Jun'ichiro Tanizaki

In Praise of Shadows

“The quality that we call beauty, however, must always grow from the realities of life.”

At the intersection of practical and aesthetics sits this treatise on the beauty of the shadowed, the murky, the unlit. Jun’ichiro Tanizaki’s In Praise of Shadows was written in 1933, yet its weight of meaning is quite contemporary.

Beauty, to Tanizaki (1886 – 1965), is something intrinsically bound to use and purpose of the thing that is beautiful. Its substance, utility, how we engage with it in our daily lives. Moreover, quotidian usage does not demean an object but elevates it to importance worthy of rhapsody.

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 shoiji. Lost in meditation or gazing out at the garden.

In Praise of Shadows is as much of a gentle nod towards Eastern aesthetics as it is a castigation of Western ones. Electric lamps, fountain pens, shiny tile and flush toilets and mass-produced paper don’t pass unscathed. The delight in shine, in light, is purely Western, argues Tanizaki.

Glassmaking has long been known in the Orient, but the craft has never developed as in the West. Great progress has been made, however in the manufacture of pottery. Surely this has something to do with our national character. We do not dislike everything that shines, but we do prefer a pensive luster to a shallow brilliance, a murky light that, whether in a stone or an artifact, bespeaks a sheen of antiquity.

(Personally, ceramics hold great wonder for me. They are small, cold, with impossibly thin widths and surprising weights.)

Tanizai - In Praise of Shadows
Small vessels made by Japanese ceramist Yuta Segawa. Learn More. Photograph by Ellen Vrana.

In this theme of bounded national character and cultural mindset, Tanizaki extols the benefits of lacquer, light filtered through paper walls, even the suggestive depths of miso broth. One imagines he sits in his home taking note of things within reach, items possessing the “dim of antiquity.”

The Chinese also love jade. That strange lump of stone with its faintly muddy light, like the crystallized air of the centuries, melting dimly, dully back, deeper and deeper – are we Orientals the only ones who know its charms?

In Praise of Shadows is a beautiful, rambling essay on the nuance of domestic things like walls, doors, ceilings, and how materials appeal and recommend themselves to us differently. It invites us into a different way of seeing the ordinary and casual.1

in praise of shadows
“Komorebi” is a Japanese word for the magical atmosphere created by sunlight filtering through the leaves. “The play of shine and shade on the trees as the supple boughs wag.” wrote Walt Whitman. Photograph by Ellen Vrana.

For better or worse we do love things that bear the marks of grime, soot, and weather, and we love the colors and the sheen that call to mind the past that made them. Living in these old houses among these old objects is in some mysterious way a source of peace and repose.

Accompany In Praise of Shadows with Kakuzo Okakura’s delightful read on the aesthetics and deep humanity of the Japanese tea ceremony or Pablo Neruda’s exceedingly important elevation the commonplace to the celestial in Odes to Common Things.

Jun'ichiro Tanizaki