How is Tanizaki’s aesthetic critique also a political critique? In other words, how does what he says about beauty connect to what he says about power?
What are some ways that, according to Tanizaki, traditional Japanese aesthetics (concepts of beauty) differ from those of the West?
In Tanizaki’s “In Praise of Shadows,” descriptions of the seemingly mundane elements of the author’s housing renovation, and his struggle to balance traditional Japanese beauty with the practical considerations of modern life, are utilized to mirror Tanizaki’s own internal conflict assessing the merits of the different cultures that are represented. Here, modernity and its convenience oriented appliances and style represent the Western way of life and seemingly its core values. In contrast, Tanizaki understandably holds the Japanese aesthetic close to his heart, romancing the elegance of small details, even (and possibly especially) those that are looked at as dirty or disgusting from a Western perspective e.g. the toilet. The dynamic between aesthetics and power seems to be even more clearly touched on by Tanizaki when he discusses the potential options for his lighting and his oven. He dwells on what he thinks could have “in vogue” had those in the East developed their own “sciences,” wishfully imagining a reality where the traditional Japanese aesthetic is the norm. In these tangents we get an insight into Tanizaki’s views on global culture, and how the aesthetic choices that become convention and largely accepted appear to be driven by the dominant global powers. Tanizaki sees the practicality of modernity as the basis used for evaluating aesthetic decisions, rather than what he seems to believe is the elegance of the Eastern style that has been replaced.
Tanizaki describes multiple ways that Japanese aesthetics differ from the those of the West. One of his main points is the difference in lighting used in the West. The Japanese use candles to give their room’s a nice dim feeling, while in those in the West tend to use electric lighting. He uses the bathrooms in Japanese temples as his prime example for these dimly lit rooms. The toilets in the temples are described as” impeccably clean.” In Japanese culture, bathrooms are not thought of as places for bodily functions, but rather as sanctuaries of beauty and meditation. The typical bathroom in the West isn’t looked at in this way. Tanizaki argues that anyone with a taste for traditional architecture must agree that the Japanese bathroom is one of perfection, a place that has been described as a “physiological delight.” Tanizaki also compares the different ovens in Japanese and Western cultures. While from a capability standpoint, the electrical ovens of the West may be superior to those of Japan, Tanizaki describes the Japanese oven in terms of its effect on a room and on a dwelling, praising its aesthetics and its nod to tradition.
A central point in Tanizaki’s, “In Praise of Shadows,” is the balance and comparisons for aesthetic critiques between the Japanese culture, and the Western culture. To uphold his analogy, he implements examples of Japanese cultures that may seem as starkingly different than that of the Western world. Although many people may see these variances as solely aesthetic, each of them can be derived to imply a deeper societal critique, one of which that examines the meaning of power. Here in the United States, we value many different aspects of a modern society. We love the “latest and greatest,” and we associate ease and efficiency with power. From Tanizaki’s perspective of the Japanese culture, we see him distinguish the value of seemingly mundane items, as something that is profoundly revered. Within this, we see the appreciation of aesthetics that may be perceived as dirty in the Western societies, such as bathrooms. When one analyzes the clashing differences that are displayed before us in the reading, one is also able to relate the physical differences to the aforementioned implication and perception of power. It is blatantly clear that Japan does not view empowerment as appeasing or assimilating to the many outside influences. As other cultures may be becoming more “practical,” is there a certain point within that growth where the nation may lose a part of its culture? Perhaps this is where Tanizaki highlights the difference of Japan as they remain true to their culture by valuing what others may have moved on past, or just never valued in the first place; through this ability, it is blatantly evident that within that action is where the political power of a nation can be seen.
As we explore the differences between Japanese culture and Western culture, we can find ourselves making an endless list; within it, including the obvious, such as: language, political ideologies, and basic social etiquettes. However, going relatively unspoken for, but one that Tanizaki eloquently elaborates upon, is the differences of aesthetics, or the conceptual analysis of beauty. To corroborate this speaking point, he predominantly applies the use of household norms, specifically, the use of appliances like ovens, and toilets. In Western culture, the perception of a “sound oven” is one that can achieve the best efficiency in cooking a meal. Most oftenly, efficiency in an oven would require a sort of modern electronic gadget; or also known as, most of our ovens today. According Tanizaki, the electrical power or ability of an oven does not matter to Japanese culture, but the ability of the oven to have an effect aesthetically on a home instead. This speaks volumes to how Japanese culture values the detail in appliances as opposed to the West, where it is commonly more valued to have appliances that are innovations of the year. To highlight a difference in aesthetic in an entirely different aspect, we can easily see the discrepancy in our perception of the bathroom. In Western culture, it is fairly obvious and kind of ironic how we view a bathroom as: a place to excrete waste, but also a place to clean ourselves. Because of all the germs being in a bathroom setting, it is equally common to associate a lack of cleanliness with bathrooms as well. However, in Japan, these places are not viewed in the same way by any stretch of the word. Tanizaki goes as far to describe the toilets as “impeccably clean.” While we focus on excreting into our toilets, the Japanese view it as an escape from the world to meditate and love the body.
Japanese culture is something that is very close to Tanizaki as he romanticizes many aspects of Japanese culture and design in “In Praise of Shadows.” His critique of Japanese culture and aesthetic values speaks on multiple levels as he surveys and compares something that may seem ordinary to us but is relevant and unique to his personal and cultural morals. Tanizaki finds objects as well as ideas that are modernized to be distasteful. He goes on to speak about how the Japanese like concepts and things that are not simple and basic, such as the jade. Jade is loved by the Japanese because of its complexity and depth, “The strange lump of stone with its faintly muddy light, like the crystallized air of the centuries..” He compares what people in other countries –– such as Chile –– view as appealing, the crystal. The Japanese view the crystal as something that is too basic or too clear, and the author goes on to say that they Japanese have had crystal of their own way before the large imports of crystal from Chile. When Tanizaki speaks of Japanese culture and what they view as tasteful he uses certain diction, romanticizing the concepts. When he speaks of other nations views on similar topics he uses simpler language and goes on to say why the Japanese version is better. I believe he does this to signify the correlation between power and appearance. When something is more visually appealing it holds more power and meaning compared to something that is tweaked to be more practical than anything else. Tanizaki brings up the Japanese toilet and how difference its resemblance is from today’s toilet not just in terms of visual appearance but how important the location of it is. The Japanese toilet would be separated from the rest of the house, at the end of a corridor and the light would be dim. The bathroom and toilet were perceived as an area for relaxation and a place for thought. Changing the way bathrooms are structured now in terms of location and physical appearance ultimately causes the bathroom to lose value. In modern day it is viewed as place where you go in to do what you have to do and you leave.
Traditional Japanese aesthetics differ from those of the West mainly in the way that in the West people change things to make them more practical and comfortable regardless of whether it is a violation of original and cultural values. Western paper to the Japanese is just paper for basic use, it lacks any type of meaning to it as Japanese paper holds a certain texture allowing for the person who holds it to feel a sense of calmness. People in the West use different metals in terms of silverware as the Japanese value their worn out and rusted dinnerware. To the Japanese the idea that something is worn out shows the that it holds more value because of what is has been through, as for the Westerners when something becomes worn out it is viewed as useless and disgusting.
Prompt #1:
Tanizaki’s aesthetic critique is also a political critique because he is showing how the things that are looked down upon in one culture are the values of another, and vice versa, and the influence it can have. Tanizaki analyzes how drastically Japanese and Western ideas of aesthetic differ but how Western inventions and/or culture have managed to gradually become the norm for both. He describes how Westerners way of life limits the aesthetics of Japanese culture by pointing out how “Invention of Westerners,” like the radio are “.. well suited to the Western arts” (9), however, when art pertaining to the Japanese culture are presented on platforms like the radio, some of the quality and value of it is striped away. This stands as a clear example of how one nation can have power and dominance over another. Westerners are able to have power over the way people perceive and understand Japanese aesthetics and culture because of the way in which it is being distributed through their inventions. Japanese not having the ability to deliver their aesthetics in the ways they want it to be received can impact how people will accept and understand it. Also, what Tanizaki points out about Japanese not wanting things to always “shine and glitter” (10) the way westerners do, because they prefer things with a “sheen of antiquity” (11) one persons garbage can be someone else’s treasure. Japanese find power and value in holding onto the ways of live their ancestors followed whereas Western’s find themselves being most powerful with the newest and flashiest things that are made available. Tanizaki makes its clear that Japanese find it most desirable and the greatest form of power by holding onto their true culture.
Prompt#2:
Some ways in which traditional Japanese aesthetics differ from those of the West are that Japanese do not feel the need to constantly indulge in the most modern inventions. One example I had not even taken the time to think about myself is the toilet. In Western culture, we typically considered the toilet to be an unappealing and “extremely unclean” (4) place to be. However, for the Japanese, the toilet is considered one of the “most aesthetic” (4) things in their culture. The toilet in Japan, which is usually far apart from everything else, is known as a place were people can have a wonderful connection with nature by hearing all the wonderful sounds that surround them. Even the way and place in which the toilet is built adds to the beauty of the experience. Westerns, however, have a completely different experience and wish to spend very limited amounts of time in the environment of a bathroom. The difference in aesthetics not only ties back to how different both cultures go about living their everyday lives, but also the kinds of things that each considers valuable. Further on in the reading, Tanizaki analyzes the lacquerware versus ceramics (both items used for eating, one in Japanese culture and the other Western) and how the experience of using one or the other differs so drastically. Lacquerware seems to have a way of changing the experience of eating for the Japanese and has a “quality that ceramic bowls do not posess” (15). This small everyday practice, can show how something as simple and routine as eating can be overlooked in Western culture but can be valued to the same extent as a beautiful piece of art for the Japanese.
In Tanizaki’s “In Praise of Shadows,” he talks about beauty in relation to power. He talks about different aspects of Japanese culture that seem to be the complete opposite of what we categorize as aesthetics in western world. We value efficiency, speed and having the very best up to date gadgets. From simple appliances to things more high tech, convenience is always the goal. However Tanizaki is very tradition oriented. Through his eyes we see a new appreciation for things we’d call old and dirty in the western world. @e.kantar said “is there a certain point within that growth where the nation may lose a part of its culture?” in reply to that i don’t necessarily think so. Japan is one of the leading nations when it comes to technology yet they’re are still able to have a value for tradition. I believe that the reason why western countries don’t is because we’re mostly a nation of immigrants we have no old set in culture as Americans. We’ve all grown from differently and hold different things at different values.
According to Tanizaki, traditional Japanese aesthetics differ from those of the West within different things; Language, political ideas, and even difference in lighting. He focuses a lot on household appliances while making this comparison. According Tanizaki, the electrical power of an oven does not matter to Japanese culture, which in American culture is quite different. His examples explain how Japanese culture views things in a more theoretical or less technical way, focusing on the beauty while we go straight to it
I order to understand that Tanzaki’s aesthetic critique is not only looked at through a cultural lens but a political one you must first undersand his love for Japanese culture/ Wabi-sabi. Tanzaki aesthetic critique, compares light and dark, the dark being complexity and many art forms while the light is the culture of westernized cultures that seek clarity in this light. Tanizaki expresses his love for many Asia art forms that are complex and have much “depth”. Modernized or westernized ideas according to Tanizaki are boring and not something that interest him. The way in which he even describes things of Asian Culture vs Western Culture are vastly different. With that being said in Tanzaki’s view can be seen through a political view for things that have power or value are different in these two cultures. According to Tanzaki things with complexity have power in Japanese Culture, while in Western cultures things that are basic or dumbed down hold the most power.
Beauty in Japanese culture comes from not only its complexity but virtually its story according to Tanizaki. In western culture we value and see beauty in things that are brand new and without flaw. While in Japanese culture older things are looked at as artifacts and all carry a story making them beautiful. How i took what he said was similar to how we look at shoes. We love shoes in the western culture and don’t care or think of where they are made or their story. While in Japanese culture the true beauty comes from the story of how the shoes got to you and how they were made.
Basically throughout the entire reading tanizaki makes a lot of connections between his culture(japanese aesthetics) and western culture. He finds objects and ideas that would otherwise be very straight-forward and turns them into deep thoughts that allows him to make a connection between not only both cultures but also how those ideas, objects, and concepts relate to power. He states that the western culture is always in search of light and knowing the latest and the greatest whereas japanese culture is practically opposite of that. In that same sense he relates power to the different kinds of shadows and their ability to reflect. He also explains that certain objects that western culture finds dirty and disgusting are one that are admired by japanese culture. One of these objects that he mentions is the toilet. He states that in japanese culture the toilet is a place of clarity and deep thinking, as a result the location of the bathroom is placed seperately from the house in an attempt to preserve those values. On the other hand american culture views the bathroom as a place of dirt and disgust, as a place where you dont really want to stay and thats evident in the location it is now built and in the fashion its built.
Tanizaki compares both western aesthetics and japanese aesthetics in one major way. He implies that in western aesthetics efficiency is valued compared to japanese aesthetics where detail and beauty is valued. One example was the use of the oven, where in western culture a good oven was one that “got the job done” one which would typically include an electric piece of technology that made the job more efficient and quick. In Japan the ability the oven had to make and effect on not only the house itself but the people of the house was valued. Efficiency also comes up when tanizaki mentions the differences between lighting in both cultures. The western culture more oftenly uses electrical lighting, which again may be more efficient in “getting the job done” but japanese culture uses candle lighting because of how traditional and natural it may be. Efficiency vs detail and beauty seemed to be a revolving them throughout the whole text even as he talked about the jade and suprisingly enough the bathroom.
1) In Tanizaki’s “In Praise of Shadows”, Tanizaki discusses his intense appreciation for the Japanese culture aesthetically as well as politically. He finds the beauty in the complexity of the Japanese culture. Also, Tanizaki says that from this complexity in the Japanese culture comes great power as well. He says that he finds western culture to be dull and boring. I believe this comes from his immense appreciation for the complex beauty in Japanese culture, while western culture is much more straightforward. He says that while power in Japanese culture is drawn from complexity, power in western culture comes from what is the most basic and straightforward a.k.a boring.
2) According to Tanizaki, traditional Japanese aesthetics differ from those of the west in multiple different ways. On of the main comparisons he makes is that Japanese culture cares about the history as well as the complexity of the concept, while in western culture things are more appreciated if they are newer and conveniently easy to understand. He says that western culture appreciates things that they can easily enjoy as well as understand, while Japanese culture cares more about how intricate a concept is as well as the story behind it.
In Jun’ichiro Tanizaki’s “In Praise of Shadows,” his aesthetic critique of Japanese culture is different from Western culture. How aesthetics in Japan is looked down upon and how they have become part of every day life. He is trying to point out that using modern, western technology can take away from the value of some Japanese art. It shows how easily nations can dominate one another by such simple things. He mentions how the toilet in Japan is in a dark place that is separated from the house, for relaxation. Made to just think in peace, but now it is near the house and it is not thought of as a place to think. I also think that he does this to point out how appearance can change your way of thinking. If something looks amazing, people tend to like it more than something that doesn’t look as good. That means there is power in appearance. Tanizaki is trying to point out that the little things that happen throughout our day, the things that we don’t put much thought into, have a significant meaning and is to be treated with more respect.
There were many things that Tanizaki described that were different from Western Culture. He mentioned toilets and their placement and lighting in the house was much different in Japan. Toilets were used to think and relax, instead of just doing the obvious and leaving. He also mentioned how lighting as a whole is very different because in Japan they did not use many lights. Candles, in Japan, gave off a relaxing and stress-free vibe. Rusted silverware was a sign of value in Japanese society, but Westerners tend to throw out silverware if it is rusted.
Tanizaki’s “In Praise of Shadows,” he explores the differences in “traditional Japanese architecture” and modern architecture while leaning towards Japanese architecture as his preference. Tanizaki gives an aesthetic critique of the aforementioned two types of architecture by making mention of “electrical wires, gas pipes, water lines, electrical lights, rooms, heating sanitary facilities” and many more, while making comparisons and making it clear that traditional Japanese architecture is beautiful, unlike modern achitecture. This aesthetic critique is also a political one as he connects what he says about beauty to what he says about power by exploring how what is seen as inferior in one culture is upheld in another. This is because, Tanizaki expressly says that modern architecture with its fancy and technologically advanced aspects as opposed to that of the Japanese which do not “shine and glitter”, is a portrayal of the West’s dominance or influence and their way of life. According to him, many people value modern architecture more than the traditional one, with modern architecture being the norm, thus showing that the West have more power. With Western influences, people view the Japanese aesthetic of the “toilet” for example as dirty or “displeasing.” and the “restaurant in Kyoto that replaced its candlelights with electrical lamps.” He also uses art as an example of how dominant Western culture has become. He says, Western inventions like “the radio and phonograph” used to play Japanese music (which is an aspect of Japanese art) makes it “lose its charm” because it “amplifies or makes it louder” which is in contrast with the soft nature of Japanese music.
According to Tanizaki, traditional Japanese aesthetics differ from those of the West in many ways like the difference in art, political systems, architecture, social norms and language. Firstly, historical value plays a key role in Japanese culture. This historical value is seen for example in the differences in lighting. In Japanese culture, candles are used to light a room to give it a “dim, half-light,” (as was done in Japanese history before the West’s invention of light bulbs) unlike in Western culture. Another cultural difference is the spirituality that is upheld in Japanese culture that even Japanese toilets with their “tranquil walls” are places for “spiritual repose”-for meditation and reflection. In Western culture, this spiritual aspect is not cherished like the Japanese. Also, the cultural differences are seen in common household items like the stove, silverware and paper. The West values efficiency, convenience, lustre and technological prowess in household items but the Japanese value the ancient and traditional aspects of these items.
“In Praise Of Shadows” Tanizaki aesthetics critique is also a political critique because he talks about the great influence Japanese culture have on him. He begins to talk about the different aspects of Japanese culture. Also compared the difference between Japanese culture and Western culture. Tanizaki connects the different culture and how it relates to power. He said Japanese has more complexity which comes with more power.
According to Tanizaki, traditional Japanese aesthetics differ from Western culture because its more complex. Western culture are more modernized. We have a lot of gadgets which makes our life more easier. Also it gets things done more efficient and faster.
Tanizaki aesthetic critique can be also be viewed in a political view. In the text he talks about how appearance is power. When the word power is mentioned you can think of it in a political way since power and politics go hand in hand. When he talks about the Japanese culture he tried pretty hard to make the Japanese culture seem more sophisticated by using more complex language. But when he speaks about western culture he doesn’t use as complex language to make the western culture seem below his own culture. When he does this you can see how his views can be seen politically.
According to him Japanese culture differs from western culture is the how westerners view the bathroom or toilet. In Japanese culture he states that the bathroom is a place of thought study and a place where people want to spend their time. In his culture people pace the bathroom far away from everything else in the house. In western culture people go into the bathroom and want to get out as fast as possible because we don’t view the bathroom the same way. In his view we de valuate the value of the bathroom and don’t use it for its full “potential” in a way.
When Tanizaki talks about the way that Japanese architecture has been swapped out for a modern, western, and apparently unappealing one, even though he is literally saying that; they also serve as a great metaphor for the fact that traditional and naturalistic Japanese culture has been overcome by the western culture of efficiency and industry.
Western culture puts a huge emphasis on industry, money making, and efficiency while traditional Japanese culture has different values like respect, and tradition in itself. The differences are shown as being seen in many examples by Tanizaki. But, we can see the main differences in just the architecture. Western building are built straight up to conserve space, and are built by machines out of the material that was cheapest whether it be concrete or steel or anything else. Traditional Japanese architecture, on the other hand, puts emphasis on the aestheticism of the building over anything else.
1- Tanizaki’s aesthetic critique seen often in the text as different societies with different ways of looking at design. Tanizaki holds the Japanese design as the right design and is important to him. He gives many examples of what he prefers in Japanese design over the western idea of design. For example, he illustrates how important the toilet was to him and how it is a ” physiological delight”. In the western world he described the toilet as “utterly unclean”. In addition other aspects in a house along with tile and stove should be as elegant as the Japanese. His aesthetic critique although gives many examples for design in a house can connect to the political critique. We see this when we compare what he believes is the right way and wrong way where the western world has different political views and the taste varies than the Japanese. We can give many examples of different political views due to many different variables and apply it to design. This particular difference is seen where the US has changed to a industrial state to a white collar state where speed and less care is applied. On the other hand, Japan is considered an Industrial state where they might add more care and precise measure to many things the western world does not.
2- Some ways that the traditional Japanese aesthetics differ from those of the west can be explained as care in detail for the Japanese and for the west it is the quickest and easiest. We see this in the text from the many examples Tanizaki gives. All examples illustrate the care and thought for the design he loves and in the western world it is about practical use.
Tanizaki’s aesthetic critique is also a political critique because he’s comparing and contrasting two different forms of civilization solely based off of Japanese and Western culture. The things he says about beauty connects to what he says about power because he feels as though the Japanese find beauty in more simple things whereas Westerners hold value to things that are more complex. This relates to power because things that look more complex and foreign to Westerners tend to have more power over people. Whereas it’s the opposite in the Japanese culture.
One example of the way that Japanese aesthetics differ from those of the West is the toilet. Tanizaki states that the Japanese value the toilet and the vibe of the area around it. He says that there has to be a certain sort of dimness and absolute cleanliness in order to set off this vibe. The Japanese culture takes pride in their bathroom because it plays as sort of a sanctuary to the people. He believes that that’s where many of the great Haikus come from. However, Westerners find the toilet room to be the most unsanitary room in the house. Westerners don’t value the toilet in the way that the Japanese culture does.
How is Tanizaki’s aesthetic critique also a political critique? In other words, how does what he says about beauty connect to what he says about power?
Tanizaki’s critique of aesthetics is also applicable to politics in the way that he compares and contrasts culture focused on Japanese culture and Wes
What are some ways that, according to Tanizaki, traditional Japanese aesthetics (concepts of beauty) differ from those of the West?
Tanizaki’s critique of aesthetics is also applicable to politics in the way that he compares and contrasts culture focused on Japanese culture and Western culture. For example, the toilet he values so much as such a artistic perfection, so practical and fitted for his needs is hailed as a great Japanese aesthetic. So is everything else in his household. He values Japanese aesthetic over any modern Western innovations. With that claim, he is not only constantly inferiorating Western culture, but also inferiorating their political values because everything he hails in his essay is symbolic for things in Western civilization’s politics.
Some Japanese aesthetics differ in their way of simplicity and naturalness. Japanese aesthetic prefers much more traditional design and values. Tanizaki emphasizes on the architecture of Japanese buildings and contrasts them to the Western civilization’s architecture. He also talks about shadows and plants, more subtopics of nature and simplicity. He enjoys simplicty and practicallity together in a household object.