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sirannonster's review against another edition
3.0
A Tanizaki no le gustan los retretes de porcelana, las paredes, las bombillas o la ropa de colores, porque no dejan ver la verdadera belleza de las cosas. Por un lado, es un señor mayor gritándole a un mundo que ha cambiado muy de golpe para él.
Por el otro, la descripción de la sombra, el elogio a la oscuridad y su manera de ver la belleza en un simple bol lacado en negro me han atrapado en este ensayo.
3.5 estrellas.
Por el otro, la descripción de la sombra, el elogio a la oscuridad y su manera de ver la belleza en un simple bol lacado en negro me han atrapado en este ensayo.
3.5 estrellas.
magda_doublebookspresso's review against another edition
3.0
Dziwna ta książka w swojej treści, ale niewątpliwie poszerza widzenie świata z perspektywy autora.
jefcaine's review against another edition
3.0
A great celebration of the minimalist Japanese aesthetic with just a little too much grumpy old timer energy.
rrrebekahmay's review against another edition
5.0
I actually really want to read this again before I review it. I read this is little snatches of time because I didn't have much time to read over the weekend. Its a beautiful love letter to Japan's history and the way it looks in low light. I could see everything coming alive from the page in my head. Absolutely gorgeous book and beautifully written. I highly recommend this one!
lezreadalot's review against another edition
4.0
If light is scarce then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty.
Very different from everything I've been reading lately and I quite enjoyed that. This was an essay (of sorts) about the Japanese sense of beauty and aesthetics, in architecture, art, theatre, people. Emphasises the use of shadows and darkness to accentuate beauty, how and why they emerged and were popular, and how these practises are being eroded by Western sensibilities. I liked it very much, both for what Tanizaki is saying, and also just as a chance to learn about a few cultural nuances I was unaware of. Lightness and light is always seen as a wonderful and generally bettering aspect, and it was nice to see that challenged, in every sense that Tanizaki did it.
Very different from everything I've been reading lately and I quite enjoyed that. This was an essay (of sorts) about the Japanese sense of beauty and aesthetics, in architecture, art, theatre, people. Emphasises the use of shadows and darkness to accentuate beauty, how and why they emerged and were popular, and how these practises are being eroded by Western sensibilities. I liked it very much, both for what Tanizaki is saying, and also just as a chance to learn about a few cultural nuances I was unaware of. Lightness and light is always seen as a wonderful and generally bettering aspect, and it was nice to see that challenged, in every sense that Tanizaki did it.
eclb's review against another edition
slow-paced
3.0
Boken beskriver verdien og styrken i kontraster og ikke minst i mørke og skygger på en grundig, nyansert, gjennomtenkt og kraftfull måte. Hvordan Tanizaki greier å fremheve verdien av å ikke ha alt lyst og skinnende, vestlig, er godt gjennomført. En bok som virkelig kan inspirere til å se på rom og bygninger med et annet syn og se verdien i de ting som ikke er nytt og opplyst.
Tanizaki fremhever virkelig hvordan arkitektur har utviklet seg slik det gjorde på grunn av klima og egenskapene til de materialer som var praktiske Og tilgjengelige, både i Japan og i Vesten.
And so it has come to be that the beauty of a Japanese room depends on a variation of heavy shadows against light shadows - it has nothing else. (29)
Such is our thinking - we find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates. (46)
I do not ask that this be done everywhere, but perhaps we may be allowed at least one mansion where we can turn off the electric lights and see what it is like without them. (63-64)
The quality that we call beauty ... must always grow from the realities of life. (Sitat fra boken presentert i etterordet på side 70)