Yanagi Soetsu - Icon Profile | Alexandria
Yanagi Sōetsu (柳宗悦, 1889-1961), also known as Muneyoshi Yanagi, was a Japanese philosopher, art critic, and founder of the mingei (folk craft) movement who revolutionized the understanding of traditional crafts and their role in modern society. His pioneering work bridged the gap between East and West, challenging conventional artistic hierarchies and championing the beauty of everyday objects made by anonymous craftspeople.
Born in Tokyo during the Meiji period, Yanagi's intellectual journey began at Tokyo Imperial University, where he studied psychology and developed an early interest in William Blake and Western mysticism. His first significant encounter with Korean pottery in 1916 marked a turning point, leading to his impassioned defense of Korean arts during Japan's colonial rule. This appreciation for Korean crafts, particularly the humble yet profound beauty of Joseon Dynasty pottery, laid the groundwork for his mingei theory.
In 1926, Yanagi coined the term mingei (民藝, "art of the people") alongside potters Hamada Shōji and Kawai Kanjirō, establishing a movement that would fundamentally reshape modern perspectives on traditional crafts. His philosophy emphasized the beauty of functional objects made by anonymous craftspeople for everyday use, challenging the prevailing artistic paradigm that privileged individual genius and purely aesthetic considerations. Through his writings, particularly "The Unknown Craftsman" (1972, published posthumously in English), Yanagi articulated a profound appreciation for what he termed "supreme beauty in everyday things."
Yanagi's legacy continues to influence contemporary discussions about craft, authenticity, and cultural preservation. The Japan Folk Crafts Museum (Nihon Mingeikan), which he founded in 1936, stands as a physical manifestation of his philosophy, while his ideas have gained renewed relevance in today's debates about sustainable living and artisanal production. His concept of "seeing with the heart" rather than critical judgment offers a compelling alternative to modern consumerism, suggesting that true beauty emerges not from individual ego but from selfless devotion to craft. How might Yanagi's vision of finding beauty in the ordinary reshape our understanding of art and daily life in an increasingly mass-produced world?