247:, where they can no longer try to eavesdrop on the Hakken Kuyo ritual. The Buddha is crated and delivered to Bujutsu-in, a conservation workshop run by Fujimori Seiichi. Though of great interest to the conservators, the statue remains untouched in the workshop before it is unpacked and documented fastidiously in the Blue Dossier by Fujimori. The statue is disassembled and cleaned, first with sanitizing gas, then by the restorative techniques of the various technicians. It is a delicate process to deal with valuable and significant art. Fujimori assures the conservators that, though the work is in pieces, its whole is not in pieces, for the famous half-lidded eyes reside in their soul, and should they do their duty, the Zengen-ji Amida will be whole again. The restoration of the eyes falls on the youngest employee, Koinomi Shunzo, who is hounded at all times by Master Fujimori. When Koinomi says the eyes are complete, a stunned Fujimori agrees, and the work on the rest of the pieces quickens. Finally, the Zengen-ji Amida is reassembled and whole again, and the beauty and power of the statue and its famous half-lidded eyes are unlike anything the workshop has ever experienced, bowing even Master Fujimori.
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father was absent selling oxygen masks in a lucrative business in post-war Japan. Inoue was a sensitive child, crying out of empathy for seemingly minor occurrences he witnessed, like a child being afraid to swim. At some point, his father's business went bankrupt and their family was thrown into poverty. Inoue's father only sat at the window, smoking cigarettes, so Inoue and his mother made small
Christmas baubles. This tedious work only provided them with rice to eat, and harmed his mother's eyes, to where Inoue was consumed with concern for his mother when he could have had a normal childhood. Their situation was so dire that Inoue suggested he and his family commit suicide together. But one day, a mangy, stray, emaciated, white dog came to his school. After a week of it whimpering and crying outside his classroom window, he brought it home, to his parents' protestations that dogs don't eat rice. However, the dog ate the rice, and soon after his father's company restarted, bringing him out of the house, and Inoue back into solitude.
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Accordingly, the public amasses to participate in the kaigen shiki, led by the abbot of Zengen-ji and two visiting abbots. The ritual involves cleansing incense, chanting, music and prayer. The repetitions of the ritual build, bringing everyone to the heights of anticipation for the revealing of the Buddha. The crowd is instructed to bring their own
Buddhas into their hearts, and here even nonbelievers feel a shift in the room, as something more is now present. At the culmination of the ritual, after hours of standing, kneeling, chanting, and praying, the Amida Buddha is revealed to the utter joy of those in participation. Though its beauty is undeniable, the ritual continues, and the abbot of Zengen-ji is fixated on the mistakes the monks make in their performance of the kaigen shiki. Finally, with the crowd dispersed, the abbot is walking alone when he feels a tired calm wash over him, and is propelled to the hondō. Here he sits on the step, doing nothing, watching an ant crawl.
694:. Privileged invitees are seated on the stage, while Kawamoto, the Westerner, and the journalists watch from the clearing. The eldest sister of the Emperor and the groups of priests arrive to their positions. To the observers, everyone appears so nervous to the point where the ceremony seems to be devoid of spirituality, and more of a series of actions undertaken with hesitance. The audience remarks this among themselves, until the woodworkers begin chopping down the trees in exactly the same way as their ancestors. One tree falls exactly where it should, and the other falls exactly where it should underneath it. An ancient prayer is read over the ceremony, and the distinguished guests leave. The Kawamoto and the Westerner are stunned by the lumberjacks' art and ask them many questions. Leaving, they are struck by the beautiful, overpowering smell of the trees.
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The
Westerner expresses his frustration, and Iida suggests they meet the foreman in charge of the camp, who has the title toryō. Iida makes the toryō seem like a demi-god who makes every single decision. Instead, when they finally meet him, they are struck and spellbound by his simplicity and knowledge. He explains exactly how he prepares for the rebuild, and how he marks and measures every cut on every piece of wood. He decides which tools are used for which cuts, and for which pieces of wood. His whole life and thought must be dedicated to his work in order for this 1400 year old process to continue. He leads them to the shops where the workers assemble the individual structures in preparation for the proper rebuilding, and then leaves them to Iida. Iida asks Kawamoto and the Westerner to join him for dinner and they do, where he rambles on about his life.
567:. They give him a pair of boots they found hanging up. He spends all day seeming to do no work; he just walks around observing the other artists, not speaking a word or returning conversation. Eventually they realize he is nowhere to be found in the early mornings. After searching for a few days, they hear a faint sound from the wilderness beyond the camp. There they find Grigorescu digging an enormous pit. In the pit is a life-sized horse, galloping, baring its teeth, and foaming at the mouth, sculpted out of earth, but looking as if it were trying to flee the earth. Grigorescu doesn't notice them until one artist accidentally makes noise. To their murmurs, he says only that there are so many more of them. Together they leave, Grigorescu gives back the boots, and asks to be let off at a bend in the road, where he disappears into the wilderness.
661:, is standing in line for a train ticket to visit his lover Valentine the morning after learning of the death of his ex-lover and model Augustine. He is extremely agitated, wild, and intimidating to the other passengers in line, who all know of Augustine's death because of Kienzl's fame. He ruminates on the universality of death for everyone, including himself and his lovers. He protests that he is a painter of life, not death. His paintings show and celebrate life, not mere landscapes. He is brought back to an untitled painting he finished yesterday, and its simplicity and beauty. He would like to change and alter it to make it more perfect. Still he rages against the line and elderly ticket clerk who delays him. When he finally gets on the train, he is positioned to look at
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they met. The
Westerner is completely confused because Kawamoto had been mostly serving as an interpreter, and the Westerner had hardly seen him as a person. The Westerner, still dazed by the beauty they had seen, cannot fathom how Kawamoto could be upset after their experiences together. When they return to Kyoto, Kawamoto brings the Westerner up a mountain to show him the city below them. But when they are there, seeing the Westerner gaping down at the lights, he knows a fatal mistranslation has occurred. The Westerner will never see anything here beyond the sparkling allure of the lights and images. The Westerner, impressed by the view, asks Kawamoto that he must really love Kyoto. Kawamoto responds that he loathes the city.
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gone through in incredible detail to demonstrate the assistants' favor with the maestro. When the underdrawing is finally to be drawn onto the canvas, Aulista is chosen to demonstrate the process to the gathered apprentices. Following this, the painting sits untouched until they have moved from
Perugia to Florence, when the maestro has Aulista prepare the paint for the blue robes of the Madonna. The maestro has the workshop leave him alone for a few moments so he can secretly work on the paint, before allowing them back in to watch him paint. He leaves a small corner for Aulista to finish and date. The painting remains in this state for years until their return to Perugia, where the chapter returns to the initial timeline.
324:. They warn against it, but he sets off to struggle in the heat. Exhausted, he reaches the Acropolis, begins the ascent, but realizes he is ill-equipped to handle the overbearing heat. He begins to go blind from the glare of the sun off the white limestone surface. There is no relief anywhere from the light, and he brought no water or shade. Feet blistered and bloodied, eyes burning, he returns to his friends. Across the intersection, he sees them drinking, and realizes how foolish it was to desire anything. He plays out their coming interaction in his head, and envisions himself sitting, drinking, and watching with them, desiring nothing. He is killed by a truck while crossing the street.
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barely acknowledges the man or his broken
Italian question about where the painting has gone. In the next room, however, the man sees the painting behind a marble banister. Again he becomes absorbed in the painting, and takes a seat to compose himself. This time the security guard does not budge from his spot. Finally, the man is able to look at the painting's eyes, which begin to move again. Now restored and free of lacquer, they open slowly and communicate an infinite sorrow for the world, which the man recognizes as unaffecting the apathetic crowds outside. Though he does leave Venice to return home, in some sense he will never return to a time or place before the room and the painting.
500:, working on it daily in his brilliant colors and masterful strokes. To the confusion and interest of everyone except Raphael, the maestro does not paint St. Jerome's miter, the Madonna's shirt, St. Nicholas of Tolentino's book, or St. Sebastian's cloak until the end. Aulista initially prepares the red for these items, but the maestro again asks everyone to leave for a few minutes. When they return he is already painting with the most striking red Aulista had ever seen. He is still not sure of the reason why they had to leave Florence, and why his master (and here he names Perugina for the second time), stopped painting, whether for disinterest or lack of talent.
681:. Particularly, they want to learn about the upcoming 71st Shikinen Sengū, or 71st rebuilding of the Shrine, a ritual occurring every twenty years. The first person they meet from the governing body of the shrine rejects them out of hand. Kawamoto is dejected and humiliated by this, and ashamed that he let the Westerner talk him into thinking it was possible. However, after the meeting, they receive an invitation to watch a ceremony called Misoma-Hajime-sai alongside journalists. As they drive through the night to a remote parking lot, the Westerner pesters Kawamoto with questions about
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is his own, or passages from another author. At first he struggles to set his scraps into chronological order, but eventually can recall the time of his exile. During the editing process, the work finally begins to cohere, and Ze'ami completes the
Kintoosho, which shows his religious belief through the story of his exile. When the attendants discover his body between his window and bed, and the completed Kintoosho, they also discover a scrap of paper saying 'Ze'ami is leaving,' and throw it away.
783:, we see the moody darkness of Krasznahorkai’s early novels becoming revitalized by the balm of great art. ... The book is an eloquent apologia for the great artistic and spiritual artifacts at a time when the world is so enamored of science and technology." Esposito continued: " also shows his mastery of narrative technique with stories that range from mad monologues to quiet ruminations, nimble use of the detached third person and even an essayistic chapter on the
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good host, and the external etiquette which he must observe. The
Westerner's persistence pressures Kawamoto into calling, and Miwa leaves off the conversation saying that they should write to apply, and that he will let them know. The Westerner is excited, but Kawamoto can only feel the shame of asking too much. Miwa calls Kawamoto back saying that they will be able to visit the carpenters' workshop, where the shrine is being prepared to be rebuilt.
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feels like he isn't going the 'right way' through the rooms, and that the entrance wasn't even proper grand entrance, but rather an opening, chosen at random into a room. Each room is wholly contained and true on its own--the rooms seem not to be connected in a conscious or logical way (at least to the
Western mind), but somehow the beauty of the building is greater for this. The narrator then describes the Persian
223:. The last panel, he paints Queen Vashti Leaves the Royal Palace, which leaves Botticelli speechless, in awe of its matchless beauty. In the proceeding centuries the painting is alternately attributed to Botticelli or Lippi. The trunks are dismembered, with panels spread across many collections and museums. Scholars argue over the sourcing and authorship of the paintings, with little consideration to their beauty.
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288:), a Bellini apprentice. Dr. Chiari, the art historian responsible for the painting, declares that Belliniano discovered a canvas by his master with Christ's painted face, but finished it and left it unmarked so as to pass off as a Bellini. Cleaned and restored, Dr. Chiari moves the painting to a new, more prominent position. However, the discovery of the painter goes unremarked by the art history community.
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Krasznahorkai employs long sentences that stretch unbroken for pages at a time, so that each episode is contained in only a few sentences. Some chapters begin with short dedications or vignettes that can be ironic or seemingly disconnected from the proceeding story. For example, chapter 2 begins with
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Ze'ami then asks to be transferred to the Shoho-ji temple, as he thinks it will suit him better. There, he spends a lot of time at a large boulder, praying and reciting poems. Eventually, he begins to write on the rustic paper they supply him. In his confused state, he has no idea whether his writing
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Arriving at Sado, he tries to sleep the first night on the ground of a rocky hut. The next day he begins his journey on horseback, being led by a peasant boy. He confuses the things the boy points out with landmarks from Kyoto. When he finally reaches the temple of
Manpuku-ji, he has some relief from
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Kawamoto is taken into the beauty for a while after leaving the ceremony. He begins to be anxious again when the Westerner wants to see more of the rebuilding. Kawamoto knows that to ask Miwa for more would be improper, and that they have already been given enough. However, he is torn between being a
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In the centerpiece sentence of the chapter, Inoue recounts his childhood, word for word, as he always does. The sentence modulates between first- and third-person narrative fluidly and unnoticed. He explains that he remembers being born, unable to breathe, with his umbilical cord around his neck. His
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The return and unveiling of the statue to the monastery mirrors its preservation. The abbot has been hard at work preparing the monks for the public ritual of the return of the Buddha to the monastery, the kaigen shiki. The entire monastery being cleaned, the Buddha, still shrouded, returns by truck.
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that will cause Kawamoto shame as his host. They sleep for a few hours in the parking lot, and awaken to a bustling crowd awaiting an official named Miwa, who will be their guide. They are bused over a bumpy trail and arrive to an enormous wooden stage built in the middle of the woods, at the center
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on retreat to do work, walk, and relax in peace. One amongst them appeared mysteriously, dressed in painfully dated clothes, saying a car had dropped him off at a bend in the road, and he had walked the rest of the way. His shoes were utterly worn to where the other artists wondered if he had walked
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was first commissioned in Perugia. Following the legalities of noting the commission, the maestro sets out to have the poplar panel made by a local craftsman, who is the first to refer to the maestro by his name, more than halfway through the chapter. The painstaking process of preparing the wood is
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the old man begins speaking in Russian, and finds no protestation from the disturbed man. He talks about how much he knows about these paintings on loan from Russia, and how he has guarded them for 40 years, never forgetting a thing. Finally at an end, he dashes out of the gallery, once and for all.
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to settle down as a sort of farewell. After the crush of the airport and price gouging taxi drivers, he arrives at the intersection where he was to meet acquaintances, who did not show up. He argues with the taxi driver, but a group of youths intervene. Embarrassed, he darts across the intersection,
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It is this painting he is returning to, eleven years later, with his heel taps. When he works up the nerve to enter, he can't seem to find the painting. In the room where it was housed is a large collection of Renaissance chairs, one of which is occupied by a security guard reading a book. The guard
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When Kawamoto and the Westerner leave the restaurant, Kawamoto breaks down and says that he's sorry for being such a poor host, and that his guest had to endure so many ills, like sleeping in the car, the secrecy and etiquette of dealing with the governing body, and the idiosyncrasies of the people
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Again they drive to a remote area, where they are met by an officious, young man named Iida who tries very hard to impress the importance of his station, and what they will witness onto them. The first people they meet are two craftsmen, who are very aloof and do not give them any good information.
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In the third sentence, Chaivagne is musing to himself while soaking his feet at home and looking at images of the sculpture. He thinks about what he would might like to speak to someone, but doesn't. He is empty inside, like all other things are empty in light of the work. He imagines a coworker or
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and its influence on the stonework throughout the Alhambra, and how its collection of disparate geometrical shapes form a perfect whole that looks either simple or complex based on the viewer's distance. All of this hidden truth, all of this beauty is dazzling and overwhelming to the visitor, which
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performer, surrounded at all times by family and students. After performing he is surrounded by attendants removing his costume and preparing him for the further ritual of bowing before the crowd, and individually wishing each guest goodbye. He only wishes to be alone, but the attendants' attention
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Knowing the enormity of the work to create a copy of a masterpiece, Dionisy wanted to do everything from the canvas frame to the finest details himself. As head of a school, the norm is for masters to do their part under his instruction. Though reticent, Dionisy submits and allows another to create
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proceeds slowly and deliberately, building up from page to page until each chapter obtains an almost unbearable intensity. ... Krasznahorkai is one of contemporary literature's most daring and difficult figures, but although this book is ambitious, it isn't ever obscure. On the contrary: it places
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and the circumstances of his composition of his final work Kintoosho. Ze'ami is outrageously exiled at an advanced age, and forced to leave Kyoto to Sado, from which he will never return. He is forced to say his final goodbyes to his friends and family, and take a ship to Sado. The ship is delayed
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The narrator now shifts to a hypothetical tourist visiting the Alhambra. After passing through the wall, and being asked to pay for an expensive entrance ticket, he enters and is overwhelmed by the beauty, wandering room from room. His experience, should he be attentive and aware, would be that he
413:, but is beset by visions of the angels from the painting. Passing the time one day, he sees an old man pull a knife from under his bed. Though the man cannot speak Spanish, he gets the old man to communicate the name of the knife and where he bought it. He goes to the shop and buys a sharp knife.
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reside. Dizzied by the intense beauty, he sits in a folding chair to regain his composure. A security guard confronts him and shadows him for the rest of the visit, ignored by the man. In the corner of the Albergo, he sees a small painting of Dead Christ. He is completely absorbed in the painting,
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represent and guard death in a way the original artists could never have predicted. The dragons perhaps meant to scare people away from the graves are all that remain. Time crushes and erases more than anyone can imagine. Nothing remains of the graves except the screaming of these artistic works,
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after 15 years away. His four assistants, Aulista (perhaps meant to be Aulista di Angelo}, Francesco, Giannicola, and Giovanni are instructed to ride in the cart with his belongings on a four day trip. The maestro's motives for moving are unclear, but one night on the hellish odyssey to Perugia,
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that include Queen Vashti Leaves the Royal Palace (1480), and the history of the trunks since then. The Queen's beauty is so coveted and awesome that she is able to break from many queenly traditions, but ultimately her disobedience as a woman leads to her exile. Filippino is a precocious young
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was playing over a coworker's radio. To him, Baroque music is the peak of all music, which has only been attacked in the intervening years by Romantic sensibilities which take away its perfection. His bombastic style mesmerizes and exhausts the curious audience as he vacillates between obscure
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buildings were never given names. Next, there is the question of when it was built; there are records and indications of fortresses on that spot dating to Roman conquests, but no indication of when it became the Alhambra. For the question of who built it, the widely accepted answer is that the
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as wooden objects to be perfected, not by chance, but by practice and experience. During their creation, he utilizes an elaborate series of mirrors to view them and discover their flaws. Each mask is made using the same stencils, though after a point, the stencils are just approximation, and
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Chaivagne's worries disappear overnight, in the fourth sentence, and he resumes his post in the corner of the room with the Venus, unmoving like the statue itself. He looks at the visitors, and looks at the goddess's eyes, not where she's looking, thinking of Praxiteles.
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is part of the tradition of the Noh, even though their movement and attention has no regard for the actual performance. Following this performance, Inoue returns to his school, Mahorowa, followed in his cab by his wives, children, grandchildren, pupils, and a guest.
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Fleeing the gallery, he feels as if he is being chased, but no one is there. His head is wracked with throbbing pain, and he is stumbling around as if intoxicated. Turning into an alley for relief, he is face to face with the three 'angels' from the painting.
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The four assistants arrived in Perugia to find the maestro already at their workshop. Exhausted, they slept for days, and awake to the new assistants and apprenticeships hired for the new workshop. The only painter they didn't know previously was a young
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The process of Ito Ryōsuke, a master mask maker, is described. He lives his entire life in near-silence, almost always alone. He rises every day in the early morning to work until the evening on his masks, broken only by a half hour lunch. To make his
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the frame from wood he chose. Other masters work on the painting under observation and scrutiny from Dionisy. Eventually he completes the copy, and it is celebrated. But by the end of his life, Dionisy rejects even the memory of the painting.
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To Inoue, there is either practice of the Noh, or non-practice. Even performances are no different from rehearsals. Noh is the realization of death, and that there is no tomorrow, only this moment that we should move through intentionally.
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coming to earth, existing only in the moment, and being called to a performance for the Prince of Chu, King of Mu. There, she is incarnated in the play, and offers the Prince of Chu eternal life, and reveals to him the promise of heaven.
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This chapter, with few exceptions of audience reaction, is an unnamed architect giving a lecture called "A Century and a Half of Heaven" to six old women and two old men at a village library. He describes how he first fell in love with
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waiting to spear its fish. Its intense beauty goes unnoticed, but if it were to be seen at the moment of striking, it could change the life of the witness. The chapter moves between the heron and meditation on the larger city of
153:. It has an episodic narrative which focuses on artists of different times and places, some of which are historical people and some of which are fictional. A thematic link between the episodes can be seen in the Japanese goddess
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as the artist. The painting, which had been stolen for a period and restored with lacquer by an amateur, was restored to full glory by a Mr. Arlango, who, during the course of restoration, discovered a hidden authorship mark by
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herself through all these copies responding to Praxiteles' original conjuring. He even briefly lets himself imagine that the world has changed so much that we couldn't recognize any new discoveries about this dead god.
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his memory by discovering some new beauty. The local regent from Shinpo overseeing his case, instructs him to work on something to keep him occupied. Ze'ami halfheartedly works on a Noh mask, but cannot finish it.
537:, contends that the Alhambra was not a palace, fortress, or otherwise, but that it exists for its own sake. Its walls, beauty, and architecture are all 'extant,' but they exist to be self-evident of the Alhambra.
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wearing a pair of black shoes outfitted with loud heel taps when he notices that a slim, S-shaped man in a pink shirt may be following him. Increasingly alarmed, he eventually finds a seat in the sun in front of
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masks, it takes him a month and a half. While he works, he is entirely free of thought; he does not concern himself with the larger questions that his occasional students ask. He views these masks worn for the
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for several days before the weeklong journey to the island. Along the way, he is wracked by painful memories and confusion on time. Everything he passes on the shore evokes another strong memory for him.
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upon us readers the same demands of all great art, and allows us to grasp a vision of painstaking beauty if we can slow ourselves down to savor it." The same year, Scott Esposito reviewed the book in
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Eleven years before the man walks through Venice with his heel taps, he is visiting Venice the first time. He convinces his group to head towards the S. Rocco so he can see the massive paintings by
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but then realizing that he is at a loss, he returns to where his new friends sit drinking. They try to convince him to sit and drink with them, but he demurs, saying he at least needs to see the
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a complete blank crossword puzzle in Italian, followed by a description of a website update by an Australian skin care company. Chapter 3, a chapter about a statue of Buddha, begins with "
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The solitude he seeks before a performance can be found in the toilet, where he finds an undisturbed moment to pray before performing the Noh, so that Seiobo may return through his body.
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367:, and drawn to its appearance, he wanders inside, finding no one. Eventually he wanders into a darkened gallery unimpeded by ticket taker or guard. Inside is an exhibition of
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The second sentence describes how Monsieur Chaivagne would speak to an inquisitive visitor. While giving the statue's history, Chaivagne tries to impress the importance of
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scholar pressing him on what he sees in the Venus, and considers that he does not see the copy, beautiful as it is, but sees Praxiteles's work through it. He sees the
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art. An artwork depicting Christ particularly unsettles the man, who feels judged and overwhelmed by his presence. The scene shifts to a history of the Byzantine and
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A man full of anger moves to Spain with promise of a job waiting him. The job posting was illegitimate, and the man becomes homeless. One day he stumbles across
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by asking several questions of it. First, the narrator asks 'what is its name,' which there is no answer for, because no contemporary documents exist, and many
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particularly with His eyes. They appear to be flickering or moving, trying to open. Eventually it becomes too overwhelming, and the man flees the S. Rocco.
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decides it finally must be attended to. The removal ritual is performed in secret by four monks while the rest of the monastery is eating, away from the
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of the temple Zengen-ji needs restoration. The 14th century wooden statue, famous for its half-lidded eyes, has worn over the centuries, so the
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There is an unnamed painting of Christ with unclear authorship. There was debate over the past century, but ultimately consensus comes to
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every day. He is inscrutable and peculiar in his satisfaction and desire to guard one of the museum's most popular works.
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in 2013: "The breadth of material these stories cover is breathtaking, but Krasznahorkai wears his erudition lightly.
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and the shrine, which Kawamoto tries not answer because he is ruminating on how the Westerner will commit breaches of
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development and treatment of art. The man, still in the gallery dazzling with gold and beauty, comes across a copy of
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must lead you to say that there is indeed truth about the Alhambra, and that that truth is the Alhambra.
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painter who impresses the Jewish family commissioning the wedding trunks depicting the story of the
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craftsmanship must finish the hannya mask. After carving the mask to satisfaction, he must begin
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who appears in one of the chapters of the novel. The 17 chapters are numbered according to the
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896:. Vol. 21 (11th ed.). Cambridge University Press. pp. 279–280: see third para.
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The first sentence concerns how his coworkers view Monsieur Chaivagne, a 32-year veteran
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palace in Spain — each piece wholly self-enclosed and satisfying on its own terms."
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which will be gone with time, like our memories and everything we think eternal.
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828:"Seiobo There Below by László Krasznahorkai review – an exhilarating experience"
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resident, and his unnamed European friend are trying to learn more about the
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A Hungarian man had had enough of his normal life, so he went to
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430:
339:
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A short chapter describing how the buried sculptures of the
210:, the commission and painting of a set of wedding trunks by
898:
Perugino returned from Florence to Perugia, and thence....
635:
reviews of individual pieces to grand statements about
592:, the original sculptor, whose work is copied into the
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The English translation by Ottilie Mulzet received the
645:. He leaves them in a daze, shouting a line from the
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After their arrival, the chapter shifts to when the
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1096:
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912:"A Goddess Descends To Art In 'Seiobo There Below'"
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755:For the greater glory of Our Lord, Jesus Christ."
470:Aulista vividly recalls the presently unfinished
517:Alhambra in its essence was completed either by
508:This chapter tries to find some truth about the
941:"'Seiobo There Below,' by László Krasznahorkai"
259:An unnamed Eastern European is walking through
417:34. The Life and Work of Master Inoue Kazuyuki
1004:
8:
397:The scene shifts again to the commission of
19:
563:. He affirms their question as to if he is
1062:Destruction and Sorrow Beneath the Heavens
1011:
997:
989:
206:This chapter is a telling of the story of
149:) is a 2008 novel by the Hungarian writer
25:
18:
409:The homeless man is trying to sleep in a
161:, beginning with 1 and ending with 2584.
1212:International Booker Prize-winning works
806:"BTBA 2014: Poetry and Fiction Winners"
796:
649:as he leaves: "mein Jesu, gute Nacht!"
1105:The Bill: For Palma Vecchio, at Venice
974:at the Hungarian publisher's website
669:987. The Rebuilding of the Ise Shrine
429:Sensei Inoue Kazuyuki is a venerated
7:
714:This chapter describes the exile of
673:Two friends, Kawamoto Akio, a local
198:itself, and its unnoticed beauties.
985:at the American publisher's website
16:2008 novel by László Krasznahorkai
14:
735:2584. Screaming Beneath the Earth
653:610. Just a Dry Strip in the Blue
550:144. Something Is Burning Outside
1176:
1175:
227:3. The Preservation of a Buddha
939:Esposito, Scott (2013-12-03).
270:Santa Maria Gloriosa dei Frari
170:Man Booker International Prize
1:
1217:Works by László Krasznahorkai
1207:21st-century Hungarian novels
826:Kunzru, Hari (May 20, 2015).
579:museum guard who watches the
1078:Baron Wenckheim's Homecoming
1046:The Melancholy of Resistance
910:Farago, Jason (2013-09-25).
709:
571:233. Where You'll Be Looking
804:Chad W. Post (2014-04-28).
628:Si Piangete Pupille Dolente
570:
1238:
265:Scuola Grande di San Rocco
166:Best Translated Book Award
1173:
878:Rossetti, William Michael
554:A group of artists visit
449:55. Il Ritorno in Perugia
421:This chapter begins with
189:stands motionless in the
104:Published in English
24:
883:"Perugino, Pietro"
893:Encyclopædia Britannica
764:Jason Farago wrote for
710:1597. Ze'ami Is Leaving
657:Oswald Kienzl, a Swiss
401:for a copy of Rublev's
1147:Werckmeister Harmonies
600:in its original form.
359:21. A Murderer Is Born
311:8. Up on the Acropolis
144:
642:St. Matthew's Passion
353:Copper electroplating
1021:László Krasznahorkai
617:377. Private Passion
328:13. He Rises at Dawn
151:László Krasznahorkai
41:László Krasznahorkai
1155:The Man from London
946:The Washington Post
776:The Washington Post
504:89. Distant Mandate
202:2. The Exiled Queen
146:Seiobo járt odalent
51:Seiobo járt odalent
47:Original title
31:First edition cover
21:
20:Seiobo There Below
1070:Seiobo There Below
982:Seiobo There Below
971:Seiobo There Below
770:Seiobo There Below
514:Islamic Golden Age
453:A master painter,
282:Vittore Belliniano
159:Fibonacci sequence
136:Seiobo There Below
1189:
1188:
1112:The World Goes On
659:landscape painter
559:all the way from
286:Matteo di Vittore
221:Sandro Botticelli
168:in 2014, and the
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95:Publication place
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690:of which is two
556:Lacul Sfânta Ana
527:Professor Grabar
377:Russian Orthodox
373:Eastern Orthodox
277:Giovanni Bellini
86:Publication date
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498:Tezi Altarpiece
485:Tezi Altarpiece
473:Tezi Altarpiece
455:Pietro Perugina
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298:The Crucifixion
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255:5. Cristo Morto
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976:(in Hungarian)
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964:External links
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263:on his way to
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1054:War & War
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950:. Retrieved
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861:. Retrieved
858:Getty Images
857:
849:
837:. Retrieved
833:The Guardian
831:
821:
810:. Retrieved
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383:'s painting
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237:Amida Buddha
230:
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50:
1202:2008 novels
1123:Screenplays
720:Sado Island
663:Lake Geneva
187:Ooshirosagi
1196:Categories
1139:Sátántangó
1038:Satantango
1028:Novels and
952:2014-05-04
925:2014-05-04
863:2017-09-27
812:2014-05-04
791:References
679:Ise Shrine
590:Praxiteles
523:Mohammed V
521:, his son
293:Tintoretto
191:Kamo River
172:for 2015.
57:Translator
1131:Damnation
1019:Works by
839:August 5,
760:Reception
687:etiquette
561:Bucharest
369:Byzantine
365:Casa Milà
344:Aoi no Ue
322:Acropolis
141:Hungarian
75:Publisher
70:Hungarian
1182:Category
1107:" (2010)
1030:novellas
880:(1911).
785:Alhambra
779:: "With
535:Michigan
510:Alhambra
461:back to
459:Florence
403:Trinity.
391:Trinity.
176:Synopsis
67:Language
916:npr.org
890:(ed.).
647:Passion
632:Caldara
606:goddess
531:Harvard
519:Yusuf I
494:Raphael
478:Madonna
463:Perugia
411:shelter
399:Dionisy
386:Trinity
349:gilding
233:Inazawa
98:Hungary
79:Magvető
1166:(2011)
1158:(2007)
1150:(2000)
1142:(1994)
1134:(1988)
1115:(2013)
1089:(2019)
1081:(2016)
1073:(2008)
1065:(2004)
1057:(1999)
1049:(1989)
1041:(1985)
781:Seiobo
716:Ze'ami
683:Shinto
577:Louvre
467:Umbria
423:Seiobo
335:hannya
317:Athens
261:Venice
235:, the
208:Vashti
155:Seiobo
37:Author
886:. In
748:Style
675:Kyoto
630:" by
543:girih
342:play
284:(aka
245:hondō
241:abbot
196:Kyoto
113:Pages
841:2018
639:and
637:Bach
533:and
371:and
351:and
122:ISBN
108:2013
90:2008
920:NPR
766:NPR
718:to
626:: "
529:of
431:Noh
340:Noh
231:In
185:An
116:426
1198::
943:.
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830:.
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143::
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1012:e
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998:v
955:.
928:.
866:.
843:.
815:.
300:,
139:(
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