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How to Make the B...
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Perfect State
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by Brandon Sanderson (Goodreads Author)
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The Dream-Quest o...
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Kakuzō Okakura
“We marvel why, among the most progressive Western nations, architecture should be so devoid of originality, so replete with repetitions of obsolete styles. Perhaps we are passing through an age of democratisation in art, while awaiting the rise of some princely master who shall establish a new dynasty. Would that we loved the ancients more and copied them less! It has been said that the Greeks were great because they never drew from the antique.”
Okakura Kakuzō, The Book of Tea

Kakuzō Okakura
“A collector is anxious to acquire specimens to illustrate a period or a school, and forgets that a single masterpiece can teach us more than any number of the mediocre products of a given period or school. We classify too much and enjoy too little. The sacrifice of the aesthetic to the so-called scientific method of exhibition has been the bane of many museums.”
Okakura Kakuzō, The Book of Tea

Kakuzō Okakura
“In art vanity is equally fatal to sympathetic feeling, whether on the part of the artist or the public.”
Kakuzō Okakura, The Book of Tea

Kakuzō Okakura
“The idea that everyone should have a house of his own is based on an ancient custom of the Japanese race, Shinto superstition ordaining that every dwelling should be evacuated on the death of its chief occupant. Perhaps there may have been some unrealized sanitary reason for this practice. Another early custom was that a newly built house should be provided for each couple that married. It is on account of such customs that we find the Imperial capitals so frequently removed from one site to another in ancient days.”
Okakura Kakuzō, The Book of Tea

Kakuzō Okakura
“Here again the Japanese method of interior decoration differs from that of the Occident, where we see objects arrayed symmetrically on mantelpieces and elsewhere. In Western houses we are often confronted with what appears to us useless reiteration. We find it trying to talk to a man while his full-length portrait stares at us from behind his back. We wonder which is real, he of the picture or he who talks, and feel a curious conviction that one of them must be fraud.”
Okakura Kakuzō, The Book of Tea

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