It comes with the thrill of a slap for us then to hear praise of shadows and darkness; so it is when there comes to us the excitement of realizing that musicians. In Praise of Shadows. Junichiro Tanizaki (Leete's Island Books, ). What incredible pains the fancier of traditional architecture must take when he sets out to. IN PRAISE of LOVE ALAIN BADIOU with Nicolas Truong Translated by Peter Bush A complete catalogue record for this bo.
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In Praise of Shadows - Free download as PDF File .pdf) or read online for free. In Praise of Shadows de Junichiro Tanizaki. En castellano "El elogio de la. Junichiro Tanizaki's essay on Japanese aesthetics is a perfect little read, and foundational for any of us art-and-design-types living on the. PDF | On Jul 30, , Nerea Castro-Vicente and others published In Praise of Shadows: Study for a Light Composition in Space.
Skip to main content. Log In Sign Up. In Praise of Shadows and Light. Sally Stewart. In Kobe I had the the hectoring tone of a much older man. This re-reading with its description of the shifts in Japanese prompts me to think again about a building society at the beginning of the 20th cen- I experience on a daily basis, which also tury.
In Praise of Shadows
This paper, viewing Mackintosh through the lens of Tani- zaki, is the result of this meditation. Light becomes a tool to define both public and private, social and intimate space, interior and exterior threshold. One reason is the apparent affinity that many of the ideas Tanizaki discusses seem to have with the experience Glasgow School of Art presents. Another is the long held view that 1.
In Praise of Shadows
The simplicity needs no explanation. It is and brings them into sharp contrast with the amazing how he has grasped the essence of modern Japanese context and my western Japanese aesthetics.
The visit prompts a re-reading of On my first trip to Glasgow in I hoped the text. In Praise of Shadows, perhaps his most widely read text, Japanese art and architecture was known in rails against the crassness of the modern Glasgow art circles; Japanese prints were avail- age while celebrating the qualities of shade, able and popular; Japanese artists had gone to gloom and the absence of light, to his mind Japan to paint the contemporary scene there; a the antithesis of western preferences for light Japanese house had been built at the Interna- and brightness.
Photo author Dresser had written his great catalogue of order create beauty in an industrial facade. Japanese Art.
Within, of his flower drawings and some of the prints light is used to organise and orientate. Light plays a crucial part in estab- Japan as others have previously done, but lishing and signalling the heirarchy and use rather to offer a different reading of Mackin- of space. Shafts of light pass through and add and Japanese sensibilities. In order to under- to the dynamic of the passing of students. We pass through an anonymous door leading to the Board Room.
To the north, the building displays its signature. The room is given further depth by modern, even modernist, functional face. In this arrangement of layering of dependable quality of light produced in the space and filtering of light from outside and spaces within, through enormous apertures, within, it is reminiscent of the Shokin-tei Tea the hallmark of this elevation.
Rhythm and House, Katsura Fig. Tanizaki writes: The Japanese room depends on a variation of shad- uppermost landing is also the most intimate ows, heavy shadows against light shadows — it space in the public areas of the building.
The has nothing else. Westerners are amazed at light reduces to a murkiness, as our eyes be- the simplicity of Japanese rooms, perceiving in come accustomed to the gloom beyond. We them no more than ashen walls bereft of orna- notionally re-enter the body of the building, mentation. Their reaction is understandable, but this time from the south, and walk through it betrays a failure to comprehend the mystery the uppermost passages.
The second floor of shadows. Its timber We arrive at the east staircase where feels insubstantial but forms an effective movement and flow change from the hori- separation nonetheless. Light adds a sense of Light is at a minimum even on a bright the dynamic to spaces, particularly in the day, the stained timber forming a continuous vertical flow through the building.
The reflec- gloomy route from the stair. The wall surface tive surface of the polished plaster heightens echoes the floor, and the space is contained the presence of light, while shadows cast by by the low ceiling and dark stained timber; the window mullions intersect with the tiled the ceiling is no longer white to guide us patterns that help define one level from the through the gloom.
Originally, the Embroidery Room beauty in the Japanese language: Here 3. Charles Rennie north and south light meet, the only time Mackintosh, reflection on this occurs in the building, creating the ideal polished plaster surface, light for the close embroidery work being east stair tower, Glasgow undertaken within.
The timber that covers floor, walls and ceiling seems to absorb light. There are no reflections here, and the sensation is of being in a box or a ship, a slight creaking audible as the surfaces expand and contract, the wooden box apparently independent of the main structure.
We must push on almost blindly, trusting to what will come next. The qualities of the passage would no doubt be familiar to Tanizaki: A light room would no doubt have been more convenient for us too, than a dark room. The sense of re- the quality of light reflected.
We find ourselves outside room, which reveals a cross-section of the building on a platform suspended over the life of the building as we climb. It also the Museum, a verandah for viewing both the offers containment, apparent from the thick city and the School. Its length is exaggerated walls through which the windows have been Vol. Photo author by the order of the glazing. Again, timber harsh summer sun.
Due to the elevation of lines wall and floor but the external wall of the building the skyline to the south becomes the building, painted white, is in the form of the landscape we consider. It gives off no sound when it is crumpled or folded, it is quiet and pliant to the touch as the leaf of a tree.
He considers the broader implications of material progress based on assimilation and imitation: Had we devised independently at least the more practical sorts of inventions, this could not but have had profound influence upon the conduct of our everyday lives, and even upon government, religion, art, and business.
He offers the example of the Japanese writing brush and the Western fountain pen, examining how the latter might differ had it been invented in his homeland: It would surely have had a tufted end like our writing brush.
The ink would not have been this bluish color but rather black, something like India ink, and it would have been made to seep down from the handle into the brush. And since we would have found it inconvenient to write on Western paper, something near Japanese paper — even under mass production, if you will — would have been most in demand. Foreign ink and pen would not be as popular as they are; the talk of discarding our system of writing for Roman letters would be less noisy; people would still feel an affection for the old system.
But more than that: our thought and our literature might not be imitating the West as they are, but might have pushed forward into new regions quite on their own.
An insignificant little piece of writing equipment, when one thinks of it, has had a vast, almost boundless, influence on our culture. Many decades later, it is now believed that another invention — glass — is what planted the seed for the innovation gap between East and West.
Japanese music is above all a music of reticence, of atmosphere.
When recorded, or amplified by a loudspeaker, the greater part of its charm is lost. In conversation, too, we prefer the soft voice, the understatement. Most important of all are the pauses.
Yet the phonograph and radio render these moments of silence utterly lifeless. Although Tanizaki is writing at a time when a new wave of polymers was sweeping the industrialized West, he paints a subtler and more important contrast than that between the Western cult of synthetics and the Japanese preference for organic materials.
This elegant osmosis of art and shadow, he argues, is to be found not only in what materials are used, but in how they are being used: Wood finished in glistening black lacquer is the very best; but even unfinished wood, as it darkens and the grain grows more subtle with the years, acquires an inexplicable power to calm and sooth. Luster becomes not an attractive quality but a symbol of shallowness, a vacant lack of history: We find it hard to be really at home with things that shine and glitter.
The Westerner uses silver and steel and nickel tableware, and polishes it to a fine brilliance, but we object to the practice… We begin to enjoy it only when the luster has worn off, when it has begun to take on a dark, smoky patina.
Almost every householder has had to scold an insensitive maid who has polished away the tarnish so patiently waited for.
The sensation is something like that of holding a plump newborn baby… With lacquerware there is a beauty in that moment between removing the lid and lifting the bowl to the mouth when one gazes at the still, silent liquid in the dark depths of the bowl, its color hardly different from that of the bowl itself.
What lies within the darkness one cannot distinguish, but the palm senses the gentle movements of the liquid, vapor rises from within forming droplets on the rim, and the fragrance carried upon the vapor brings a delicate anticipation. What a world of difference there is between this moment and the moment wen soup is served Western style, in a pal, shallow bowl. A moment of mystery, it might almost be called, a moment of trance.
This mysterious mesmerism of well-placed darkness is especially vital in the culinary experience: It has been said of Japanese food that it is a cuisine to be looked at rather than eaten.
I would go further and say that it is to be meditated upon, a kind of silent music evoked by the combination of lacquerware and the light of a candle flickering in the dark.The sense of re- the quality of light reflected. Modernists, especially, have sought to decode the architecture of Kat- sura in sympathy with their own design themes, making it a fulcrum for their own tactics. Grigor ed. Regarding the new translation published by Sora Books, David Mitchell, author of Cloud Atlas, wrote, "A rhapsodic meditation on a vanishing world, its aesthetics and its values.
That was the ultimate defining line that demarcated me and my grandfather standing apart in two different worlds. He is an author of outstanding stature and deserves to be far better known outside Japan than he is" -- Ivan Morris show more About Jun'ichiro Tanizaki Junichiro Tanizaki was one of Japan's greatest twentienth century novelists.
This re-reading with its description of the shifts in Japanese prompts me to think again about a building society at the beginning of the 20th cen- I experience on a daily basis, which also tury. He considers the broader implications of material progress based on assimilation and imitation: Had we devised independently at least the more practical sorts of inventions, this could not but have had profound influence upon the conduct of our everyday lives, and even upon government, religion, art, and business.
Buck ed. If light is scarce then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty.