The Beauty of Use and Folk Crafts: The Japanese Aesthetic Residing in "Everyday Vessels" Discovered by Soetsu Yanagi

Which is truly beautiful, the vessel encased in glass in a museum or the tea bowl you pick up every morning? One philosopher devoted his life to answering this question. That philosopher was Muneyoshi Yanagi, a great explorer of beauty born in Japan. He consistently stated, "Beauty is not found in museums, but on the kitchen shelf." The beauty of a vessel that becomes familiar with daily use and shines more brightly the more it is used. He called this "beauty of use" (yōnobi) and spread the concept of "Mingei" (folk crafts) to the world.

And in Japan, the culture of "Mingei" developed, and currently, tens of thousands of artists are active throughout the country.

In this article, we will carefully unravel what Mingei is, how Muneyoshi Yanagi discovered its beauty, and what the spirit of Mingei means for our lives today. By understanding the beauty inherent in everyday vessels, your daily life will surely become richer.

What is Mingei?

An abbreviation for "folk craft"

The word "Mingei" is an abbreviation of "Minshū-teki Kōgei" (folk craft). It is a concept proposed in 1925 by Muneyoshi Yanagi along with potters Shoji Hamada and Kanjiro Kawai, referring to the beauty found in everyday objects made by anonymous craftspeople for daily life.

Crafts that fall under Mingei have several characteristics. First, they are made by anonymous craftspeople, not by specific famous artists. Second, they are made for actual use, not for display as works of art. And third, they are handmade, not mass-produced.

Tea bowls, yunomi (teacups), plates, tokkuri (sake bottles), and kame (jars) are typical examples of Mingei. None of them bear the name of a special artist; they are all objects that craftspeople working in local kilns have continued to make day in and day out. However, Muneyoshi Yanagi found a beauty in them that was far deeper than that of art objects.

Something between craft and art

What is the difference between craft and art? Art emphasizes the artist's individuality and expression. It is intended to be displayed in museums and appreciated. Craft, on the other hand, is made for use. It has a function and exists in daily life.

Mingei, among "crafts," specifically refers to those closely tied to the lives of ordinary people. Its charm lies not in the loftiness of art, but in its earthiness, simplicity, and sense of everyday life. Muneyoshi Yanagi believed that "beauty is found in daily life" and defined this unnamed realm of beauty, existing between art and craft, as "Mingei."

The beauty of Mingei lies in "beauty born unintentionally." Craftspeople do not set out to create something beautiful. They simply aim to make something durable and easy to use. It is as a result of this honest work that beauty naturally emerges—that is the essence of Mingei.

Muneyoshi Yanagi's Discovery

The beauty found in everyday objects made by anonymous craftspeople

Muneyoshi Yanagi was born in Tokyo in 1889 (Meiji 22). He studied philosophy and psychology at Tokyo Imperial University (now the top university in Japan, the University of Tokyo) and, at a young age, distinguished himself in the fields of literature, religion, and art. However, his true mission was to discover the beauty inherent in everyday vessels and to share it with the world.

At that time in Japan, the Western concepts of "art" and "fine art" were mainstream, and everyday objects made by craftspeople were not considered "art." Even in national art policies, "crafts" were placed subordinate to "fine art." Muneyoshi Yanagi questioned such values.

"Why does this tea bowl I hold every day move my heart more than a painting in a museum?" Feeling this, Yanagi began to explore the true nature of that emotion. What he realized was that vessels made by anonymous craftspeople possessed a purity of work, free from ego or calculation, focused solely on "for the user."

Because there was no desire to leave one's name or to be highly acclaimed, the craftsperson's work was clear and unclouded. This clear work naturally gave birth to beauty. Yanagi spoke of this discovery as an experience akin to religious enlightenment. The answer to the question "What is beauty?" came not from philosophy or aesthetics, but from the kitchen shelf.

Encounter with Korean white porcelain. The moment Yanagi awakened to "beauty"

The encounter with Korean crafts played a decisive role in Muneyoshi Yanagi's awakening to beauty. Around 1914, Yanagi came across Korean white porcelain and Joseon Dynasty ceramics, and was deeply struck by their beauty.

Korean white porcelain does not possess the splendor of Chinese white porcelain or the delicacy of Japanese ceramics. It has a rustic, unadorned, and somewhat melancholic beauty. Even if the shape is slightly distorted, or the glaze flow is not perfect—or rather, precisely within such "imperfection"—an ineffable beauty resides.

Yanagi wrote of this encounter, "I felt a kind of tremor of the soul." Before him was something completely different from the works valued in the Japanese art world at the time, yet undeniably beautiful. That experience led Yanagi to fundamentally re-examine "what beauty is."

Korean crafts were made by anonymous people for everyday use. If they were so beautiful, then the conditions for beauty were not "famous artist," "expensive materials," or "perfect technique." Yanagi became convinced of this. This conviction was the starting point of the Mingei philosophy.

The birth of the concept of "beauty of use" (yōnobi)

Through his encounter with Korean crafts, Muneyoshi Yanagi arrived at the concept of "yō no bi" (beauty of use). "Yō" means "use" or "practicality." "Yō no bi" refers to the beauty inherent in being used; in other words, the unique beauty possessed by vessels made for practical purposes.

Yanagi said, "A beautiful vessel is only complete when it is used." A vessel preserved in a museum's glass case, while certainly protected, can also be said to not be fully expressing its inherent beauty. A vessel is held in the hand, filled with food, placed on the table, washed, and used again. It is through this repetition that the beauty of the vessel truly comes alive.

Yanagi also argued that "ease of use" and "beauty" are not separate things. A truly easy-to-use vessel naturally has a beautiful form. A shape that fits comfortably in the hand, colors that enhance food, and a pleasing rim—these are all functional requirements, but at the same time, they are elements of beauty. Use and beauty are one and inseparable.

This concept of "yō no bi" is not merely about aesthetics. It is also a philosophy of living—of "living each day with care." Cherishing everyday vessels, deepening the relationship with them through continuous use—that is the core of a Mingei-inspired way of life.

The Three Leading Figures of the Mingei Movement

The Mingei Movement spread throughout Japan thanks to the efforts of three individuals.

Muneyoshi Yanagi: Thinker and Theorist

Muneyoshi Yanagi (1889-1961) was the founder and ideological pillar of the Mingei Movement. He began as a philosopher and art critic, and later established the Japan Folk Crafts Museum (Tokyo, Komaba). He authored numerous books, including "The Way of Crafts" and "The Gateway to Beauty."

Yanagi's philosophy extended beyond mere aesthetics and was deeply intertwined with religious philosophy. In particular, Zen thought and the concept of "tariki hongan" (salvation through the power of Amida Buddha) in Jodo Shinshu Buddhism greatly influenced his aesthetic sense. The idea that "beauty is born when anonymous craftspeople set aside their ego to create" resonates with the Zen concept of "mushin" (no-mind).

Yanagi also believed in the universal nature of beauty, transcending ethnicity and culture. He highly valued crafts from Korea and Okinawa, and demonstrated opposition to Japan's colonial rule at the time. He was a figure who sought to overcome discrimination and prejudice through beauty.

Shoji Hamada: Master of Mashiko ware

Shoji Hamada (1894-1978) was a potter based in Mashiko, Tochigi Prefecture, and a practitioner of the Mingei movement. In 1955, he was designated a Living National Treasure (Important Intangible Cultural Property Holder).

Hamada's pottery embodies the spirit of Mingei. The rustic texture of the clay, the flowing patterns of the glaze, and the generous and warm shapes are not something he "intended" to create, but rather the result of allowing the natural properties of the clay and glaze to work together.

He had a close friendship with British potter Bernard Leach and together they worked to popularize Mingei. Hamada, who continued to embody Muneyoshi Yanagi's philosophy in the practical realm of pottery, is sometimes called the "father of Mingei pottery."

Mashiko, the area where Hamada spread Mingei, is now a major pottery production center in Japan, with a large number of artists active there.

Kanjiro Kawai: Living National Treasure of Kyoto

Kanjiro Kawai (1890-1966) was a potter based in Kyoto and one of the central figures of the Mingei movement. He promoted the Mingei movement alongside Muneyoshi Yanagi and built his own unique world of forms.

Kawai's works are characterized by their rich glazes and bold forms. While deeply studying traditional techniques, he incorporated modern sensibilities into his vessels, reaching artistic heights beyond the scope of Mingei. In his later years, he also produced sculptural works, leaving a significant mark on the history of modern Japanese crafts.

Kawai's former residence is open to the public as the "Kanjiro Kawai Memorial Museum," preserving his living and working spaces as they were. It is a valuable place that conveys the appearance of a Mingei-inspired home and workshop to this day.

Specific Examples of "Beauty of Use"

Mashiko ware: The beauty of utility born from the simplicity of clay

Mashiko ware, produced in Mashiko, Tochigi Prefecture, where Hamada was active, is a prime example of Mingei. It is characterized by its iron-rich red clay, which creates rustic, sturdy, and warm vessels.

The beauty of Mashiko ware lies in the inherent strength of the clay itself. The natural flow of the glaze and the expressions born from accidental overlaps in the kiln make each piece unique. It is a beauty born from the harmony of earth, fire, and the craftsperson's breath, in stark contrast to the uniformity of mass production.

Mashiko ware is often used as a rice bowl, and with daily use, subtle changes appear in the glaze. The vessel "matures" with continuous use. This is the true essence of the beauty of use.

Tamba Tachikui ware: Mingei vessels that enhance food

Tamba Tachikui ware, produced in Tamba Sasayama, Hyogo Prefecture, is a historic ceramic ware counted among Japan's Six Ancient Kilns. It is characterized by its rustic earthy texture and natural glaze flow, and its presence when serving food is exceptional.

Tamba Tachikui ware vessels truly shine when combined with food. The power of these vessels to accept and enhance any dish—the green of vegetables, the white of soup, the red of sashimi—is precisely the practice of "beauty of use." Without flashy decoration, the food becomes the star. This is how Mingei vessels are meant to be used.

Okinawan Yachimun: The vitality of the South

Okinawan "Yachimun" pottery is a unique ceramic culture that dates back to the Ryukyu Kingdom era. Characterized by vibrant colors and bold patterns, it possesses a particularly distinctive presence even within Mingei.

The charm of Yachimun lies in its vitality. The bold use of southern colors—blue, green, white, red—in its painting allows viewers to feel the climate and culture of Okinawa. Muneyoshi Yanagi also highly praised Yachimun, positioning Okinawan crafts as an important part of Mingei.

Dining with Yachimun pottery instantly enlivens any table. These vessels change expression depending on the food they accompany, enhancing the joy of daily life. This, too, is an embodiment of "beauty of use."

What the Mingei Movement Changed

Impact on Japanese design philosophy

The Mingei Movement revolutionized Japanese design philosophy. Until then, "expensive and beautiful artworks" and "inexpensive and functional everyday items" were considered to belong to completely separate categories in Japan. The Mingei Movement broke down that barrier, instilling the value that "everyday objects themselves are beautiful" into society.

Even in post-war Japanese design, the influence of Mingei remains strong. "Functional beauty," "designs that highlight the natural qualities of materials," and "beauty that eliminates unnecessary ornamentation"—the aesthetic sensibility cultivated by the Mingei Movement lies at the root of these Japanese design philosophies. The global recognition of brands like Muji and others that pursue "simple, functional beauty" can be said to be an extension of the aesthetic sensibility that the Mingei Movement instilled in Japan.

Furthermore, the Mingei Movement played an important role in protecting regional traditional crafts. Mashiko ware, Tamba ware, and Okinawan Yachimun, which were on the verge of disappearing amidst the wave of modernization, continue to thrive today precisely because the Mingei Movement shone a light on them.

The role played by the Mingei Museum

In 1936, Muneyoshi Yanagi opened the Japan Folk Crafts Museum in Komaba, Tokyo. It served as the base of the Mingei Movement and a facility for exhibiting and preserving Mingei artifacts collected by Yanagi from Japan and abroad.

The Japan Folk Crafts Museum is not merely a museum. It is designed as a place where one can experience "beauty in daily life." The displayed vessels are not accompanied by extensive explanations like in art museums; instead, they stand quietly within the space. Visitors can reflect on their relationship with their own everyday vessels while viewing these pieces.

Additionally, Mingei museums have been established throughout the country. The Matsumoto Folk Crafts Museum (Nagano Prefecture), Kurashiki Folk Crafts Museum (Okayama Prefecture), and Toyama Folk Crafts Museum (Toyama Prefecture), among others, contribute to the preservation and transmission of regional craft culture by collecting and exhibiting local Mingei items.

The Mingei Museum is not only "a place to see beautiful things" but also "a place that provides an opportunity to re-examine everyday vessels." The charm of the Mingei Museum is that it allows for an encounter with crafts in a way that is closer to daily life, unlike an art museum.

Mingei and Modern Life

The affinity between Slow Living and Mingei

In recent years, the lifestyle known as Slow Living has gained global attention. It is an approach to life that emphasizes living each day carefully and meaningfully, rather than pursuing efficiency and speed. Cooking with quality ingredients, choosing natural materials, and valuing handmade items are ways of life that are gaining popularity, especially among younger generations.

The spirit of Mingei aligns remarkably well with this concept of Slow Living. Using vessels thoughtfully crafted by anonymous artisans, cherishing and using them for a long time, and enjoying the process of how a vessel "matures" with use—all of these resonate with the core values of Slow Living.

The "beauty of everyday vessels" proposed by Muneyoshi Yanagi 100 years ago is being rediscovered within the modern Slow Living movement. When one wishes to practice "mindful living," choosing handmade vessels might be the simplest and most certain first step.

Furthermore, from the perspective of sustainability, Mingei holds contemporary significance. Choosing quality items that can be used for a long time instead of disposable ones, and opting for items made by local artisans using local materials—these align with modern values of reducing environmental impact. Mingei can be said to be a pioneer of sustainable consumption, advocating for "using truly good things for a long time."

The spirit of Mingei inherited by contemporary artists

The spirit of the Mingei movement has been passed down to contemporary potters. In Mingei production areas (such as Mashiko, Tamba, and Okinawa), artists who blend tradition with modern sensibilities are active. While these artists establish their individual names as "famous artists," they still cherish the essence of Mingei: ease of use, the inherent qualities of materials, and beauty that blends into daily life.

For example, young potters based in Mashiko learn the techniques of Shoji Hamada while creating vessels suited for modern dining tables. Their pieces feature matte textures, muted colors, and appropriate sizes—all designed to fit contemporary lifestyles. Their approach, inheriting tradition while responding to modern demands, is a living embodiment of the Mingei spirit.

Moreover, through social media platforms like Instagram, younger generations of artists are spreading Mingei aesthetics. The appreciation for carefully crafted unique pieces and the rustic beauty that highlights material qualities is spreading globally through SNS. The spirit of Mingei continues to thrive today, albeit through media entirely different from the era in which Muneyoshi Yanagi lived.

Frequently Asked Questions about Mingei and the Folk Craft Movement

Q1. What is "Mingei" (folk craft) as advocated by Muneyoshi Yanagi?

It is an abbreviation of "Minshū-teki Kōgei" (folk craft), a concept created in 1925 by Muneyoshi Yanagi, Shoji Hamada, and Kanjiro Kawai. It refers to the beauty found in practical handmade everyday items (such as tea bowls, plates, and yunomi) made by anonymous craftspeople for the daily lives of ordinary people, rather than for display as works of art.

Q2. What does "Yō no Bi" (beauty of use), considered the essence of Mingei, mean?

It means "the beauty inherent in being used or in practical application." Muneyoshi Yanagi taught that "a vessel is only complete when it is used." It expresses the natural, unpretentious beauty that arises when craftspeople, free from ego or calculation, perfect the "ease of use" as a tool, resulting in shapes that fit the hand, colors that enhance food, and so on.

Q3. Who were the "three leading figures" who spearheaded the Mingei Movement?

・Muneyoshi Yanagi (Thinker): The founder who discovered beauty in daily life and established the theory of Mingei from a religious and philosophical perspective.

・Shoji Hamada (Potter): A Living National Treasure based in Mashiko, Tochigi Prefecture, who embodied Mingei through his grand "Mashiko ware" that utilizes the texture of clay.

・Kanjiro Kawai (Potter): A master based in Kyoto who pursued bold and modern forms while researching traditional techniques.

The beauty completed through use is the essence of Japanese ceramics.

What Muneyoshi Yanagi dedicated his life to conveying is simple: "Beauty is not found in extraordinary things, but in the everyday." That's all. Yet, many people are unaware of this simple truth.

The vessels you see in a museum may be beautiful. But that is a protected beauty. The beauty of Mingei vessels is a beauty that comes from being used. With each daily handling, the vessel absorbs your body temperature. Each time you serve food, you discover compatible colors and shapes. With continuous washing, the glaze gradually changes its expression. A vessel used for many years accumulates a "history of your relationship" with it that it did not have when purchased.

Muneyoshi Yanagi said, "Beauty does not exist; it is discovered by people." It is you, taking up and continually using the simple vessel made by an anonymous craftsperson, who discovers its beauty. Your eyes and sensibility awaken the beauty residing in the vessel. In that sense, the beauty of the vessel is a collaborative effort between you and the vessel.

When you acquire a Mingei vessel, please do not put it in a glass case. Do not just display it on a shelf. Use it every day. Serve your favorite dishes in it. Bring it out when you dine with friends. The more you use it, the more the vessel will respond to you. The true essence of "yō no bi" (beauty of use), which Muneyoshi Yanagi dedicated his life to conveying, can only be experienced through use.

A life that cherishes everyday vessels is a life that values mindfulness. A morning drinking tea from a Mashiko ware bowl, an evening meal served on a Tamba ware plate, a weekend enjoying coffee in a Yachimun cup. Such small accumulations will slowly but surely enrich your life from within.

Mingei is not a movement of the past. It lives on today, in the vessels waiting to be used on your kitchen shelf. When you pick up that vessel, you too will be able to touch the "beauty of everyday life" that Muneyoshi Yanagi saw.

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