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In Praise of Shadows, by Junichiro Tanizaki
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An essay on aesthetics by the Japanese novelist, this book explores architecture, jade, food, and even toilets, combining an acute sense of the use of space in buildings. The book also includes descriptions of laquerware under candlelight and women in the darkness of the house of pleasure.
- Sales Rank: #10562 in Books
- Brand: Brand: Leete'S Island Books
- Published on: 1977-12-01
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .20" w x 5.50" l, .22 pounds
- Binding: Paperback
- 56 pages
- Used Book in Good Condition
Review
“Tanizaki captures in an amusing, flowing commentary on beauty, architecture, drama, food, feminine beauty, and many other aspects of Japanese life the uneasy mixing of two clashing esthetic traditions.” —Edwin O. Reischauer, Harvard University
About the Author
Junichiro Tanizaki was a major writer of modern Japanese literature who wrote numerous books, including The Makioka Sisters and Naomi: A Novel.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Beauty in the Ordinary - An Author's Perspective on the Japanese Aesthetic
By Trevor Habermeyer
"'The quality that we call beauty . . . must always grow from the realities of life.' And to Tanizaki this meant the whole of life, the base as well as the noble, eating and defecating as well as playgoing and the contemplation of calligraphy" (pp. 46).
Several years ago I found myself living in an old, run-down apartment in the port city of Joetsu, Niigata Prefecture, located off the coast of the Japan Sea. The frigid tile of the moldy shower room, the damaged shoji separating the cramped quarters, the traditional tatami bedroom I slept in - those six months in that largely rural subsection of Japan remain vivid in my memory; and, though I would come to experience much more of Japan in later years, those memories in that apartment and in that city formed the basis by which I understood this short "essay" from Tanizaki.
Written in 1933, Tanizaki's "In Praise of Shadows" (陰影礼賛) feels like a "stream-of-consciousness" piece, the author's musings on traditional Japan and a dying aesthetic in the wake of Western modernism. While the Japanese have notably strived to retain their cultural heritage, Tanizaki (if he were alive today) would likely argue that only vestiges remain: "[F]or Tanizaki a museum piece is no cause for rejoicing. An art must live as a part of our daily lives or we had better give it up. We can admire it for what it once was, and try to understand what made it so - as Tanizaki does in "In Praise of Shadows" - but to pretend that we can still participate in it is mere posturing" (pp. 48). Tanizaki paints a world that is ultimately lost, yet uncannily familiar - a world, for those of us who have lived in Japan and/or are familiar with the basics of Japanese culture, still exists in the shadows.
Anyone interested in the Japanese aesthetic and culture ought to read this (at only 48 pages, there's really no excuse not to). While some segments failed to capture my interest, it was, on the whole, fascinating. That Tanizaki can turn the toilet - perhaps the epitome of mundane living - into "a place of spiritual repose" (pp. 3), even something elegant and beautiful, speaks to the depth of the work. And, at points, Tanizaki's musings seem to move beyond the realm of aesthetics to touch upon truths of the human condition, as captured in this favorite passage of mine:
"We do not dislike everything that shines, but we do prefer a pensive luster to a shallow brilliance, a murky light that, whether in a stone or an artifact, bespeaks a sheen of antiquity. Of course this 'sheen of antiquity' of which we hear so much is in fact the glow of grime. In both Chinese and Japanese the words denoting this glow describe a polish that comes of being touched over and over again, a sheen produced by the oils that naturally permeate an object over long years of handling -- which is to say grime. . . . There is no denying, at any rate, that among the elements of the elegance in which we take such delight is a measure of the unclean, the unsanitary. I suppose I shall sound terribly defensive if I say that Westerners attempt to expose every speck of grime and eradicate it, while we Orientals carefully preserve and even idealize it. Yet for better or for worse we do love things that bear the marks of grime, soot, and weather, and we love the colors and the sheen that call to mind the past that made them" (pp. 11-12).
1 of 1 people found the following review helpful.
Thoughtful, sometimes silly critical look at ideals of beauty
By Giselita
This was a great read. It was assigned reading for a class I had on the meaning of "beauty" in the arts. The book is largely about Japanese culture, but the experience of reading it as part of any Western-ized culture is much more about looking critically at what the Western world finds beautiful. In maybe the first ten pages, he approaches this argument in the most delightfully funny way -- by talking about toilets. By the end of this section, I was ready to say f*ck my stupid pretentious ugly toilet and install a japanese bathroom. Anyway, the point is he brings up these points in really interesting ways, and I'm always a fan of more reasons to see beauty in the world :)
PS It's so weird how amazon doesn't let you post a review unless you answer the question "How would you describe the plot of this book?", regardless of whether it's fiction with a "plot" or not. Like, the question comes up on my textbooks and this nonfiction piece too. So silly.
3 of 3 people found the following review helpful.
Obscured by Light
By MoseyOn
This is a gem of a book. Beautifully translated by Harper and Seidensticker, this series of brief meditations on Japanese aesthetics moves seemingly randomly among topics as diverse as theatre, women, lacquerware, food, toilets, hotels, and electric lights. The passage on the Japanese toilet is worth the price of the book, even if it is unclear how serious Tanizaki was being. And the section on lacquerware is one to be treasured and read again. Tanizaki mourns the passing of much of what he sees as the essence of Japan's shadow-enshrined aesthetic sensibility. But what can be done? In the end, even he finds he must acknowledge certain benefits of modern life, and he refuses to go farther than he deems practical (or affordable) in recreating the material life of the past for himself. Nevertheless, his observations clearly come from the soul of a man who feels a combination of loss and appreciation for a time when light and shadow revealed precisely what needed to be revealed, and no more. If you have never thought that sipping soup, bathing, or using the toilet could be an aesthetic experience, read this book.
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