In Praise of Shadows

It seems to me that Tanizaki's main point through out his essay is that "traditional" Japanese aesthetics are more pleasing than the rapidly changing aesthetic that was seen in Japan during this time of "modernization." He also uses metaphors to give praise to Japanese and Asian culture (the "shadows") and discuss the power-seeking nature of the West (the "light.") It does not seem that he is 100% against modernization or Western influence, but he gives some hints of nostalgia for things like the light hitting off of laquerware or the custom of Tsukimi.


I found the lengthy description on how to make persimmon leaf sushi very interesting, especially since he decided to go through the effort to lay out every step for the reader.

It seemed like a subtle way to discuss a more "traditional" food, and then he went on to say how he preferred it to sushi in Tokyo, which would be more "modern." It seems like he puts great pride in cultural aspects such as this, so much so that he shared the recipe with a reporter and the reader. He seems to hold a great deal of respect for "poor mountain people," saying that they probably have more refined palettes than city people. The most interesting part of his inclusion of this tidbit is that he was not the one to experience the sushi nor the culture himself, as he says he got the recipe from a friend.

 Some "Mountain People" in 1930

Tanizaki seems convinced within the section that "Japan" is slowly fading, ("Now one must travel to such small cities.... for the feel of Japan.") But it doesn't seem like he is very distressed about it. Very nostalgic, but he writes as though he jumps to both sides of the argument on Western influence. He writes as though he likes the contrast between the light and the shadows, and that with the new "light" the shadows are all the more obvious.

Another interesting point Tanizaki talks about is Westerners uses of light. He discusses that in hotels and in public places, they are too full of light and dispel shadows. They also are a source of too much heat for Tanizaki. He does not enjoy electric lights nor the height of the ceilings in more western buildings, which mean that the lamps are closer overhead.

1930s Japanese chandelier

The electricity and Tanizaki's hatred of it creates another interesting instance of the shadow metaphor. Shadows are cool, usually light toned and not harsh. The Western buildings are covered in "garish" mosaics which make the entire building feel hot and oppressive. It's hard to find examples of these mosaics but imagining garishly colored art, compared to the tonal softness of ukiyo-e artists' work, it makes sense that Tanizaki would feel so strangled by the change. He also notes a change in light's usage, not for sewing or reading, but simply to make light. These changes are new to him and he naturally fights back against them. 

Do you think that the comparison of light/dark is an accurate depiction of the West/East relationship? Do you agree with how Tanizaki depicted both sides of this effort?