Central to Okakura's thesis is the concept of 'cha-no-yu', or the Japanese tea ceremony, which he sees as a microcosm of Eastern philosophy. The tea ceremony embodies simplicity, humility, and aesthetic appreciation, reflecting a deeper understanding of the interconnectedness between humans, nature, and the divine. Through the ritual of preparing and consuming tea, individuals are encouraged to cultivate mindfulness and appreciation for the transient beauty of existence.

One of Okakura's key arguments is the contrast between the Western emphasis on individualism and the Eastern emphasis on collective harmony. He criticizes the Western tendency to prioritize individual desires and ambitions over communal well-being, leading to social fragmentation and alienation. In contrast, Eastern societies, according to Okakura, value communal bonds and mutual respect, fostering a sense of interconnectedness that transcends individual egoism.

Okakura’s influence on the Bengal School of Art, particularly through his ideas on aesthetics and cultural identity, was profound. The Bengal School of Art emerged in the early twentieth century as a reaction against the dominance of Western academic art forms in India. Led by artists like Abanindranath Tagore, Nandalal Bose, and E. B. Havell, the Bengal School sought to revive traditional Indian artistic techniques and themes while incorporating elements of Japanese and Chinese art, largely inspired by Okakura's writings.

The Ideals of the East resonated deeply with such artists, who were grappling with questions of cultural identity and artistic expression in the face of colonialism and cultural assimilation. Okakura's emphasis on the interconnectedness between art, spirituality, and nature struck a chord with Bengali artists, who saw parallels between his ideas and the ethos of Indian philosophical traditions such as Vedanta and Buddhism.

Critically analysing Okakura's ideas, it is important to consider the historical context in which he wrote. The Ideals of the East was published in 1904, during a period of rapid modernization and globalization in Japan. Okakura's defence of traditional Eastern values can be seen as a response to the perceived threat of Western cultural hegemony and the erosion of Japanese cultural identity.

However, Okakura's romanticization of Eastern ideals and his dichotomous portrayal of East versus West have been subject to criticism. Some scholars argue that his characterization oversimplifies the complexities of both Eastern and Western cultures, neglecting the diversity of thought and practice within each civilization. Additionally, Okakura's idealisation of Eastern spirituality and communal harmony has been seen as ahistorical, ignoring the conflicts and inequalities that have plagued Eastern societies throughout history. A work such as Nandalal Bose’s depiction of Sati, for instance, carries overtones of this spiritual romanticisation of harmful social practices that Indian reformers themselves were trying to critique and outlaw.

The book-length essay offers a captivating exploration of the aesthetic and cultural values embedded within traditional Japanese architecture and design. Through eloquent prose and introspective musings, Tanizaki delves into the nuances of light, shadow, and the subtleties of Japanese craftsmanship, contrasting them with the harsh glare and starkness of modernity. In doing so, he presents a critical reflection on the impact of Westernisation on Japanese culture and identity.

One of the central themes in Tanizaki's essay is the appreciation of shadows. He argues that shadows add depth and mystery to the environment, creating a sense of tranquillity and intimacy. Tanizaki writes, ‘We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another create'. Here, he suggests that beauty is not inherent in objects but is instead a product of the interplay between light and shadow.

Tanizaki contrasts the aesthetic sensibilities of Japan with those of the West, particularly in regard to architecture and interior design. He laments the loss of traditional Japanese architecture, with its emphasis on natural materials and subtle textures, in favour of modern, Western-style buildings that prioritize functionality and efficiency. Tanizaki expresses his nostalgia for the dimly lit interiors of traditional Japanese houses, where shadows dance on paper screens and wooden beams. He writes, ‘In a Western-style room, more or less furnished in modern taste, the host and guest alike feel a certain uneasiness’. Here, he suggests that the harsh lighting and lack of shadows in Western interiors disrupt the sense of harmony and intimacy that is characteristic of Japanese spaces.

As A. C. Grayling put it, ‘In his delightful essay on Japanese taste… Tanizaki selects for praise all things delicate and nuanced, everything softened by shadows and the patina of age, anything understated and natural—as for example the patterns of grain in old wood, the sound of rain dripping from eaves and leaves, or washing over the footing of a stone lantern in a garden, and refreshing the moss that grows about it—and by doing so he suggests an attitude of appreciation and mindfulness, especially mindfulness of beauty, as central to life lived well.’

While Tanizaki's essay primarily explores the aesthetic qualities of traditional Japanese architecture and design, Okakura's book offers a broader examination of Eastern philosophy and culture, encompassing not only Japan but also China and India. Okakura's work seeks to uncover the underlying spiritual and philosophical principles that unite Eastern civilizations, whereas Tanizaki's focus is more narrowly on the aesthetics of Japan. In spite of this, it is intriguing to note how artists like Gaganendranath Tagore explored the use of umbral zones and forms in his pictures, investing them with connotations of narrative, mystery and wonder, rather than danger or savagery. Sensitive towards the manifestation of beauty in everyday life and practice, and committed to the forging of a nationalist aesthetic under the shadow of Swadeshi, these works point to a similar aesthetic agenda in Tagore’s mind as well, who adopted many influences from Japanese art in his own practice.