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3.82 AVERAGE
3.82 AVERAGE
Un amigo, con quien comparto el interés por la cultura asiática, me recomendó este libro, y resultó ser una lectura hermosa. No sabía que era una obra tan famosa, escrita en 1933, breve pero de gran elegancia y sencillez. La edición de Navona es una joya.
El libro presenta varios conceptos estéticos que siguen vigentes hoy y que invitan a la reflexión. No se centra únicamente en la sombra, sino que explora otras ideas fascinantes, como la conservación de objetos impregnados de la huella humana, como el hollín. Además, ofrece una interesante comparación entre la estética oriental y occidental en distintos niveles.
Algunos puntos son muy críticos de la cultura occidental pero interesantísimos:“Hoy en día, la iluminación interior ya no tiene como propósito principal facilitar la lectura, la escritura o la costura, sino que se utiliza sobre todo para eliminar las sombras de cada rincón.”
Es corto, se lee en un rato.
El libro presenta varios conceptos estéticos que siguen vigentes hoy y que invitan a la reflexión. No se centra únicamente en la sombra, sino que explora otras ideas fascinantes, como la conservación de objetos impregnados de la huella humana, como el hollín. Además, ofrece una interesante comparación entre la estética oriental y occidental en distintos niveles.
Algunos puntos son muy críticos de la cultura occidental pero interesantísimos:“Hoy en día, la iluminación interior ya no tiene como propósito principal facilitar la lectura, la escritura o la costura, sino que se utiliza sobre todo para eliminar las sombras de cada rincón.”
Es corto, se lee en un rato.
dark
informative
mysterious
reflective
medium-paced
informative
reflective
relaxing
medium-paced
Descripciones preciosas y palabras sumamente bellas sobre acciones, objetos, lugares o costumbres de lo más comunes. Consigue que lo más sencillo crezca en relevancia.
Es cierto que hay comparativas entre oriente y occidente en parte acertadas, en parte bruscas, sobre todo en referencia a la raza o a las mujeres. No obstante, no hay que leer desde la mirada occidental sino tratar de entender su perspectiva.
Es cierto que hay comparativas entre oriente y occidente en parte acertadas, en parte bruscas, sobre todo en referencia a la raza o a las mujeres. No obstante, no hay que leer desde la mirada occidental sino tratar de entender su perspectiva.
Content Warnings
Graphic: Racial slurs, Classism
Moderate: Misogyny, Racism
inspiring
reflective
medium-paced
reflective
medium-paced
Interesting and beautifully expressed, a little scattergun and devoid of the logical procession you might normally expect from the essay form, but given the subject matter the indistinctness feels part of the point.
The afterword called this an ‘essentially pessimistic aesthetics’ and I would tend to agree. Reflections on the traditional forms and characteristics of Japanese aesthetics that were lost post-Meiji Restoration occasionally border on the elegiac, but Tanizaki (just about) manages to avoid the familiar, chauvinist essentialist myth of Japanese aesthetic sense, by grounding the reason for its development in real-life social, economic and material necessities (climate, building materials etc) rather than mystical appeals to national character. The elegiac quality comes from the fact that Japan, thanks to Westernisation and modernity, has long since moved past the conditions that allowed for such traditional arts to develop, reducing them to ‘museum pieces’.
On a less highfalutin note the passage on the merits of defecating in a traditional Japanese toilet for philosophical contemplation or literary creativity was great fun. The artwork which framed the text in my edition was a lovely addition.
The afterword called this an ‘essentially pessimistic aesthetics’ and I would tend to agree. Reflections on the traditional forms and characteristics of Japanese aesthetics that were lost post-Meiji Restoration occasionally border on the elegiac, but Tanizaki (just about) manages to avoid the familiar, chauvinist essentialist myth of Japanese aesthetic sense, by grounding the reason for its development in real-life social, economic and material necessities (climate, building materials etc) rather than mystical appeals to national character. The elegiac quality comes from the fact that Japan, thanks to Westernisation and modernity, has long since moved past the conditions that allowed for such traditional arts to develop, reducing them to ‘museum pieces’.
On a less highfalutin note the passage on the merits of defecating in a traditional Japanese toilet for philosophical contemplation or literary creativity was great fun. The artwork which framed the text in my edition was a lovely addition.
Weirdly compelling - a 1930’s novelist writes about the aesthetics of shadows and their quickly evaporating place in Japan, along with his simmering dislike of Japan’s leaning towards Western styles, and finishes up with a persimmon sushi recipe. This book made me go on Zillow
This long essay writes about aesthetics - bathroom furnishings, neon lights, skin colour, soup bowls. It discusses Eastern vs Western influences in ambiance, style & materials. It touches on technological development, racism and trends. He wrote it over 50 years ago - i was enchanted & amazed.
The author's elaborations on the crucial role of shadows in the architecture of a Japanese home, and in Japanese theatre tradition, totally captivating.
However, too many times throughout the book, his voice sounds like that of a patriarchal grandpa from a totally different age, which is who he is actually, a Japanese male writer of the first half of the 20th century.
What he says about women throughout the book, and how he formulates those ideas, are quite offensive.
But more importantly, at some point he talks about human complexion, particularly in relation to "shadows", he talks about white and dark skin, about being white, and what he says sounds to me to come from a consciousness that today is typically and comfortably called racist. The racialized consciousness of someone belonging to a minoritized group with serious inferiority complexes.
However, too many times throughout the book, his voice sounds like that of a patriarchal grandpa from a totally different age, which is who he is actually, a Japanese male writer of the first half of the 20th century.
What he says about women throughout the book, and how he formulates those ideas, are quite offensive.
But more importantly, at some point he talks about human complexion, particularly in relation to "shadows", he talks about white and dark skin, about being white, and what he says sounds to me to come from a consciousness that today is typically and comfortably called racist. The racialized consciousness of someone belonging to a minoritized group with serious inferiority complexes.