鳥屋讀書會主題是楊照的這本書：陰翳的日本美…
討論的面向很廣，本章就谷崎潤一郎的細雪為主軸．
講到細雪，華麗的和服一定要有的．
美霞老師爲求真切還特別提供日本色卡
回家立刻將日本振袖和服拿出來對照
果真沒跳脫同一色系
我初次看細雪是國中時期，感受日本關西華麗古典的美，
描述蒔岡家四姊妹優雅燦爛，展讀此書如賞櫻花凋落的華麗，
谷崎潤一郎其實是出生在關東地區
直到快40歲進入昭和時代才定居關西京都，
在他描述蒔岡家姊妹的過程中，也因此充滿著細膩的關西色彩．
寫出了土生土長的關西人無法洞察的京都之美．
描述1930年代隨著日本經濟的繁盛，
大阪上流經商世家秉持著傳統，也透過姊妹的性格懷抱著新的文化．
美霞老師提及關西腔的連綿不斷的風格與停頓能夠聽得到弦外之音，充滿著纖細複雜的細節，反映出一些就當時年代不被接受的情慾觀念，卻是依然存在著。
谷崎潤一郎在散文〈我所見到的大阪及大阪人〉，曾用樂器來比喻東京大阪女性的聲音：
「東京女性的聲音，不管好或壞，是一種三弦曲裡的三弦琴音色，清麗是很清麗，但缺乏寬度、缺乏厚度、缺乏弧度，而且最重要的是，缺乏黏著度。所以對話都很精確、明瞭，在文法都很正確，但沒有言外之趣、沒有弦外之音。」
接著寫到，「大阪的女性，就像三弦曲藝『淨瑠璃』或是本地歌謠裡的三弦琴一樣，不管曲調再怎麼高亢，其聲音的背後，必定會有情趣在，有光豔在，有溫情在。關西的女人也很懂得如何文雅地隱約表達出來的技巧。」
關西腔「哼嗯」的聲音，好像穿過鼻子般發音柔和的字眼，連柔弱的聲音裡
都賦予「言外之趣」等意義並讓人想像．
就好比細雪文中提到：
“換作京都的街頭，即使偶然走到陌生地方，她也會有種似曾相識的親切感，不由得想和路人攀談幾句，可是東京呢…”
（這邊的停頓，不用言語也感受到形容東京的冷漠）
當谷崎潤一郎沉潛於古典世界的翻譯工程啟發他建立獨自的文體觀，藉強調聲響表現、充滿陰柔氣息的「和文體」在小說創作中逐步實踐日本「陰翳美學」。《細雪》裡有他善用關西腔的精采呈現，是在谷崎潤一郎翻譯《源氏物語》之後．因此，對《源氏物語》的翻譯影響了他對《細雪》的創作。
無論是文中曖昧綿延，樂音般的文章聲響、悖德的情感關係、女性力量……皆可以從谷崎潤一郎與《源氏物語》之淵源談起。他前後花了三十年時間，三度翻譯《源氏物語》，一生最好的作品都是在翻譯時期寫下的。在《源氏物語》中，晚年的光源氏住在六條院，將庭院劃分為春夏秋冬四部分，根據妻妾們的性格分別讓她們住在不同的庭院裡。所以在他描述細雪四姊妹，也用季節去描寫他們的性格，好比說蒔岡雪子是四姐妹中最美的一個，她的性格如同她的名字一樣冬天冰清冷潔．
楊照書中谷崎潤一郎以小說虛構去挖掘的，是人內在的某種反社會個性，平常潛藏著，連自己都無法察覺，卻被意外的事件逗引出來，才驚訝地發現自己的這一面，必須掙扎處理、安頓這份「奇情」。
谷崎潤一郎迷戀女人的腳，在小說中也多次表現過這種古怪的執迷。描述穿着和服的雪子露出小腿剪腳甲，典型的「奇情」，一般以容貌、穿著打扮或身材．而最吸引他注意的是女人的雙腳，在那一瞬間用那一幕來表達姐妹情深。
1943年的細雪，曾是日本軍方公認的禁書，
認爲描述日本風花雪月的軟弱偏向兒女私情的閒散生活，
漫漫櫻花，灼灼紅葉，皚皚細雪，還有華麗的寸寸和服，或在夏夜裡撲捉流螢，如金色的時光消逝……日本傳統的美，如同徐徐打開的摺扇，拂來芬芳的微風。
款款細膩寫法，軍方認為猶如漠視第二次世界大戰，對戰局袖手旁觀…..
我個人覺得細雪是日本版的上流社會小婦人，一樣是四姊妹，
美國的小婦人勇於想像獨立的人生，努力活得有想法、有靈魂，成為自己驕傲的樣子。小說中的四妹妙子，為追求理想卻勇於突破蒔岡家的制度，應該是西方文化價值的呈現．
出生於明治時代，歷經大正與軍國主義盛行的昭和年間，谷崎潤一郎試著站立於戰爭的對立面，直視戀物、畸戀等社會的「個體」欲望，挖掘人性情欲。從「奇情」到「陰翳觀」的寫作試驗，日本古典含蓄陰翳之美的深沉面目，從微觀的視角出發，谷崎在描述生活純然引出美的溫潤與風雅，所謂的美，往往從實際生活中發展出來。日式美學特有的古蘊作了最佳的詮釋，暗指當時盲從軍國主義的無奈。與其說谷崎潤一郎漠視戰局，不如說他把雪子代表當時的日本．
整篇小說在描述雪子的婚事，始終圍繞著蒔岡家的傳統家族意識，包括：金錢、地位、家累等，對於愛情的追求雪子無法自主，只是依照家族的意志行動，遵循社會規範來完成婚姻。當時二戰的型態，不也是如此嗎？法國諾貝爾文學家Jean-Paul Sartre認為這部細雪為「現代日本文學的最高傑作」。Jean-Paul Sartre認為「存在先於本質」。他的意思是說，道德和靈魂都是人在生存中創造的，人沒有義務遵守卻有選擇的自由。所以當評價一個人時，要評價的是他的行為，舉全國之力去成就大東亞共榮圈，傳統的民族意識其實壓抑多數日本人真心想追求的生活．
最後我想分享，谷崎潤一郎於京都府京都市左京區法然院墓地，立有兩塊青石分別刻上他親手寫的「空」、「寂」二字．
陰翳的美，是時間的光澤──
可以是透入白濛微光，仰賴陰翳濃淡而生的和室門窗，
也是黑漆飯鍋裡，如珍珠瑩潤生光的雪白米飯。
還有，唐紙的初雪表面，輕飄飄地將光線吸入……
深掘谷崎美學一生的光與影，以最後這空寂兩字做出最至高的見解．
Jun'ichirō Tanizaki 谷崎潤一郎 was actually born in the Kanto region
He settled in Kansai Kyoto while he was nearly at the age of 40. In the process of his description of the Mikioka sisters, was also full of delicate Kansai colors. He wrote about the beauty of Kyoto that even the native Kansai people cannot see. The story was described the prosperity of Japan's economy in the 1930s, the upper-class business family in Osaka upholds the tradition, but also embraces the new culture through the character of the sister.
Michelle Wang mentioned that the continuous style and pauses of the Kansai accent can be heard about other meanings, full of delicate and complex details, reflecting some erotic concepts that were not accepted at that time, but still exist.
Jun'ichirō Tanizaki 谷崎潤一郎 used musical instruments to describe the voices of women in Tokyo and Osaka in his essay "Osaka and Osaka People I Met":
"Tokyo women's voice, for better or worse, is a shamisen tone in a sanxian, clean and beautiful, but lacks width, lacks thickness, lacks arc, and most importantly, lacks cohesion. So the dialogue is very Precise, clear, and grammatically correct, but without rambling or overtones.”
"Women in Osaka are like the sanxian opera "Joruri" or the sanxian in local songs, no matter how high-pitched the tune is, there is bound to be a sense of fun behind the sound. The warmth is there. Women in Kansai also know how to express it in a subtle manner.”
The Kansai dialect's "Hum" sound is a softly pronounced word that seems to pass through the nose, and even the soft voice is given meanings such as "extra-language interest" and makes people imagine.
In The Makioka Sisters text:
"In the streets of Kyoto, even if she accidentally walks into a strange place, she will have a familiar sense of familiarity, and she can't help but want to chat with passers-by, but Tokyo..."
(You can feel the unfamiliar sense of Tokyo without words)
Jun'ichirō Tanizaki 谷崎潤一郎's translation project immersed in the classical world inspired him to establish his own literary style, and gradually practice the Japanese "shadow aesthetics" in the creation of novels through the "Japanese style" that emphasizes sound performance and is full of feminine atmosphere. In "The Makioka Sisters", there is a brilliant presentation of his good use of Kansai dialect, after Jun'ichirō Tanizaki 谷崎潤一郎 translated "The Tale of Genji". Therefore, the translation of "The Tale of Genji" influenced his creation of "The Makioka Sisters".
Whether it is the ambiguity in the text, the musical sound of the text, the emotional relationship that violates morality, the power of women... all can be talked about from the origin of Jun'ichirō Tanizaki 谷崎潤一郎 and "The Tale of Genji". He spent thirty years before and after, translating "The Tale of Genji" three times, and the best works of his life were written during the translation period. In "The Tale of Genji", the light source in his later years lived in Rojo-in, and divided the courtyard into four parts: spring, summer, autumn and winter, and let the wives and concubines live in different courtyards according to their personalities. So when he described the four sisters of Makioka, he also used seasons to describe their personalities. For example, Yukiko Makioka was the most beautiful of the four sisters, and her character was just like her name.
Yang Zhao thought that Jun'ichirō Tanizaki 谷崎潤一郎 used fiction to excavate some kind of anti-social personality, which usually hided and cannot even be noticed by oneself, but is teased out by unexpected events. Jun'ichirō Tanizaki settled this as "strange affair".
Jun'ichirō Tanizaki was obsessed with women's feet, and had shown this eccentric obsession many times in his novels. He described Yukiko wearing a kimono showing her calf and cutting her toe nails, a typical "weird", usually in terms of appearance, dress or figure. What attracted his attention the most was the woman's feet, and at that moment, used that scene to express her sisterhood.
The Makioka Sisters in 1943 was once a forbidden book recognized by the Japanese military.They believed that The Makioka Sisters presented the weakness of Japan's romance was biased towards the idle life of private affairs. Meanwhile his delicate writing style such as cherry tree blossoms, the scorching red leaves, and the gorgeous kimonos, completely ignored the Second World War .
Personally, I think The Makioka Sisters is the Japanese version of the upper-class little woman, the same as Little Women. American little women had the courage to imagine an independent life, and strived to live with ideas and souls and to be proud of themselves. In the novel, the fourth sister Taeko has the courage to break through the system of the Shioka family in pursuit of ideals, which should be the presentation of Western cultural values.
Jun'ichirō Tanizaki tried to stand on the opposite side of the war, looking directly at the "individual" desires of society such as fetishes and misogyny, and excavating human sexuality. From the writing experiment of "Wonderful Love" to "Shadow View", the deep face of Japanese classical implicit beauty of shadow, from a microscopic perspective, Tanizaki is describing the warmth and elegance of beauty in describing life. The so-called beauty often develops from actual life. The ancient peculiar to Japanese aesthetics is the best interpretation, alluding to the helplessness of blindly following militarism at that time. Rather than saying that Jun'ichirō Tanizaki ignored the war situation, it would be better to say that he represented Yukiko as Japan.
The whole novel describes the marriage of Yukiko, which always revolves around the traditional family consciousness of the Makioka family, including: money, status, family issue, etc. Yukiko cannot be independent in the pursuit of love, but only acts according to the will of the family and follows social identify to complete. French Nobel literature writer Jean-Paul Sartre considered The Makioka Sisters as "the highest masterpiece of modern Japanese literature". Jean-Paul Sartre believes that "existence precedes essence"which means that morality and soul are created by man in his existence, and man is not obliged to obey but has the freedom to choose. Therefore, when evaluating a person, what should be evaluated is his behavior. The whole Japanese country used to achieve the Greater East Asia Co-Prosperity Sphere. The traditional national consciousness actually suppresses the life that most Japanese really want to pursue.
Finally, I would like to share that Jun'ichirō Tanizaki had two bluestones inscribed with the words "empty"(空） and "silent"（寂） in his handwriting at the Horanin cemetery in Sakyo Ward, Kyoto City, Kyoto Prefecture.
The beauty of the shadows is the luster of time ─ penetrating the shimmering white light, the doors and windows of the Japanese room that depend on the shades of shadows, the black-lacquered rice pot, the snow-white rice that shines like pearls. Also, the freshly snowed surface of Tang paper gently inhaled light...
Digging deep into the light and shadow of Tanizaki's aesthetic life, perhaps the last word of emptiness can make the highest aspect.
