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In Praise of Shadows

In'ei Raisan (陰翳礼讃)

Jun'ichirō Tanizaki · 1933 · Short (under 150 pages)

4.7 from 3 reviews · 51 views

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What it is

A long essay by the novelist Tanizaki on Japanese taste and the beauty of dimness. Writing as electric lighting and Western fittings spread through Japan, he reflects on what is lost when shadows are abolished. He moves through the design of traditional rooms and their paper screens, the alcove where a scroll hangs in half-light, the lacquerware that only shows its depth by candlelight, the glimmer of gold in dark interiors, the old-style toilet set apart in a garden, food, the Nō theatre and the appearance of actors and women in earlier times. Throughout he contrasts a taste that seeks the hidden, the patinated and the softly lit with a modern taste for brightness and cleanliness. The tone is personal, wry and often self-mocking, and some passages, on skin colour among others, read uncomfortably today. The standard English translation is by Thomas J. Harper and Edward G. Seidensticker (1977).

Why read it

It makes the reader notice the light, surfaces and objects of ordinary life as an aesthetic matter, which is the heart of everyday aesthetics.

Where to start

Read it in one sitting, preferably in the evening with the lights low.

Reviews

  1. Ratna Wulandari

    Batik is about what the wax hides as much as what the dye shows, so this essay felt like a letter from a stranger who understood my work. I gave copies to the women in our workshop. They argued about whether he loved old things or only feared new ones.

  2. Rin Matsuda

    I draw picture books and this essay is pinned above my desk. It taught me that the dark parts of a page are not empty. Tanizaki is grumpy, nostalgic and sometimes plainly wrong, and a few passages about skin are hard to read now, but nobody has written better about why a lacquer bowl looks alive in candlelight.

  3. Aiko Tanabe

    Living in a Kyoto machiya, I can confirm that the rooms are dark and that he is right about how the gold on old screens comes alive in them. I would not call it philosophy either, but it sits well beside Nishida and Dōgen as a record of a sensibility. Read it slowly.