5月時去台灣時，我們專誠去參觀原研哉所策劃的竹尾紙展「SUBTLE」，這是它首次移師台北展出，當然要趁機看一下眾大師的紙作藝術品。由展覽的裝置規模、到展出作品的質素，都讓我感覺非常驚艷，慢慢欣賞作品、仔細閱讀簡介、逐一拍照，逗留了兩、三小時，簡直樂而忘返。看著這一件件的漂亮紙雕，雞皮疙瘩，心中莫名的興奮感久久不能散去。以下是其中一張檯展示的「豆本」，手指頭般大小的書，裝幀極盡華麗精緻，同時裝載無限的智慧。
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Perhaps what makes human beings sigh over miniature books is the way they let us perceive, whig the naked eye, the limitations of paper fibbers and printing. If we are to condense and accumulate data, we have to talk about the current situation and future of computer storage elements, but even if you can understand this kind of discussion, you get too far into the abstract, and elicit no sighs. Tiny books attract our attention because they appeal to the limits of our cognition and our bodies.
On display are miniature books by Japanese literary giants and European tiny books. The Japanese books are those that have been made as curiosities, collectors’ items. Yasunari Kawabata’s Izu no Odoriko (The Dancing Girl of Izu), Takuboku Ishikawa’s Kanashiki Gangu (Sad Toys), Ryunosuke Akutagawa’s Kumo no Ito (The Spider’s Thread), all of which are too small, making it difficult to turn the pages with a finger. The characters must be read with the help of a magnifying glass. The European miniature books seem to have been put to practical use, Tennyson’s poetry anthology and the book of daily words showing traces of having been carried and used as a mobile device.
— from exhibition caption
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