Aktualności ze świata miłośników twórczości Tolkiena

Lúthien Tinúviel
Tom Loback’s last artwork

I dedicate this article to Susan Ryan, Tom’s beloved Wife
– Galadhorn

See Tom Loback’s gallery on Gwaith-i-Phethdain
See Lúthien Tinúviel in its PDF vesion
Read more about Tom Loback

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Lúthien Tinúviel by Tom Loback (2014)

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In July 2014 before my travel to Norway Tom Loback (1949-2015; see all Elendilion’s articles on Tom Loback) asked me to translate something into Sindarin for his new artwork (he also wrote: „Have fun in Norway – don’t fall in a fjord”). We never completed this task together. I sent the translation and the transcription to Tom, but there was no time to put it all together. Tom left the circles of this world on March 5, 2015 (see Tom Loback – In memoriam).

Nai Eru se mánata!

Now, in cooperation with Tom’s wife, Susan Ryan, I present Tom Loback’s last artwork Lúthien Tinúviel (2014) with a Sindarin text chosen by Tom and with the Tengwar transcription. In my opinion Lúthien resembles here Tom’s partner and wife, Susan – his beloved Lúthien.

The text accompanied to this splendid artwork reads as follows.

This is the artwork by Tom Loback with a fragment of Tolkien’s The Lay of Leithian, Canto VII, verses 205-206 translated into Sindarin and transcribed with the Elvish letters called the Tengwar by Ryszard Derdziński. Tolkien’s text reads as follows:

recalling Lúthien dancing fair,
with wild white roses in her hair

It has been translated into Sindarin and rendered in the Elvish script (‚Mode of Beleriand’) by Ryszard Derdziński (Galadhorn).

renel Lúthien lilthol vain
na-viril rhaw lyss vi fîn dîn

luthien_loback

Version with the Sindarin inscription

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G-i-P stands for Gwaith-i-Phethain, ?The Fellowship of the Word-smiths?™ or the linguistic website devoted to post-Tolkienian constructions in the ?œreconstructed? languages of Middle-earth [link].

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Tom Loback – In memoriam

Tom Loback (1949-2015) był moim mistrzem, a od kilku lat także moim przyjacielem. Opuścił kręgi tego świata po bardzo gwałtownej chorobie 5 marca bieżącego roku, dwa tygodnie po zdiagnozowaniu przez lekarzy raka trzustki. Umarł w ramionach swojej ukochanej partnerki i żony – Susan Ryan. Nai Eru se mánata!

Tom Loback w swojej pracowni

Tom był przede wszystkim artystą. W Nowym Jorku znane były jego rzeźby z gałęzi i kamieni, które powstawały nad rzeką Hudson. Nazywał tę sztukę driftwood art, a pisano o niej nawet w The New York Times (tutaj). Tom był też ilustratorem tolkienowskim, elfickim lingwistą oraz badaczem sztuki wojennej Śródziemia (jego artykuł na Wikipedii znajdziecie tutaj, a inne teksty w miesięczniku Mythlore; znany jest też jego udział w pracy nad częścią systemu gier Middle-earth Role Playing – MERP. Chodzi o Halls of the Elven-king). Jednocześnie pracował też jako offowy producent teatralny na Broadwayu, projektował modele żołnierzyków, a prawdziwą pasją ostatnich lat jego życia była gra w racketball.

Grafiki Toma Lobacka poznałem jeszcze w latach 90. Dzięki spotkaniom w Sekcji Tolkienowskiej Śląskiego Klubu Fantastyki mogłem je zobaczyć w amerykańskich periodykach, takich jak Beyond Bree. Tom zgodził się, żeby jego prace znalazły się też w naszych polskich czasopismach tolkienowskich, a więc były prezentowane wpierw w Gwaihirzęciu, a potem wielokrotnie w Simbelmynë.

Tom i Susan, jedno z ostatnich zdjęć

Tom i Susan, jego wieloletnia partnerka, stracili w zamachu na World Trade Center swojego krewnego – dzielnego strażaka, który oddał życie, ratując ludzi. Od tego czasu przez wiele wiele lat byli wolontariuszami, którzy swoje wolne chwile spędzali na oczyszczaniu Ground Zero. Dzień po dniu, przez niezliczone miesiące, w pocie czoła, w deszczu, w chłodach zimy, w dymie, pyle i ludzkich prochach, doświadczając grozy zdarzenia, o którym pamiętamy jako o 9/11. Nikt nie wiedział wtedy, że i Tom Loback będzie męczennikiem tego zdarzenia. Choroba, która go tak szybko zabiła, była efektem tamtej pracy. 9/11 zbiera swoje śmiertelne żniwo do dziś…

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The Ancalagon Triptych by Tom Loback
(Quenya translation by Ryszard Derdzinski)


For Tom Loback’s Facebook – see here.
More on Tom Loback in our service see here.
About The Fëanor Triptych read here.
G-i-P’s gallery of Tom Loback can be seen here.

From Tom Loback’s Facebook: «Over the past year or so I have been fortunate that a number of collectors have been purchasing my illustrations. Many of these were work I did back in the 1980s for a number of book proposals that didn’t come to fruition and for the extensive Tolkien fan community publications like Parma Eldalamberon, Vinyar Tengwar, Mythlore, Beyond Bree and others. I had produced and sold others in black and white or hand-colored limited edition prints presented as pages from Illuminated Elven Manuscripts or scrolls with texts written in Elvish. They were quite popular and the idea was widely imitated. I also have now had the great good fortune to be commissioned to do some new works. They were conceived and realized as sets of triptychs depicting scenes from J.R.R. Tolkien’s The Silmarillion and other works.»

We have presented Tom Loback’s first triptych, The Fëanor Triptych here. The second triptych, The Ancalgon Triptych, features the final Great Battle of The War of Wrath that ends the First Age of Middle-earth, where the winged Dragons, led by the greatest of all Dragons – Ancalagon the Black – make their first appearance in Tolkien’s legendarium. Concept and art is by Tom Loback. The Quenya and Sindarin translation is by Ryszard „Galadhorn” Derdziński. We present the artwork in the following order:
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1. This illustration is the central panel of The Ancalagon Triptych and depicts the assault of Morgoth’s fleet of winged Dragons, led by Ancalagon the Black, against the Host of Valinor captained by Eönwë, the Herald of Manwë. The Dragons are released from the fortress of Angband and the surprise and force of their attack drives the Elves and Maiar of the Host of the West back. The two columns of Elvish Quenya texts below (transated by Ryszard „Galadhorn” Derdzinski) describe the three illuminations of the Triptich. Additionally, as often seen in illuminated manuscripts, there are some comments in the margins by later writers. One of comments is from Bilbo Baggins whose non-anglicized name in the lingua franca of Middle-earth, Westron, is Bilba Labinga.

 

A. Then the Hosts of the Throne of Hate were overthrown in the battle of Dagor Delorthin and Eönwë, captain of the Host of the Valar, besieged Angband straitly. Then Morgoth made a last sally and all his Dragons were about him. Out of the Gates of Angband he loosed upon his foes a last desperate assault, the winged Dragons that had not before been seen. And so sudden and ruinous was the onset of that dreadful fleet, as a tempest of a hundred thunders winged with steel, that the Host of Valinor was beaten back on Dor-na-Fauglith by lightning and a storm of fire. And not any of the Host of the West, be he Ingwion, Captain of the Vanyar or Finarfin, King of the Noldor, or Eönwë, Chief of the Maiar, might withstand Ancalagon the Black, mightiest of the Dragon horde.

Tá i Hostar Tévie-mahalmava né ataltanë mí Ohta Rúsëo ar Eönwë, i hesto Hosto Valaron, hamosartanë Angamando. Tá Moringotto carnë telda rinca ar ilya Lóceryar ner as esse. Et Andor Angamando lehtanes nalantarya telda estelenca nottoryannar, i ramalóci yar nó úquen sintë cenë. Ar san atalantëa alcayë i rinca naira-liyúmëo ve húro húmi hundieron anga-rámainen, sa i Hosta Valinóreva né nanquernë tenna Dor-nu-Fauglith nár-raumonen. Ar úquen Hostallo Númenwa, la Ingwion, i hesto Vanyaron, la Arafinwë, i Aran Noldoron, la Eönwë, i Aracáno Maiaron, pollë tercolë Ancalacon Morna, ammelehta Lóke-hormo.

B. Now came Eärendil, with the Silamaril on his brow, shining with white flame, in his ship Vingilot that had been hallowed by the Valar and lifted up into the oceans of Heaven, as the star of hope, Gil-estel. And came also a myriad of the all great birds of heaven and the Eagles and led by their captain, Thorondor, King of the Eagles. And there was battle in the air through a dark night of doubt. And before the rising of the sun Eärendil slew Ancalagon and cast him from the sky. And the greatest of all Dragons fell upon the Towers of Thangorodrim, and they were broken in his ruin and bursting fire. Then the Host of the Valinor prevailed and well nigh all the Dragons were destroyed and Angband was unroofed and its pits opened and a multitude of thralls were released.

Si túlë Eärendil as Silmarillë timbareryassë, niquitala telemnarnen, mi Vingilótë ciryaryassë ya ainaina Valainen ar ortaina mir earonna Menelo ve Elen-estel. Ar túlë ta húmi wilindi menelo ar Sorni tulyaina hestonen, Sorontar. Ar i ohta engë wilyassë ter i lómë maquettaron. Ar epe anarórë Eärendil mahtanë Ancalacon ar se unduhantes menello. Ar i ampoldë ilyë Lócion lantaner Thangorodrimo Mindonnar, ar ner rácina atalanteryassë ar mi ruvala nárë. Tá i Hosta Valinóreva orturnë ar epe ilyë Lóci nancarina ar Angamando avatupina ar lattaryar latyaina ar unótimë móli leryaina.

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The Fëanor Triptych by Tom Loback
(Quenya translation by Ryszard Derdzinski)

From Tom Loback’s Facebook – see here.
More on Tom Loback in our service see here.
G-i-P’s gallery of Tom Loback can be seen here.

„Over the past year or so I have been fortunate that a number of collectors have been purchasing my illustrations. Many of these were work I did back in the 1980s for a number of book proposals that didn’t come to fruition and for the extensive Tolkien fan community publications like Parma Eldalamberon, Vinyar Tengwar, Mythlore, Beyond Bree and others.

 

I had produced and sold others in black and white or hand-colored limited edition prints presented as pages from Illuminated Elven Manuscripts or scrolls with texts written in Elvish. They were quite popular and the idea was widely imitated. I also have now had the great good fortune to be commissioned to do some new works. They were conceived and realized as sets of triptychs depicting scenes from J.R.R. Tolkien’s The Silmarillion and other works.

The first triptych, the Fëanor Triptych, of three illustrations concerned the conception, inception and hallowing of the three great Jewels, the Silmarils, created by the Noldorin Elf Fëanor, greatest of all Jewel-smiths from the light of the Two Trees that lit the world.

I had the the expert help of Ryszard Viajante Derdzinski in translating passages into the elvish language of Quenya.” For these who are interested in Quenya we present the English and Elvish text which can be seen in the Tengwar transcription on each part of the Fëanor Triptych:

1. The Eldar said that the light of the Two Trees, Laurelin and Telperion, had been snared in the tresses of Galadriel for it was golden like the hair of her father, Finarfin, and was touched by the starlike silver hair of, Eärwen, her mother. Many thought that this saying first gave to Fëanor the idea of imprisoning and blending the light of the Trees that later took shape in his hands as the Silmarils. For Fëanor beheld the hair of Galadriel with wonder and delight. He begged three times for a tress, but Galadriel would not give him even one hair. These two kinsfolk, the greatest of the Eldar of Valinor, were unfriends forever.

Quetir i Eldar sa Alduo cálë, i cálë Laurelin ar Telperiono, raina findessen Altarielva an sa laurëa ve findessë atarya, Arafinwéva, ar sa appaina elvëa silma findessenen Eärwen, amiliryava. Limbi sinter sa equessë sina antanë setya Fëanáron i inca an remban ar ostien Alduo cálë sa ento né canta Silmarilli maryanta. An Fëanáro cennë Altarielva findessë as elmenda ar larma. Se arcanes nel an erya findë mal Altariellë úne antas erya finë. Min nossëo, antaurië imbi Eldar Valinórëo, te ner únildor oialë.

2. Fëanor, being come to his full might, was filled with a new thought and he pondered how the light of the Trees might be preserved unperishable. Then he began a long and secret labor, and he summoned all his lore, and all his power, and all his subtle skill, for he purposed to make things more fair than any of the Eldar had yet made, that should last beyond the end of all. And the inner fire Fëanor made of the blended light of the trees of Valinor. Of their own radiance even in the dark they shone as were they indeed living things and they rejoiced in light and gave it back in hues more marvellous than before. And the heart of Fëanor was fast bound in these things he himself had made.

Fëanáro quanta-túreryassë né quantaina vinya incanen ar sannë manen hapë ilfirin i cálë Alduo. Tá yestanes i tarassë anda ar muina. Hostanes ilya handerya, ar ilya túrerya, ar ilya varda cururya an selyanes carita i tanwi vanimë lá i exë cárina Eldainen i vórië pell’ Ambar-metta. Ar Fëanáro carnë i minnanár ostimanen cáleva Alduo Valinóreva. Ñaltantanen míri sinë sillë morniessë sívë e coirië nati, ar alassenta cálessë ar te enantaner i cálë cuilínen írimë lá yá. Ar indo Fëanárova né larcavë lanwa as sinë nati i insë carnë.

3. As three great jewels they were in form, like the crystal of diamonds yet more strong than adamant, so that no violence could mar or break it within the Kingdom of Arda. Yet that crystal was to the Silmarils as is the body to the Children of Illúvatar: the house of its inner fire, that is within it and yet in all parts of it, and is its life. But not until the end, until the Sun passes and the Moon falls, shall it be known of what substance they were made. And Varda hallowed the Silmarils so that no mortal flesh, nor anything of evil will might touch them, but it was scorched and withered. And Mandos foretold that the fate of Arda was locked within them.

Ve míri neldë te náner cantantassë, ve maril nammírion mal tulca lá exë míri. Ar Ardassë úner polë hastatas hya hyanetas. Ananta i maril engë Silmarillin ve hröa Eruhinin: i cöa mirnaréva, fëava i ëa mir sassë ar ilya rantassë sava, ar ëa coivierya. Mal tenna i metta, tenna Anar Isilye vanwë ar atalantë úner istuva i hrón yo míri sinë cárina nar. Tá Varda ainanë i Silmarilli sië úquen firimonna hya únat ulcullo polë appa te, mal se nánë ustaina ar hessa. Ar Mandos apaquentë i umbar Ardo yonda Silmarillessen.

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G-i-P stands for Gwaith-i-Phethain, ‘The Fellowship of the Word-smiths’€™ or the linguistic website devoted to post-Tolkienian constructions in the ‘reconstructed’€ languages of Middle-earth [link].

Visit us on Facebook

Dzieci Húrina oczami artystów: Tom Loback

Po prezentacji wizji artystycznej Małgosi Ścigaj (Black Sword) przedstawiamy grafikę pt. Niënor Níniel zaprzyjaźnionego artysty z Nowego Jorku, Toma Lobacka (aby powiększyć, kliknij obrazek).

Niënor Níniel - Tom Loback

Co sądzicie o tej wizji Niënor uciekającej przez las Brethil? Więcej grafik Lobacka znajdziecie w jego galerii na naszej stronie Gwaith-i-Phethdain (tutaj).

Gondolin z archiwum Toma Lobacka…

Nie mogliśmy przejść obojętnie obok tego ciekawego szkicu, który naszym zdaniem bardzo oddziałuje na wyobraźnię. Oto Tom Loback, artysta obecny w naszym serwisie, i naszych czasopismach (Simbelmynë, Gwaihir) oraz kalendarzach (The Elendilion Calendar 2009), znalazł w swoich archiwach i przysłał nam ciekawy rzut z lotu ptaka na Gondolin, elfickie miasto króla Turgona…

Komentarz artysty: „W Księdze Zaginionych Opowieści (cz. 2) podano wiele szczegółów dotyczących układu ulic, różnych dzielnic Gondolinu, domów, placów itd. Wszystko to znajduje się w opowieści „Upadek Gondolinu”, do której wykonałem wiele grafik. Tolkien napisał też niedokończony poemat o tym samym tytule, który nie został wciąż opublikowany. Szkic ołówkiem był blady, dlatego musiałem temu skanowi dodać kontrastu (…)”.

Zwój z bitwą Dagor Bragollach – kolejna nadesłana praca

Tom Loback (ur. 1949) pochodzi z Nowego Jorku. Na początku lat 90. XX w. był znanym ilustratorem Tolkienowego legendarium, a jego prace – znane na całym świecie – publikowane były w takich czasopismach tolkienowskich jak Beyond Bree (Tom Loback stworzył jego logo), Vinyar Tengwar, Mythlore, Parma Eldalamberon, Gwaihirzę/Little Gwaihir, Simbelmynë i wielu innych. Jako lingwista tolkienowski Loback włączał w swoje prace teksty w językach Śródziemia zapisane alfabetem tengwar albo cirth. Specjaliści od grafiki uważają, że prace Lobacka mają w sobie coś ze sztuki Bliskiego i Dalekiego Wschodu, że czerpią też z tradycji bizantyjskich ikon, a jednocześnie mają w sobie coś praamerykańskiego, indiańskiego. Sztuka Toma Lobacka mówi wiele o jego etnologicznych i archeologicznych fascynacjach.

Z uwagi na zainteresowanie Thranduilem oraz Mroczną Puszczą – efekt ekranizacji Petera Jacksona – przypominamy też naszym czytelnikom o tomie w serii Middle-earth Role Playing (MERP), która zatytułowana była Halls of the Elven-king. W książeczce tej Tom Loback zaprezentował około 20 grafik, szkiców przekrojowych i widoków ogólnych siedziby Thranduila i jego syna Legolasa.

Tom Loback posiada galerie internetowe swoich prac na Gwaith-i-Phethdain i Flikrze.

Nowa strona Toma Lobacka!

Śmierć Thingola - dawna praca Toma LobackaArtysta tolkienowski, Tom Loback, którego galerię możecie podziwiać na tej stronie, założył swoją własną witrynę z projektami rzeźbiarskimi.Jedna z nowych prac Toma Warto odwiedzić tę nową stronę – Driftwood Art – żeby przekonać się w jaką stronę ewoluowały artystyczne zainteresowania Toma Lobacka.

Tolkienian artist, Tom Loback, whose gallery can be found here, has opened his new website devoted to his sculpture projects. It’s worth visiting it – website called Driftwood Art – to see how the artist’s interests have evolved.

Simbelmynë nr 2/31, zima 2019 – już jest!

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Simbelmynë
[pdf, 6 MB, DOWNLOAD!]
tadui #2 (31), rhîw (zima/winter) 2019 (75 CE)

Treść (Contents)

Głos z Moczarów, str. 4
Historia znajomości prof. Pełczyńskiego z prof. Tolkienem – Szymon Pindur, str. 6
Moje wspomnienia o J. R. R. Tolkienie – prof. Zbigniew Pełczyński, str. 7
My J. R. R. Tolkien Memories – Professor Zbigniew Pełczyński [pdf], str. 11
Ogniomistrz Christian Tolkien i jego gdańska rodzina – R. Derdziński, str. 17
Recenzje Władcy Pierścieni – prof. Przemysław Mroczkowski, str. 29
Bibliografia opracowań tolkienowskich – Wojciech Kubicki, str. 37

Apocrypha:

Elegia nargothrondzka – Erulissë, str. 47
Perła – Wilwarin, str. 49
Tol Sirion – Erulissë, str. 53
Ciało – Wilwarin, str. 62
Strażnik – Wilwarin, str. 76

Ilustracje (Artwork)

Nimwen, artystyczna interpretacja herbu Tolkienów (wg Mülvestedta) okładka
Nimwen, str. 16, 28, 36, 46
Tom Loback, str. 4, 10, 35, 45
Adaneth, str. 2, 6

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A merry Christmas and our small gift for you!

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Tom Loback – Fëanor (2014)

„A merry Christmas and God bless you all. (…) Well here comes Christmas! That astonishing thing that no ‚commercialism’ can in fact defile – unless you let it. I hope, my dearest, that it will bring you some rest and refreshment in every way, & I shall remember you in communion (as always but specially) and wish that I had all my family beside me in the ancient patriarchal way! Your own Father.”

(J.R.R. Tolkien in his letter to Michael Tolkien, 19 December 1962)

calendar2018A sample page of our Shire Calendar

As this year’s Christmas present we present our Shire Calendar for 2018 (1395 S.R.) in which the Gregorian dates are translated into the dates of the Shire Reckoning according to the Reform of Our Calendar which is based upon Tolkien’s calculations published in Ch. Scull and W. G. Hammond’s A Reader’s Companion, p.p. xlv-l (note that our 25 December is the equivalent of 2 Yule or New Year’s Day like it was in the Catholic reckoning in mediaeval England). Our calendar’s order is borrowed from the publication of Steve Pillinger from 1981 to 1982 about which you can read on Tolkien Gateway.

The Calendar with three illustrations presenting artists’ vision of Fëanor and the Silmarils (by Tom Loback with Ryszard „Galadhorn” Derdziński’s Quenya texts in Tengwar letters) can be downloaded in the PDF format. Note the use of the Elvish letters and numerals (in the decimal system) according to Tengwar mode for Westron (English).

This Calendar is a small tribute to our great Friend and artistic master, Tom Loback (1949-2015).

Shire Calendar 2018

Very best wishes for Yule!

Our Christmas gift – The Shire Calendar 2017!

Merry Christmas and a Happy New Year!

shirecalendar2017bAs this year’s Christmas gift we present our Shire Calendar for 2017 (1394 S.R.) in which the Gregorian dates are translated into the dates of the Shire Reckoning according to the Reform of Our Calendar which is based upon Tolkien’s calculations published in Ch. Scull’s and W. G. Hammond’s A Reader’s Companion, p.p. xlv-l (note that our 25 December is the equivalent of 2 Yule or New Year’s Day like it was in the Catholic reckoning in mediaeval England). Our calendar’s order is borrowed from the publication of Steve Pillinger from 1981 to 1982 about which you can read on Tolkien Gateway.

The Calendar with two illustrations presenting artists’ vision of Lúthien Tinúviel (one by Tom Loback and the other by Ryszard „Galadhorn” Derdziński) can be downloaded in the PDF format. Note the use of the Elvish letters and numerals (in the decimal system) according to Tengwar mode for Westron (English). Key for the numbers can be found below.

This Calendar is a small tribute to our great Friend and artistic master, Tom Loback (1949-2015).

Download THE SHIRE CALENDAR 2017 (PDF, 400 KB)

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