A Japanese William Morris:
Yanagi Soetsu and Mingei
TheoryYuko Kikuchi
Yanagi Soetsu (1889-1961)' was a philosopher and a leader of the Mingei movement in Japan. Mingei literally means 'art of the people', hence folk-crafts. Yanagi
created Mingei theory in the 19205. It was one of the first modern crafts/design
theories in Japan. The Mingei movement developed a nationwide campaign for therevival of folk-crafts from the 19305 onwards, its members united and nourishedby a cultural ethnic nationalism. Mingei theory is essentially a set of ideas about a'criterion of beauty' in which Yanagi created a concept of the supreme beauty ofhand-made folk-crafts for ordinary use, made by unknown craftsmen working ingroups, free of ego and of the desire to be famous or rich, merely working co earn
their daily bread.'
Yanagi Soetsu was born in Tokyo, into a distinguished upper-class family. He
experienced the turmoil of Japanese modernisation. His views reflect metropolitan
culture, his upper~c1ass background, and the complex struggles of the intellectuals of
the time to find a Japanese cultural ethnic identity in an environment of overwhelming
westernisation.
His life can be divided into four stages. The first stage is westernisation. He readvigorously and thoroughly absorbed western science, philosophy, literature and art.
He acquired the most updated knowledge from the West, surprisingly without a bigtime Jag. For example, he followed the current issues in art by reading major European
art magazines such as The Studio. The Post-Impressionists' concept of 'primitive art'
was particularly influential. The Post-Impressionists, written bye. L. Hind, publishedin 1911, so excited Yanagi and his friends that they continued discussions 'every night
throughout the week'.3 In 1912, he published an article, 'Revolution in Art' which
is a digest of Frank RUller's book of the same title published in 1910, and in 1913
he translated Roger Fry's essay in the catalogue of the 'Manet and the PostImpressionists' exhibition held at the Grafton Galleries, London, in 1910. Histranslation appeared in Shirakaba (White Birch), an influential magazine which
concentrated,on Western art and literature4 of which Yanagi was a founder. He also
absorbed ami-rational ideas during his ten years of intensive research into various
branches of mysticism, including Christian mysticism, Sufism, Zen Buddhism, andphilosophy, in particular, the thoughts of his contemporaries, William James andHenri Bergson. He was also fascinated by William Blake whom he first learnt aboutfrom Bernard Leach. When he was writing a book on BJake, Yanagi lived in Abiko,a rural area famous for its lagoon, and created there a sort of artists' and writers'colony with the ideal of 'back to the country', probably inspired by Tolscoy, the British
Arts & Crafts Movement and the Wolpswede group.
Through his research on mysticism, he developed his interests in medievalism,

39

gothic art and religious art. He read Emile Male's Religious Art in France in theThirteenth Century (1898) and absorbed its aesthetic narratives of medievalism suchas that treating of 'the beaury of the grotesque'. He also absorbed the idea of ethnic
art with its emphasis on moral and religious purity.
At the second stage, Yanagi's interests shifted from West to EaSt as he began to apply
his now thoroughly absorbed Western knowledge to Eastern art. He discovered thebeauty of Korean art and created his controversial theory of a 'beauty of sadness' which
saw the characteristics of Korean art as reflections of its sad history. This sadness canbe expressed in the shape of pOtS, in designs such as 'flying cranes and clouds' and'willow and ducks', and in lines and white colours. This was his application of ethnic
art particularly in the colonial context - Korea was a Japanese colony from 1910.
This theory of a 'beauty of sadness' was later criticised in Korea as 'colonial aesthetics'.
During this application exercise, Yanagi also developed his concept of national andethnic identity in art based on the modern Western concept of the nation.
After his involvement in Korean art, Yanagi turned his eyes to japan, and his initialinterest was in Buddhist religious art, particularly Mokujikibutsu, wooden Buddhas

which were thought to be carved by a travelling monk called Mokujiki Shonin (17181810). It was while he was researching on Mokujikibutsu scattered all over Japan,that he found folk-crafts in japan. In 1925 he used for the first time in his writings
the term 'innate and original' beauty of japan (koyuna/dokujino nihon no bi) in
reference to Mokujikibutsu. It is a legend that he coined the term Mingei with his
potter friends, Hamada Shoji and Kawai Kanjiro in 1925 while travelling. Mingei isin fact an abbreviation of MinshCtteki K6gei which means 'crafts of the people'. So
in 1925 the Mingei movement began. Yanagi wrote what came to be regarded as thebible of Mingei theory titled Kogei no Michi (The Way of Crafts) and otganised thefirst Japanese folk-crafts exhibition in Tokyo in 1927. He also cteated a guild ofcrahsmen in the same year, which was similar to the idea of William Morris's Morris& Co which [will refer to again later. In 1929, he was invited by Harvard University
to lecture on Japanese art for onc year. His lecture series was entitled the 'Criterionof Beauty in Japan'. This dearly articulated the innate and original Japaneseness inJapanese folk-crafts, and remains as the crystallisation of his concept of national andethnic identity in art which was gradually developed through his early studies on
philosophy and Korean art. Mingei theory began showing nationalistic aspects morethan craft aesthetic philosophy.

Yanagi founded the Association of Japanese Folk-Crafts in 1934 and published a
new magazine, K6gei ('Crafts'). This magazine was published in limited numbers

during the period 1931-1941, printed on exclusively selected Japanese hand-madepaper with covers of hand-woven cloth and lacquer. It is one of the most beautiful

book designs in Japanese book history. He and his friends such as Ito Chozo, j ugaku
Bunsh6 and Serizawa Keisuke further developed their interests in book design andprinting, inspired by Morris, Cobden-Sandersons and Jean Grolier. 6 Then eventually

in 1936, Yanagi established the japan Folk-Crafts Museum in Tokyo, and this became
the central institution of the Mingei movement, and still exists as such. The idea of
this museum was greatly influenced by the Nordiska Museet in Skansen, Stockholm

in Sweden, established by Arrur Hazelius (1833-1901) as long ago as 1873. Yanagi
actively travelled all over Japan, carrying out his research on folk-crafts, collecting,taxonomising, exhibiting and preserving.

40

[n the third stage, from the late 1930s to 1945, Yanagi developed his interests inthe crafts of Okinawa and the Ainu within Japan, and the crafts of Japanese colonies
such as Taiwan and Manchuria. He extensively applied his medieval and primitive
rhetoric and his 'criterion of beauty'. His political stance became increasingly
ambiguous in his evaluation of the crafts of Japanese colonies and in his arguments
over Japanese 'innate and original' beauty, which he somehow managed to develop
in harmony with the ultra-nationalist ideologies, regionalism and pan·Asianism
associated with Japanese Imperialism.
During his fourth and last stage, after the Second World War, Yanagi had close
connections with a Buddhist scholar, Suzuki Daisetz. He developed Mingei theory
within a framework of Buddhist aesthetics. His Mingei theory was first establishedin Western rhetoric but now completed in Buddhist rhetoric. He undertook lecture
tours all over Europe and the USA with Hamada and Leach, and made a profound
impact on Western craftspeople at the important International Conference ofCraftsmen in Pottery & Textiles at Dartingron Hall in 1952, presenting papers entitled'The Buddhist Idea of Beauty' and 'The Japanese Approach to Crafts'. These two
papers were included by Leach in The Unknown Craftsman. under the same title forthe first paper but the new title, 'The Responsibility of the Craftsman', for the second.
The hybrid nature of Mingei theory becomes apparent when examined alongside
the ideas of John Ruskin and William Morris. Yanagi mentioned their names, but hewas a great self-publicist, and in his many writings he strongly emphasised theoriginaliry of his Mingei theories and their independence of any precedents. Many
critics in Japan also supported Yanagi's claim to genuine originality and his views
have not been seriously questioned until recently. His claims, however, need to be reexamined against firstly, the backdrop of cultural nationalism in Japan which became
prominent around the 1890s and continues to the present day, and secondly in thecuntext of the popularity ofJohn Ruskin and William Mortis in Japan from the 1880s.
Mingei theory was created at a time when Ruskin and Morris were very popular.
Their works were translated and introduced in various academic fields from the late
1880s. According to my research, at least 102 items on Ruskin and 139 items on
Morris had been appeared? before Yanagi published his own seminal work on Mingei
in 1927. In the field of art and aesthetics, Iwamura Toru, a leading art critic, andTomimoto Kenkichi, a versatile Morrisian designer and potter, are notable before
Yanagi. Tomimoto's article on Morris, published in 1912, was one of the earliest
extensive pieces on the designer. Tomimoro also founded a design company in 1914,
with ideas similar to those of Morris & Co. He later became involved in the Mingei
movement and was at one time a very close friend of Yanagi, but his role in theformation of Mingei theory has long been neglected. 8 A journalist, Murobuse Koshin
also published three bestselling books in the 1920s that provided a digest of ideas bymodern thinkers in the West with particular reference to Marx, Tolstoy, Ruskin andMorris. He also popularised the ideas of Guild Socialism.
Two Japanese critics who have questioned Yanagi's claim to originality were a
Morris scholar, Ono Jira, and a Mingei critic, ldekawa Naoki. Ono said, 'in order
to truly absorb Morris's ideas, we Japanese need to critically assess Yanagi's activities
and theories',9 and Idekawa claimed 'Mingei theory is a direct descendant of Ruskin
and Morris'.lO In this country, Brian Moeran has also pointed out Yanagi's Morris
connection. I tend to agree with Ono, Idekawa and Moeran.
41

I shall now briefly outline Yanagi S6etsu's key ideas of Mingei theory by comparing
them with the ideas of William Morris as well as john Ruskin. Yanagi classified crafts
into four categories: 1\
i. Folkcrafts or getemono: 'unselfconsciously hand-made, and unsigned, for the people
by the people. cheaply and in quantity, as, for example, the Gothic crafts, the best
work being done under the Medieval guild system'. Ge of getemono means 'ordinary'or 'common', and te means 'by nature'. It applies to common household objects andhas a derogatory tone. It is a concept in opposition to ]6temono, artistic and refined
objects of a higher nature, including Individual/Artist Crafts and Aristocratic Crafts
in Yanagi's classification.
ii. Individual/Artist Crafts: 'made by a few. for a few. at a high price. Consciously
made and signed. Examples, Mokubei or Sraite Murray' (Wedgwood in Yanagi's
original).
iii. Industrial Crafts: 'such as aluminium saucepans, etc., made under the industrial
system by mechanical means'.
iv. Aristocratic Crafts: 'examples, abeshima ware in japan under the patronage ofa feudal lord or Stanley Gibbons in England' (Makie in Yanagi's original).
Yanagi's theory was formulated 00 the first category. He prized getemono, common
household objects hand-made by unknown craftsmen. William Morris prized thedecorative arts, which he called the 'lesser arts' in contrast with the 'higher arts'.
Their ideas share a modem aesthetic which contests the historical distinction of highand low art, by prizing haodcrafts by unnamed ordinary people.
Yanagi's Mingei theory is centred on ideas of what he calls the 'criterion of beauty'
which defines the supreme beauty of folk-crafts or getemono. It was most clearlysummarised in a seminal book titled Kogei no Michi (The Way of Crafts), publishedin 1927, and its essence was translated and adapted by Bernard Leach in 'The Wayof Craftsmanship' in The Unknown Craftsman. Besides Kogei no Michi, Yanagi gives
an illustrated representation of his ideas in a series of arricles with the same title, the'Crirerion of Beauty', published in 1931 after returning from lecturing at Harvard
University. It is not known whether Yanagi intended it or not, but it uses the same
method as A. W. Pugin's book, Contrasts, published in 1836, contrasting the uglinessof Victorian architecture with the beauty of Gothic architecture. Yanagi's ideas wererefreshingly new in the 1920s in japan, when little value was attached to folk-crafts
or getemotlo, and largely overlap with those of Ruskin and Morris.
Yanagi's main project, developed from his medievalism, also has similarities withthose undertaken by'Ruskin and Morris. Yanagi idealised the medieval environment
as one in which makers could create objects of supreme beauty. Both Ruskin andMorris were also medievalists. The Middle Ages for Ruskin and Morris were a time
when aesthetic feelings, social life and religious sensibilities were truly unified in an
Age of Faith. Although the social system was hierarchical, everybody could find ameaningful relationship with society.
In order to recreate a medieval environment in modern society, Yanagi establisheda guild to resuscitate craftsmanship. His ideas were influenced not only by Ruskin
and Morris, but also by the Russian Anarchist theorist, Pyotr Alekseevich Kropotkin(1842-1921) in his book Mutual Aid, and by Arthur J. Penty (1875-1937), the Brirish
Guild Socialist and an architect. in his book Restoration of the Guild System.
42

It would be most difficult without a change in the social system. Under present
conditions folk-crafts are dying, bad factory products are increasing, and the anistcraftsman works for the collector...
In my opinion, now that capitalism has killed handcrafts,.the only way is throughthe guild system. The finest crafts of the past were produced under it... Beautiful
crafts were the outcome of the co-operation between craftsmen.
Associations for mutual help and preserving order. Order involves basic morality.
The morality guaranteed the quality of the products. It gave the work its character,guaranteed its craftsmanship, and refused to allow bad work to be sold. 12
Encouraged by Yanagi's ideas, the craft guild called Kamigamo Mingei Ky6dan(Kamigamo Folk-crafts Communion) was established in Kyoto in 1927 by four
craftsmen. They created woodwork (mainly furniture), metal work, textiles anddid interior designs. Their major works were exhibited in the Folkscrafts Pavilion
at the Imperial Exposition for the Promotion of Domestic Industry in Ueno in
1928. The Pavilion itself was designed by Yanagi, and created by the Kamigamo
Mingei Ky6dan. Inside the Pavilion, Yanagi's collection of folk-crafts, andfurniture and other crafts created by the Kamigamo Mingei Ky6dan, were
exhibited with the concept of total co-ordination. This idea of total co-ordination
is similar to Morris's Red House which was designed by Philip Webb with interior
decoration, furniture and other crafts by Morris's friends.
Ruskin founded the Guild of St. George in 1871, and under its name he carriedout various projects which ranged from craft guilds and land reclamation, to runninga tea shop, and even road sweeping. However, in terms of craft·guilds, Yanagi's ideas
have more in common with those of Morris & Co. and the guilds of Morris's followers
such as A. H. Mackmurdo, W. R. lethaby and C. R. Ashbee in rhe British Arts &Crafts movement.
Yanagi, Ruskin and Morris certainly shared the same ideas. They all prizedcraftsmanship and handcrafts. They were all medievalists, having as their ideal asociety in which art and morality were united. However, there are several differences,which I see as evidence of Yanagi's originality. One of the most important of these
relates to Morris's key belief in the idea of 'pleasure in labour'13 or freedom increativity. Yanagi always spoke of a Divine power which he called 'grace given byheaven' ,14 rather than of 'pleasure' and 'freedom'. A Japanese critic, Idekawa Naoki,
emphasises Yanagi's belief that the craftsman was a 'human machine'LS, destined forlabour-intensive repetitive work, who could yet unconsciously create beautiful things
with the help of nature, tradition and Divine power. According to Yanagi, a conscious
artistic faculty was a disease which prevented the creation of supreme beauty. For
Yanagi, 'no-mindedness'\' was the key factor in making craftsmen free from thisdisease. Morris, on the other hand, while praising 'art of the unconscious
intelligence',17 placed his hope for the future in a <new art of conscious intelligence'. IS
In order to attain 'no-mindedness', Yanagi emphasised 'discipline', relying on
Nature and surrender to 'the Other Power' or Tariki, the reliance on the grace of
Buddha, as opposed to Jiriki or the 'Self Power', attaining Enlightenment throughself effort:(The Craftsmen} may be unlettered, uneducated and lacking any particular forceof personality, but it is not from these causes that beauty is produced. He rests in43

the protecting hand of nature. The beauty of folk-craft is the kind that comes fromdependence on the Other Power (Tariki). Natural material, natural process, andan accepting heart - these are the ingredients necessary at the birth of folk-crafts' .19
According to Yanagi, relying on 'the Other Power' actually means makers
following tradition, using traditional methods, traditional natural materials andtraditional forms and designs.
Yanagi and Mingei theory are widely known in the West, panicularly for their socalled 'Oriental' philosophic slant which gave a new dimension to Western interest
in issues of crafts and craftsmanship. I often come across favourable and uncriticalacceptance of Mingei theory in the West, where there is a tendency towards over·mystification and an over-emphasis of its esoteric aspects. However, far from being'authentically' Oriental in outlook, as is generally assumed, Mingei theory is a hybrid
theory, highly eclectic in its concepts, with core ideas from many European sources,
such as British (particularly Ruskin and Morris), Scandinavian and German craft
philosophies of the late nineteenth and early twentieth·century, and Buddhist rhetoricand ideas from Japanese Tea Masters of the sixteenth and seventeenth-century. The
purpose of this article has been to emphasise the hybrid nature of Yanagi's Mingei
theory and to encourage a more critical assessment of its origins and aims.
NOTES

Japanese names are all given in Japanese order, i.e. surname first. Officially Yanagi's
given name is pronounced Muneyoshi but I use S&etsu by which he is more
popularly known. S6etsu is the On-yomi pronunciation of the Chinese character
for Muneyoshi.
2
I would summarise Yanagi's Criterion of Beauty as follows:
1. Beauty of handcrafts.
2. Beauty of intimacy.
3. Beauty of use/function (functional in form and design).
4. Beauty of health (moral nature of makers and physical nature of objects).
S. Beauty of naturalness (made with natural materials).
6. Beauty of simplicity (form and design).
7. Beauty of tradition (method and design).
8. Beauty of sincerity and honest sweat (by unknown craftsmen, not for money
greed).
9. Beauty of selflessness and unknown (made by unknown, unlearned and poor
craftsmen).
10. Beauty of inexpensiveness.
11. Beauty of plurality (objects which could be copied and produced in large
quantities).
12. Beauty of irregularity.
J Yanagi S6etsu, Yanagi Soetsu Zensha [Collected Works ofYanagi Soetsul, (Tokyo:
Chikuma Shobi\ 1981), I, p. 567.
• ibid., I, pp. 706-716.
S Thomas James Cobden-Sanderson (1848-1922), printer and book· binder, also afounder of the Doves Press.
1

44

, jean Grolier. book collector, and associated with elaborate gold decorations ofbook-binding.
1
For Morris's reception in japan, see K. Makino, C. Shinagawa, s.lto, 'Nihon deno
Morisu Kenkyu Bunken Mokuroku' lA Bibliography cl Morris Studies in Japan],Morisu Matsuri eno Shotai, (Keyaki Bijursukan 1991).
I
For further information, see Yuko Kikuch.i. 'The Myth of Yanagi's Originality:
The Formation of Mingei Theory in its Social and Historical Context', Journal of
Design History. Vo17. No 4.11994), pp. 247-266.
9 Ono jiro. Kubo Satoru, 'Wiriamu Morisu to Yanagi soetsu' I William Morris andYanagi Soetsu], Graphication, 12, 1979. p. 3.
10 ldekawa Naoki. Mingei: Riron no Hokai to Yoshiki no Tan;6 [Mingei: Collapseof the Theory and Establishment of the Style), (Tokyo, Shinchosha 1988).
11 Yanagi Soetsu Ze'Jshtl. op. cit.• 8, p. 21l.
12 Yanagi Soetsu, adapted by Bernard Leach, The Unknown Craftsman, (Tokyo and
New York, Kodansha International 1989), p. 198 and p. 208.
13 May Morris (ed.), The Collected Works of William Morris, (London: Longmans
Green & Co. 1910-15), XXII, p. 42.
14 Yanagi, 'The Japanese Approach to Crafts', (Dartington Conference Papers 1952),
p.22.
15 ldekawa, Mingei, op. cit., p. 70.
16 Bernard Leach translated this as 'state of going beyond all forms of dualism' in
The Unknown Craftsman, p. 228.
•, The Collected Works of William Morris, op. cit., XXll, p. 12.
18 ibid., p. 12.
19 The Unknown Craftsman, op. cit., p. 200.

45