Calligraphy artist from Okayama-City, Japan. Participant of the project, dedicated to the 150th birth anniversary of a great Georgian poet and writer Vazha-Pshavela (2011).
Yoshiko was born in 1959. From 8 years old to 18, she learned calligraphy in Nara by Komatsu Shoin.
In 2000, she continued to learn calligraphy again under the guidance of Sasano Shukyo. She joined as a member of the "Bokushou-kai" organization founded in 1963 by Shukyo.
Every year, she participated in the exhibition of Shukyo Sasano who was a great calligrapher, one of the leaders of Mainichi calligraphy Organization (there are 2 big streams in calligraphy in Japan: Mainichi and Yomiuri). It organized the "Japan art festival" exhibition in Paris in 1998. His work was used as a representative in the poster. He approved to new movement of calligraphy in Japan by Sokyu Ueda.
2005, her work "TAMASHII" (soul) was used in Bolshoi theater by a ballet dancer, choreographer and a first soloist in Bolshoi theater Morihiro Iwata.
2005, she began to teach calligraphy in the organization "Kanoka". Since then she organizes exhibitions regularly in Fukuyama.
2006, "Kanoka" had the first exhibition.
2007, her work "Ashura" was collaborated with Faroukh Ruzumatov, who is a principal dancer of Mariinsky Theater in Russia.
2009, Nov. "Kanoka" had an exhibition in Fukuyama.
2010, Shukyo Sasano passed away. She became a member of "Gyokuryu-kai" organization.
2011, "Gyokuryu-kai" had an exhibition in which she participated in Okayama.
2010, she attended the "International exhibition of calligraphy" in Veliikii Novgorod, Russia.
2011, she organized in another exhibition in Fukuyama contemporary city museum in Fukuyama.
2011, She took part in the exposition "2011 les femmes aux deux visages" with an Arabian Calligrapher Hassan Makaremi, who is a professor of the Sorbonne University and whose calligraphy is related to UNESCO.About calligraphyby Yoshiko Yoshida
My calligraphy is just myself. It expresses all the emotions that we have, such as sadness, anger, agony, delight, pleasure, hatred, and happiness, etc.
Calligraphy needs rhythm and body movements as well, in other words, it asks you to be conscious of your breathing. It is like meditation.
When you learn classics from ancient Chinese and Japanese calligrapher's works, you should be very careful about the speed and rhythm, then you can feel classic's very précised and delicate nuances.
When I find myself open to be synchronized with a classic, I am so released and I feel "SOMEONE" blesses me. When I attain such state of mind, I can accept myself, and can go ahead with producing my own works with Chinese characters and developing abstractive calligraphy freely based on classics. Working on classics leads you to the essence of creative activity.
That is why I always go back to learning classics and start from them over and over again, which is just daily and regular work for me.
Before I complete a piece of work, I always practice more than 50 sheets of paper. The more I write, the more I feel the rhythm and the flow in my work. I know the importance of white parts in my works, too.
The harmony of the black and white can only be achieved after hard work, and when I find it there, it brings me happiness and delight. I can get much power then, so I go back confronting myself with Chinese and Japanese classics again.
Link - http://pcu.ge/calligraphy_works_yoshiko_yoshida.html