel from their collection, 2010.9.6.1-.2 © Artist or Artist’s Estate