In Praise of Shadows Book by Jun'ichirō Tanizaki

Editorial Reviews
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.
Excerpt. © Reprinted by permission. All rights reserved.
In Praise of Shadows
By Jun'ichiro Tanizaki, Thomas J. Harper, Edward G. Seidensticker
Leete's Island Books
Copyright © 1977 Leete's Island Books, Inc.
All rights reserved.
ISBN: 978-0-918172-02-0
CHAPTER 1
What incredible pains the fancier of traditional architecture must take when he sets out to build a house in pure Japanese style, striving somehow to make electric wires, gas pipes, and water lines harmonize with the austerity of Japanese rooms — even someone who has never built a house for himself must sense this when he visits a teahouse, a restaurant, or an inn. For the solitary eccentric it is another matter, he can ignore the blessings of scientific civilization and retreat to some forsaken comer of the countryside; but a man who has a family and lives in the city cannot turn his back on the necessities of modern life — heating, electric lights, sanitary facilities — merely for the sake of doing things the Japanese way. The purist may rack his brain over the placement of a single telephone, hiding it behind the staircase or in a corner of the hallway, wherever he thinks it will least offend the eye. He may bury the wires rather than hang them in the garden, hide the switches in a closet or cupboard, run the cords behind a folding screen. Yet for all his ingenuity, his efforts often impress us as nervous, fussy, excessively contrived. For so accustomed are we to electric lights that the sight of a naked bulb beneath an ordinary milk glass shade seems simpler and more natural than any gratuitous attempt to hide it. Seen at dusk as one gazes out upon the countryside from the window of a train, the lonely light of a bulb under an old- fashioned shade, shining dimly from behind the white paper shoji of a thatch- roofed farmhouse, can seem positively elegant.

But the snarl and the bulk of an electric fan remain a bit out of place in a Japanese room. The ordinary householder, if he dislikes electric fans, can simply do without them. But if the family business involves the entertainment of customers in summertime, the gentleman of the house cannot afford to indulge his own tastes at the expense of others. A friend of mine, the proprietor of a Chinese restaurant called the Kairakuen, is a thoroughgoing purist in matters architectural. He deplores electric fans and long refused to have them in his restaurant, but the complaints from customers with which he was faced every summer ultimately forced him to give in.

I myself have had similar experiences. A few years ago I spent a great deal more money than I could afford to build a house. I fussed over every last fitting and fixture, and in every case encountered difficulty. There was the shoji: for aesthetic reasons I did not want to use glass, and yet paper alone would have posed problems of illumination and security. Much against my will, I decided to cover the inside with paper and the outside with glass. This required a double frame, thus raising the cost. Yet having gone to all this trouble, the effect was far from pleasing. The outside remained no more than a glass door; while within, the mellow softness of the paper was destroyed by the glass that lay behind it. At that point I was sorry I had not just settled for glass to begin with. Yet laugh though we may when the house is someone else's, we ourselves accept defeat only after having a try at such schemes.

Then there was the problem of lighting. In recent years several fixtures designed for Japanese houses have come on the market, fixtures patterned after old floor lamps, ceiling lights, candle stands, and the like. But I simply do not care for them, and instead searched in curio shops for old lamps, which I fitted with electric light bulbs.

What most taxed my ingenuity was the heating system. No stove worthy of the name will ever look right in a Japanese room. Gas stoves burn with a terrific roar, and unless provided with a chimney, quickly bring headaches. Electric stoves, though at least free from these defects, are every bit as ugly as the rest. One solution would be to outfit the cupboards with heaters of the sort used in streetcars. Yet without the red glow of the coals, the whole mood of winter is lost and with it the pleasure of family gatherings round the fire. The best plan I could devise was to build a large sunken hearth, as in an old farmhouse. In this I installed an electric brazier, which worked well both for boiling tea water and for heating the room. Expensive it was, but at least so far as looks were concerned I counted it one of my successes.

Having done passably well with the heating system, I was then faced with the problem of bath and toilet. My Kairakuen friend could not bear to tile the tub and bathing area, and so built his guest bath entirely of wood. Tile, of course, is infinitely more practical and economical. But when ceiling, pillars, and paneling are of fine Japanese stock, the beauty of the room is utterly destroyed when the rest is done in sparkling tile. The effect may not seem so very displeasing while everything is still new, but as the years pass, and the beauty of the grain begins to emerge on the planks and pillars, that glittering expanse of white tile comes to seem as incongruous as the proverbial bamboo grafted to wood. Still, in the bath utility can to some extent be sacrificed to good taste. In the toilet somewhat more vexatious problems arise.

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet truly is a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Soseki counted his morning trips to the toilet a great pleasure, "a physiological delight" he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves.

As I have said there are certain prerequisites: a degree of dimness, absolute cleanliness, and quiet so complete one can hear the hum of a mosquito. I love to listen from such a toilet to the sound of softly falling rain, especially if it is a toilet of the Kanto region, with its long, narrow windows at floor level; there one can listen with such a sense of intimacy to the raindrops falling from the eaves and the trees, seeping into the earth as they wash over the base of a stone lantern and freshen the moss about the stepping stones. And the toilet is the perfect place to listen to the chirping of insects or the song of the birds, to view the moon, or to enjoy any of those poignant moments that mark the change of the seasons. Here, I suspect, is where haiku poets over the ages have come by a great many of their ideas. Indeed one could with some justice claim that of all the elements of Japanese architecture, the toilet is the most aesthetic. Our forebears, making poetry of everything in their lives, transformed what by rights should be the most unsanitary room in the house into a place of unsurpassed elegance, replete with fond associations with the beauties of nature. Compared to Westerners, who regard the toilet as utterly unclean and avoid even the mention of it in polite conversation, we are far more sensible and certainly in better taste. The Japanese toilet is, I must admit, a bit inconvenient to get to in the middle of the night, set apart from the main building as it is and in winter there is always a danger that one might catch cold. But as the poet Saito Ryoku has said, "elegance is frigid." Better that the place be as chilly as the out-of-doors; the steamy heat of a Western-style toilet in a hotel is most unpleasant.

Anyone with a taste for traditional architecture must agree that the Japanese toilet is perfection. Yet whatever its virtues in a place like a temple, where the dwelling is large, the inhabitants few, and everyone helps with the cleaning, in an ordinary household it is no easy task to keep it clean. No matter how fastidious one may be or how diligently one may scrub, dirt will show, particularly on a floor of wood or tatami matting. And so here too it turns out to be more hygienic and efficient to install modern sanitary facilities — tile and a flush toilet — though at the price of destroying all affinity with "good taste" and the "beauties of nature." That burst of light from those four white walls hardly puts one in a mood to relish Soseki's "physiological delight." There is no denying the cleanliness; every nook and corner is pure white. Yet what need is there to remind us so forcefully of the issue of our own bodies. A beautiful woman, no matter how lovely her skin, would be considered indecent were she to show her bare buttocks or feet in the presence of others; and how very crude and tasteless to expose the toilet to such excessive illumination. The cleanliness of what can be seen only calls up the more clearly thoughts of what cannot be seen. In such places the distinction between the clean and the unclean is best left obscure, shrouded in a dusky haze.

Though I did install modern sanitary facilities when I built my own house, I at least avoided tiles, and had the floor done in camphor wood. To that extent I tried to create a Japanese atmosphere — but was frustrated finally by the toilet fixtures themselves. As everyone knows, flush toilets are made of pure white porcelain and have handles of sparkling metal. Were I able to have things my own way, I would much prefer fixtures — both men's and women's — made of wood. 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. The ultimate, of course, is a wooden "morning glory" urinal filled with boughs of cedar; this is a delight to look at and allows not the slightest sound. I could not afford to indulge in such extravagances. I hoped I might at least have the external fittings made to suit my own taste, and then adapt these to a standard flushing mechanism. But the custom labor would have cost so much that I had no choice but to abandon the idea. It was not that I objected to the conveniences of modern civilization, whether electric lights or heating or toilets, but I did wonder at the time why they could not be designed with a bit more consideration for our own habits and tastes.

The recent vogue for electric lamps in the style of the old standing lanterns comes, I think, from a new awareness of the softness and warmth of paper, qualities which for a time we had forgotten; it stands as evidence of our recognition that this material is far better suited than glass to the Japanese house. But no toilet fixtures or stoves that are at all tasteful have yet come on the market. A heating system like my own, an electric brazier in a sunken hearth, seems to me ideal; yet no one ventures to produce even so simple a device as this (there are, of course, those feeble electric hibachi, but they provide no more heat than an ordinary charcoal hibachi); all that can be had readymade are those ugly Western stoves.

There are those who hold that to quibble over matters of taste in the basic necessities of life is an extravagance, that as long as a house keeps out the cold and as long as food keeps off starvation, it matters little what they look like. And indeed for even the sternest ascetic the fact remains that a snowy day is cold, and there is no denying the impulse to accept the services of a heater if it happens to be there in front of one, no matter how cruelly its inelegance may shatter the spell of the day. But it is on occasions like this that I always think how different everything would be if we in the Orient had developed our own science. Suppose for instance that we had developed our own physics and chemistry: would not the techniques and industries based on them have taken a different form, would not our myriads of everyday gadgets, our medicines, the products of our industrial art — would they not have suited our national temper better than they do? In fact our conception of physics itself, and even the principles of chemistry, would probably differ from that of Westerners; and the facts we are now taught concerning the nature and function of light, electricity, and atoms might well have presented themselves in different form.

Of course I am only indulging in idle speculation; of scientific matters I know nothing. But 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. The Orient quite conceivably could have opened up a world of technology entirely its own.

To take a trivial example near at hand: I wrote a magazine article recently comparing the writing brush with the fountain pen, and in the course of it I remarked that if the device had been invented by the ancient Chinese or Japanese 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 then 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.

But I know as well as anyone that these are the empty dreams of a novelist, and that having come this far we cannot turn back. I know that I am only grumbling to myself and demanding the impossible. If my complaints are taken for what they are, however, there can be no harm in considering how unlucky we have been, what losses we have suffered, in comparison with the Westerner. The Westerner has been able to move forward in ordered steps, while we have met superior civilization and have had to surrender to it, and we have had to leave a road we have followed for thousands of years. The missteps and inconveniences this has caused have, I think, been many. If we had been left alone we might not be much further now in a material way than we were five hundred years ago. Even now in the Indian and Chinese countryside life no doubt goes on much as it did when Buddha and Confucius were alive. But we would have gone only in a direction that suited us. We would have gone ahead very slowly, and yet it is not impossible that we would one day have discovered our own substitute for the trolley, the radio, the airplane of today. They would have been no borrowed gadgets, they would have been the tools of our own culture, suited to us.

One need only compare American, French, and German films to see how greatly nuances of shading and coloration can vary in motion pictures. In the photographic image itself, to say nothing of the acting and the script, there somehow emerge differences in national character. If this is true even when identical equipment, chemicals, and film are used, how much better our own photographic technology might have suited our complexion, our facial features, our climate, our land. And had we invented the phonograph and the radio, how much more faithfully they would reproduce the special character of our voices and our music. 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. And so we distort the arts themselves to curry favor for them with the machines. These machines are the inventions of Westerners, and are, as we might expect, well suited to the Western arts. But precisely on this account they put our own arts at a great disadvantage.

Paper, I understand, was invented by the Chinese; but Western paper is to us no more than something to be used, while the texture of Chinese paper and Japanese paper gives us a certain feeling of warmth, of calm and repose. Even the same white could as well be one color for Western paper and another for our own. Western paper turns away the light, while our paper seems to take it in, to envelop it gently, like the soft surface of a first snowfall. 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.

(Continues...)
Excerpted from
In Praise of Shadows
by
Jun'ichiro Tanizaki, Thomas J. Harper, Edward G. Seidensticker
. Copyright © 1977 Leete's Island Books, Inc.. Excerpted by permission of Leete's Island Books.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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Publisher ‏ : ‎ Leete's Island Books; First Edition (December 1, 1977)
Language ‏ : ‎ English
Paperback ‏ : ‎ 56 pages
ISBN-10 ‏ : ‎ 0918172020
ISBN-13 ‏ : ‎ 978-0918172020
Item Weight ‏ : ‎ 2.31 pounds
Dimensions ‏ : ‎ 5.5 x 0.2 x 8.5 inches
Best Sellers Rank: #71,206 in Books (See Top 100 in Books)
#17 in Philosophy Aesthetics
#123 in Literary Movements & Periods
#164 in Essays (Books)
Customer Reviews: 4.4 4.4 out of 5 stars    1,713 ratings