Soetsu Yanagi and the Revival of Japanese Folk Art

In: Art and Design, Ceramic Art and Design, Decorative & Applied Arts
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Black-and-white portrait of Soetsu Yanagi, founder of the Mingei movement, holding a traditional Japanese ceramic bowl, emphasizing his appreciation for folk art.
Soetsu Yanagi, the pioneering Japanese philosopher and art critic, examines a handcrafted ceramic piece. His dedication to folk art helped revive Japan’s traditional crafts.

Soetsu Yanagi (1889–1961) was a Japanese philosopher, art historian, and critic whose passion for traditional craftsmanship led to the establishment of the Mingei movement—a term that translates to “craft of the people.” His work revived interest in Japanese folk art and influenced international appreciation for everyday craftsmanship.

The Birth of the Mingei Movement

Yanagi’s journey into folk art appreciation began with his 1916 visit to Korea, where he encountered traditional Korean ceramics. Realizing the beauty of these handmade objects, he recognized that similar craftsmanship was disappearing in Japan due to industrialization. This revelation spurred his efforts to collect, preserve, and celebrate folk art.

The Japan Folk Crafts Museum (Nihon Mingeikan) in Tokyo, a traditional-style building dedicated to preserving and showcasing Japanese folk art and craftsmanship.
The Japan Folk Crafts Museum (Nihon Mingeikan) in Tokyo, founded by Soetsu Yanagi in 1936, stands as a cultural landmark dedicated to appreciating Japanese folk art and traditional crafts. By Kamemaru2000 – Own work, CC BY-SA 3.0, Link

In the late 1920s, Yanagi and potters Shoji Hamada and Kanjiro Kawai coined Mingei. The movement stood in contrast to mass production, emphasizing the beauty of simple, utilitarian objects crafted by anonymous artisans. By 1936, Yanagi had established the Japanese Folk Crafts Museum (Nihon Mingeikan) in Tokyo, ensuring a permanent home for Japan’s folk art traditions.

Display of Iyo-Kasuri fabric in a traditional Japanese shop, featuring indigo-dyed textiles with intricate geometric and nature-inspired patterns, reflecting Japan’s folk textile heritage.
A collection of Iyo-Kasuri fabric, one of Japan’s three central kasuri textiles, is displayed in a traditional shop. This indigo-dyed fabric is known for its detailed geometric patterns and handcrafted weaving techniques. By Jyo81 (ja: User) – Own work, CC BY 3.0, Link

The Philosophy of Mingei

Central to Yanagi’s philosophy was the idea that the most beautiful objects were those made without artistic ego. He set forth specific criteria for Mingei crafts:

  • Anonymity: Folk art was created by unknown craftsmen, not individual artists seeking fame.
  • Handcrafted: Mass production was rejected in favour of traditional, manual techniques.
  • Affordability: True folk art was accessible to ordinary people, not luxury items for the elite.
  • Functionality: These objects were meant for everyday use, merging form and utility seamlessly.
  • Regional Identity: Mingei crafts reflected their local origins’ unique culture and materials.

Yanagi believed that these crafts embodied “living beauty”—art that was naturally integrated into daily life rather than confined to museums or galleries.

Shoji Hamada Mingei Mashiko pottery plate with a black glaze and subtle golden speckles, representing the simplicity and functionality of the Mingei movement.
This handcrafted Mashiko pottery plate by Shoji Hamada features a deep black glaze with golden-speckled accents. It embodies the Mingei philosophy of beauty in everyday objects.

Visual Characteristics of Mingei Art

The Mingei movement celebrated simplicity in shape, colour, and design. Unlike ornate luxury items, folk art had a restrained aesthetic, focusing on natural materials and subtle decoration. Some notable examples of Mingei craft include:

  • Mashiko Ware: A rustic, earthy pottery style that embodies Mingei ideals.
  • Onta Ware: Featuring simple, repetitive brushwork, this Kyushu pottery represents functional beauty.
  • Kurume Kasuri Textiles: Indigo-dyed cotton fabrics woven in geometric patterns, used for everyday clothing.
  • Lacquerware and Woodwork: Functional bowls, trays, and furniture, often featuring natural wood grains.
19th-century Onta ware sake bottle (tokkuri) with a pale celadon glaze, featuring hand-carved ridges and natural brushstroke patterns, representing Japanese folk craftsmanship.
This 19th-century Onta ware sake bottle (tokkuri) exemplifies the Mingei philosophy with its handmade aesthetic, natural glazing, and functional simplicity. Onta ware, produced in Oita Prefecture, is known for its rustic charm and timeless craftsmanship.

Influence on Design and Craft Movements

Yanagi’s work had a lasting impact beyond Japan, influencing designers and craftsmen worldwide. His book, The Unknown Craftsman: A Japanese Insight into Beauty, introduced Western audiences to Mingei aesthetics and inspired figures like British potter Bernard Leach and American sculptor Isamu Noguchi.

The Mingei philosophy resonates with contemporary designers who seek to balance craftsmanship with modern needs. The growing interest in slow design, handmade goods, and sustainability reflects Yanagi’s enduring legacy.

Conclusion

Soetsu Yanagi’s dedication to Japanese folk art reshaped how the world perceives everyday objects. He ensured that traditional crafts would not fade into obscurity through his meticulous preservation efforts, writings, and museum initiatives. Today, the Mingei movement remains a testament to the enduring beauty of handmade craftsmanship, reminding us that true artistry lies in simplicity and functionality.

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