This is a book to read slowly, cup of tea in hand, curled up on a sofa. Through photographs, anecdotes and philosophical ruminations, Weiss takes us on a tour of the Japanese worldview by discussing locations in the old capital of Kyoto. Whereas the West tends to split artistic things into categories, Japan sees them as part of the whole: the tea cup may be a beautiful pottery object but it is used in a tea ceremony which is itself a site for displaying calligraphy, flower arranging and traditional craftsmanship which built the teahouse. Weiss nicely brings out how contrived the “rustic simplicity” of the teahouse/tea ceremony really is and that this is only something for the very rich.

I received an advance review copy for free, and I am leaving this review voluntarily.

Illusory Dwellings: Aesthetic Meditations in Kyoto by Allen S. Weiss offers a unique, philosophical exploration of how to experience the richness of Kyoto’s artistic and cultural heritage. Rather than providing a traditional guidebook filled with recommendations on what to see or do, Weiss delves deeply into the significance of observing art, architecture, cuisine, and ritual in ways that go beyond mere tourism. By weaving in personal reflections and academic insights, Weiss constructs a lens through which readers can engage with Kyoto’s aesthetics in a meditative and transformative manner.

The book spans various topics, including tea ceremonies, gardens, and contemporary ceramics, with a particular focus on the interplay between traditional Japanese forms and modernist interpretations, both in Japan and abroad. Weiss’s reflections on the tea ceremony, for instance, emphasise its contradictions—between the simplicity of the ritual and the value of the objects used. This complexity reflects the broader tensions that characterise many of Japan’s artistic practices, where wabi-sabi aesthetics contrast sharply with Western ideas of modernism.

Weiss’s writing invites readers to appreciate the subtle beauty and intricacies of Japanese culture, encouraging them to see art and everyday objects with renewed attention. The detailed discussions of wabi-sabi and mono no aware—the appreciation of the transient—are particularly resonant. His ability to convey these aesthetic principles in ways that both challenge and inform the reader makes the book intellectually engaging while also accessible to those less familiar with Japanese cultural concepts.

What distinguishes Illusory Dwellings is its capacity to cultivate a sense of cultural exchange. Weiss emphasises the need for travellers and art enthusiasts to cultivate mindfulness and humility, recognising that aesthetic experiences are deeply embedded in specific cultural contexts. His thoughtful critique of how Japanese ceramics and other art forms are often misunderstood or underappreciated in Western settings provides a fascinating commentary on the global misinterpretation of cultural traditions. He explains how to appreciate the nuanced, seasonal flavours of kaiseki cuisine, noting that “one needs to adjust one’s culinary palette both across cultures and within culinary hierarchies in any specific culture.” He frequently contrasts Japanese and French craftsmanship, art and cuisine and so the reader unexpectedly learns about artistry from both countries.

Despite its refined subject matter, Illusory Dwellings is refreshingly unpretentious, welcoming readers of all backgrounds to partake in its reflections on beauty and culture. Far from intimidating or elitist, Weiss’s writing invites participation at any level, making clear that true appreciation doesn’t require mastery. As he writes, “Even if one cannot manage the required ritualized gestures or adopt the decorous ceremonial attitude, even if linguistic incapacity does not permit the appropriate form of participation, a heightened state of mindfulness and solicitude is a form of grace available to all.” This openness makes the book accessible to anyone willing to engage with the world more thoughtfully.

Ultimately, Illusory Dwellings is more than an art book or travel essay—it is a philosophical guide to engaging with the world, and not just Kyoto, with heightened aesthetic awareness. Weiss encourages readers to transform their understanding of beauty, not by seeking new travel destinations, but by learning how to see and appreciate the world around them with new eyes. It’s a book that calls for action—specifically, the action of sharpening your perception. After reading the detailed section on pottery, for instance, I found myself visiting a local museum exhibit on Gauguin’s ceramics, experiencing them as if through a new lens. I even picked up a lidded pot from one of Australia’s oldest pottery studios, and suddenly, this book had me appreciating the artistry in my own surroundings, far from Kyoto.

Provided by Stone Bridge Press for review.

While it was beautifully presented and written, this book was ultimately not for me.

I was expecting something lighter on philosophy and heavier on the description of art, artisans, and craft. However, this book reminds me much more of In Praise of Shadows (Tanizaki) or the work of Alex Kerr. (In fact, there is a portion of the book in which the author visits Tanizaki's tomb.) It is pensive, beautiful, and thoughtful -- the fault lies with my taste and mismatched expectations rather than the content of the book.

While Illusory Dwellings is not something I'd usually pick up, and I'm sure some of it went over my head a little, this was a joy to read.

Weiss' writing is engaging and grounded in expertise, experience and research - Weiss provides an opening into Japanese customs and spirituality from tea ceremonies to gardens. It is truly a wonderful way to experience Kyoto, from a perspective that is wholly different to travel guides or memoirs. Each chapter has a clear focus in regards to what it wishes to meditate upon and Weiss delivers these ideas through anecdotal writing as well as through a brilliant command of art history, architectural knowledge, and a humbling understanding of Zen Buddhism.

Illusory Dwellings by Allen S Weiss presents a way into appreciating not only Kyoto and Japan but any place you might visit or live for a time. Less travelogue and more a perspective on life and how it is lived through aesthetic practice, whether that practice is architecture, gardening, craft, or traditional practices.

I have only been to Japan twice and never to Kyoto, so I didn't come to this expecting a new way to appreciate a place I already knew but rather I came with the hope of understanding how better to look beyond the surface of any place I might travel or have traveled. And I definitely was rewarded for my interest.

I certainly gained a better appreciation of Japanese culture, of why some things are done as they are. Yet the meditations, as Weiss calls them, also offers the reader ways to approach locales both known and unknown to them. I went back and reread some of the passages about the tea ceremony and the space within which it is conducted several times. The first few was mostly gaining insight and finding the idea of the ceremony very appealing. But I kept going back because I began to relate the how of his meditation, the knowledgeable yet curious approach to understanding, to other cultures I have had some intimate experience with. I came away with, for lack of a better term, an openminded and respectful way to gain whatever access I can to the meaning of some practices I don't understand.

I think this will be a wonderful book for anyone who has spent time in Japan and especially Kyoto, but it is equally rewarding for those of us with little to no time spent in Japan but are interested in understanding how to find meaning in the most subtle aspects of a culture's aesthetics.

Reviewed from a copy made available by the publisher via NetGalley.

Illusory Dwellings is not your regular travel guide.
It is a lovely combination of meditative essays and a travel book.
Instead of describing the well-documented cityscape with words, Weiss invites us on a philosophical and mindful journey which is unique, original and curious.
Some of the photographs were meaningful and fresh, for the others, I am still making up my mind.
I must say I did not fully grasp everything the author writes about, and my review will reflect that.
I appreciated the concept and the idea so much.
The prose 3.5
Overall, I was not fully engaged at all times and went back and read some paragraphs more than once.