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The Beauty of Everyday Things
The daily lives of ordinary people are replete with objects, common things used in commonplace settings. These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty.In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and the beauty of everyday things.
316 pages, Kindle Edition
First published January 1, 2017
About the author
Soetsu Yanagi
52 books44 followersYanagi Sōetsu (柳 宗悦, March 21, 1889 - May 3, 1961), also known as Yanagi Muneyoshi, was a Japanese philosopher and founder of the mingei (folk craft) movement in Japan in the late 1920s and 1930s.
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Displaying 1 - 30 of 166 reviews
January 29, 2021
I found the title slightly misleading, but as I kept reading the book I began to enjoy it; it gave me a new view on certain objects, and information on the various corners of Japanese Folk Craft (with a little side nod towards such art in Korea, which the author valued highly, as he tells in one text). This book is a collection of the author's writings on the folk art, put not in time order, but in a way that introduces the reading into the subjects before going into various corner, finally ending in the folk art museum of Tokyo, and how it came to be.
Yanagi's everyday things are things that are produced in Japan's provinces, anonymous works that are mass-produced, but not in factories, often plain and simple even in its designs: pottery, paintings, clothes, statues...objects that are meant to last, yet treated with some respect and affection. They are utilitarian, practical, following certain laws of making yet not being too much of an artist-work. He found them at first in quite cheap prices, before other people caught on with it, and thus managed to gather a nice collection, some of which ended up in the museum I've mentioned. Yanagi was a philosopher, poet, art historian, essay writer for papers and such, besides being a collector and museum starter.
Different writings on certain corners of folk craft: the importance of good patterns, Okinawa’s ”bashofu” textile, ”kasuri” resist-dyeing technique, ”kogin” - quilted clothing textile done on long winter days shut in, the sculptures of Mokujiki, woodblock prints, ”otsu-e” folk painting, why seals of the makers are not the point one should focus on first (this chapter comments on feedback to a text towards the start of this book), ”washi” the Japanese traditional paper...
He also talks about how Japanese perspective should be valued just like Western one – no need to imitate, but value your own (he put tea ceremony details as an example). Here in this chapter might be something of an interest (chapter V of the text) for Muji-brand fans, at least for me the information was very fascinating.
I think his chapter on why when witnessing an art thing the first time, the process of seeing (intuition) is superior to knowing (intellectual rating of the work); the latter is just extra. I agree with this one since I like to use intuition first when seeing art first time, also.
His letter to the suffering Korean people (in the time period when Japan occupied Korea) was very moving and made me think of some political corners of this world today…. It's included no doubt because of his expression of admiration for Korean folk craft is included.
And finally there's a short text on how the Japan Folk Crafts Museum came to be. It still looks the same (you can find two photos of it in the back of the book) when you check it on Google, and the inside-pictures make you want to go. Maybe if I get to go to Tokyo again someday?
So, although I was a little misled with what I thought the book would be about, yet I was in the end happy and better informed when it comes to Japanese folk craft. Yanagi praises some of the Scandinavian things of the same nature, so I think I could learn from this book to look towards the objects of folk craft even in my own home country and Scandinavia. This book was very much worth the read.
Yanagi's everyday things are things that are produced in Japan's provinces, anonymous works that are mass-produced, but not in factories, often plain and simple even in its designs: pottery, paintings, clothes, statues...objects that are meant to last, yet treated with some respect and affection. They are utilitarian, practical, following certain laws of making yet not being too much of an artist-work. He found them at first in quite cheap prices, before other people caught on with it, and thus managed to gather a nice collection, some of which ended up in the museum I've mentioned. Yanagi was a philosopher, poet, art historian, essay writer for papers and such, besides being a collector and museum starter.
Different writings on certain corners of folk craft: the importance of good patterns, Okinawa’s ”bashofu” textile, ”kasuri” resist-dyeing technique, ”kogin” - quilted clothing textile done on long winter days shut in, the sculptures of Mokujiki, woodblock prints, ”otsu-e” folk painting, why seals of the makers are not the point one should focus on first (this chapter comments on feedback to a text towards the start of this book), ”washi” the Japanese traditional paper...
He also talks about how Japanese perspective should be valued just like Western one – no need to imitate, but value your own (he put tea ceremony details as an example). Here in this chapter might be something of an interest (chapter V of the text) for Muji-brand fans, at least for me the information was very fascinating.
I think his chapter on why when witnessing an art thing the first time, the process of seeing (intuition) is superior to knowing (intellectual rating of the work); the latter is just extra. I agree with this one since I like to use intuition first when seeing art first time, also.
His letter to the suffering Korean people (in the time period when Japan occupied Korea) was very moving and made me think of some political corners of this world today…. It's included no doubt because of his expression of admiration for Korean folk craft is included.
And finally there's a short text on how the Japan Folk Crafts Museum came to be. It still looks the same (you can find two photos of it in the back of the book) when you check it on Google, and the inside-pictures make you want to go. Maybe if I get to go to Tokyo again someday?
So, although I was a little misled with what I thought the book would be about, yet I was in the end happy and better informed when it comes to Japanese folk craft. Yanagi praises some of the Scandinavian things of the same nature, so I think I could learn from this book to look towards the objects of folk craft even in my own home country and Scandinavia. This book was very much worth the read.
February 9, 2020
You could probably save yourself quite some time by accepting the following 3 sentences instead of reading this whole book:
- Artisan objects are aesthetically superior to classic art objects because of their simplicity
- You will only find perfect artisan objects, there is no such thing as imperfect ones
- Artisan objects are a manifestation of nature's intention.
A lot of truisms in this book, which is something I sometimes find in Japanese writing and do not really enjoy. That intellectualized skepticism seems to be something I have been conditioned to need, and hence cannot really enjoy reading these non-argumented essays based on primarily subjective opinions phrased as universal facts.
- Artisan objects are aesthetically superior to classic art objects because of their simplicity
- You will only find perfect artisan objects, there is no such thing as imperfect ones
- Artisan objects are a manifestation of nature's intention.
A lot of truisms in this book, which is something I sometimes find in Japanese writing and do not really enjoy. That intellectualized skepticism seems to be something I have been conditioned to need, and hence cannot really enjoy reading these non-argumented essays based on primarily subjective opinions phrased as universal facts.
August 10, 2021
the thinking around design and how industrialisation has damaged craft was sooo interesting but this mf lost me in the last few chapters when he was telling koreans to not rebel against occupying japanese forces WTF was that mf go back to talking about pottery
June 14, 2020
I really enjoyed the meditations on beauty, utility, and intuition. The sense of longing, respect to nature, calm, and search for truth is contagious. The comparisons between Eastern and Western thought are sharp. This edition is a delight to read, typography is generous, keeps the pages turning. I wish there were more pictures, had to keep my computer up close to search for things online. I deeply regret not having read this before my trip to Japan.
April 17, 2024
Given that this written a few years back, it still holds true when we think of our essentials, when we think of what houses our homes. That thrifted coffee table. That chair found off the curb of an unremembered street. Look there, that mug that your friend gifted you. How they’re made and how many years they hold is of so much importance. In craft and specialty craft, Yanagi explores from his own heritage what makes great art in our daily lives. What we use and how long we keep them for.
It’s true, they don’t make things like they used to. At the height of capitalism and fast commercialism, it’s hard to see what originates, overlooking beauty in such wide peripheries.
There’s a beautiful apology at the end of the book where Yanagi asks forgiveness from Koreans and their art for what Japan as a nation did in trying to erase identity in art. He is, perhaps, the only person I know of that is ever so willing to admit such shame in times where the two countries still argue about Dokdo or cherry blossoms.
🥮🥮🥮
If you enjoyed this write-up, please consider purchasing my novella here.
Or find other thoughts on books and films here.
It’s true, they don’t make things like they used to. At the height of capitalism and fast commercialism, it’s hard to see what originates, overlooking beauty in such wide peripheries.
There’s a beautiful apology at the end of the book where Yanagi asks forgiveness from Koreans and their art for what Japan as a nation did in trying to erase identity in art. He is, perhaps, the only person I know of that is ever so willing to admit such shame in times where the two countries still argue about Dokdo or cherry blossoms.
🥮🥮🥮
If you enjoyed this write-up, please consider purchasing my novella here.
Or find other thoughts on books and films here.
October 8, 2022
Liked it. Cool to hear the insight of someone who’s super passionate about something I’ve never even considered
June 8, 2022
Long time no review, I forgot how to keep my reviews interesting and engaging. But I have a tendency recently to just highlight the essential things to keep in mind about this book and based on which you can decide to read it or not.
1. Although the title is general the book is specifically about introducing the Japanese approach to aesthetics and its history in folk art precisely. According to the author it all goes back to tea masters. (More infos: The Book of Tea, Okakura Kakuzo 1906);
2. The book is critical towards the western obsession of perfection as the only promise of beauty. In fact, and if you’re familiar with Japanese arts and culture there is an emphasis on the imperfect being superior. Y (More infos: In Praise of Shadows, Junchiro Tanizaki 1933);
3. Yanagi sets a framework to explore and appreciate the beauty of folk craft through his essays on: Ukioy-e, Otsu-e, Kasuri, Kogin, Bashofu, Washi ... and through which he advocates for a revival of Japanese crafts;
4. My favourite bits of his essays were when the author elaborated in the meaning of beauty and how it is manifested in Japanese folk craft. But this is his very personal opinion and doesn't reflect the general understanding of aesthetics in Japan - as he himself points that out!
There was one letter included at the very end of the book as : A letter to a Korean friend that was meant to be published in the newspaper criticizing the annexation of Korea by Japan, and in it the author highlights the artistic and religious bridges between the two countries.
P.S:
There is a Thomas Aquinas quote inside!
1. Although the title is general the book is specifically about introducing the Japanese approach to aesthetics and its history in folk art precisely. According to the author it all goes back to tea masters. (More infos: The Book of Tea, Okakura Kakuzo 1906);
2. The book is critical towards the western obsession of perfection as the only promise of beauty. In fact, and if you’re familiar with Japanese arts and culture there is an emphasis on the imperfect being superior. Y (More infos: In Praise of Shadows, Junchiro Tanizaki 1933);
3. Yanagi sets a framework to explore and appreciate the beauty of folk craft through his essays on: Ukioy-e, Otsu-e, Kasuri, Kogin, Bashofu, Washi ... and through which he advocates for a revival of Japanese crafts;
4. My favourite bits of his essays were when the author elaborated in the meaning of beauty and how it is manifested in Japanese folk craft. But this is his very personal opinion and doesn't reflect the general understanding of aesthetics in Japan - as he himself points that out!
There was one letter included at the very end of the book as : A letter to a Korean friend that was meant to be published in the newspaper criticizing the annexation of Korea by Japan, and in it the author highlights the artistic and religious bridges between the two countries.
P.S:
There is a Thomas Aquinas quote inside!
December 30, 2023
we got a professional yapper over here 💥💥💥
June 27, 2022
Really calm, meditative read. Whilst reading It has got me looking at object/art in a more appreciative perspective, sitting for a second and enjoying it in silence, which is really refreshing.
Was really great to read before going to MONA museum. Yanagi emphasises the appreciation for unsigned artwork & how knowledge of who the creator of an art piece should come last, taking this approach for a change was again really refreshing & fun.
His dedication to art is cute, wish there were more references pics too
Was really great to read before going to MONA museum. Yanagi emphasises the appreciation for unsigned artwork & how knowledge of who the creator of an art piece should come last, taking this approach for a change was again really refreshing & fun.
His dedication to art is cute, wish there were more references pics too
September 20, 2020
This book is much, much more niche than the cover blurb sets it up to be - not so much "a heartfelt call for us to deepen our relationship with the objects that surround us" as a selection of nostalgia-tinged, thematically-linked essays on Japanese arts and crafts. It's more a precursor to Alex Kerr's Lost Japan than it is a book about the nature of art and beauty.
There are some interesting bits here, if you're interested in Japanese art (my main goal), but if you're after ruminations on the beauty of everyday things, there's really only three essays here that do what the book promises: What is folk Craft?, The Beauty of Miscellaneous Things, and Seeing and Knowing. Of these, the last is the most interesting, and most quotable. e.g.:
"For a true understanding of art, in order to touch its essential nature, instinctive insight must precede cerebral discrimination; intuitive understanding must come before intellectual comprehension... Those who know intellectually without seeing intuitively fail to understand the mystery of art... The results of intuition can be studied by the intellect, but the intellect cannot give birth to intuition."
Lots to think about and debate there...
Otherwise, for most Western readers this will all feel a bit random, and really needs more explanatory footnotes, an index, a tighter translation, and (ideally) colour illustrations to warrant a higher rating.
There are some interesting bits here, if you're interested in Japanese art (my main goal), but if you're after ruminations on the beauty of everyday things, there's really only three essays here that do what the book promises: What is folk Craft?, The Beauty of Miscellaneous Things, and Seeing and Knowing. Of these, the last is the most interesting, and most quotable. e.g.:
"For a true understanding of art, in order to touch its essential nature, instinctive insight must precede cerebral discrimination; intuitive understanding must come before intellectual comprehension... Those who know intellectually without seeing intuitively fail to understand the mystery of art... The results of intuition can be studied by the intellect, but the intellect cannot give birth to intuition."
Lots to think about and debate there...
Otherwise, for most Western readers this will all feel a bit random, and really needs more explanatory footnotes, an index, a tighter translation, and (ideally) colour illustrations to warrant a higher rating.
December 21, 2020
“It is common knowledge that the mechanisation and commercialisation of industry have resulted in the unending manufacture of poorly made goods. This decline in quality is the result of the excesses of the profit motive, organisational distortions, technical limitations, and much more. Furthermore, the working conditions in factories are oppressive, and workers find their work to be meaningless. Add to this the fact that there are no restrictions on mechanisation, which leads to rampant production of an even lower quality. Overproduction has also produced a greater number of unemployed. No one takes responsibility for this lamentable situation.”
And to think this was written away back in 1933. This is an intriguing little collection of essays written from the 1920s through to the 1950s largely about the subject of Mingei (folk art). We learn that folk art must fulfil a practical purpose, be hardy and not too ornate. In fact we are told that simplicity forms the backbone of Mingei.
This is a subject I have little to no knowledge of or interest in and yet there were many aspects of it which I found engaging and worthwhile. Yanagi like most people who are passionate about their subject, proves to be authoritative and at times his warmth and enthusiasm is infectious and overall this was a clear, accessible and engaging collection of essays
April 3, 2022
Such a curious little book this was! Lots of older texts (early to mid-1900s) reflecting on folk art, durable design, and also what do we mean by modern, really. Got quite spicy at times — which I loved! — just some of the essays meandered a fair bit. Interesting read but obviously would be much better if I knew more about the different Japanese art forms and items discussed.
May 29, 2023
“the litmus test of a country’s cultural level should be the lives led by ordinary people. this level is most apparent in the utilitarian objects used on a daily basis.”
wholesome ! normal ! beauty
absolutely fantastic. instant classic. must go to museum of craft ASAP
wholesome ! normal ! beauty
absolutely fantastic. instant classic. must go to museum of craft ASAP
June 23, 2023
If this wasn't a library book I would have left in on the train
October 16, 2023
different essays of which i found those about the meaning of folkcraft and finding beauty in simplicity the most interesting to read. 'the japanese persepective', was also quite refreshing and nice to read. 'a letter to my korean friends', was beautiful and also parts are still relevant in this world.
don't agree with everything the author has in mind, but it was a nice read.
don't agree with everything the author has in mind, but it was a nice read.
April 15, 2024
not what i expected but a pleasant surprise
May 8, 2020
I’m definitely the wrong audience for this book. I approached it looking for (and mistakenly expecting) philosophical ideas about the nature of ordinary things. As in, any old ordinary thing. Instead, I pushed through essays about (now) historic Japanese crafts with whiny rhetoric about Japan being superior to the west and deserving more attention. It is not a ‘timeless’ or ‘classic’ collection of essays; it’s very dated and probably only interesting to a pre-20th century Japanese historian. Yanagi also tossed in a bit too many back door brags (‘I liked xyz artist/craft before it was cool!’) for my taste.
I don’t enjoy being a hater, esp. to someone who is clearly an expert in his field, but he’s dead so I’m not hurtin’ any feelings.
I found the writing pretentious, assuming, and painfully redundant.
So, if you’re interested in learning brief histories about Japanese washi paper or Bashofu fabric, go for it. Otherwise, I don’t recommend.
I don’t enjoy being a hater, esp. to someone who is clearly an expert in his field, but he’s dead so I’m not hurtin’ any feelings.
I found the writing pretentious, assuming, and painfully redundant.
So, if you’re interested in learning brief histories about Japanese washi paper or Bashofu fabric, go for it. Otherwise, I don’t recommend.
July 28, 2019
When seen in the context of the time when these essays were written it's hard to not be in awe of the affection that drove Soetsu Yanagi to pursue the path he so fondly talks of in his writings. The touch of humanity is priceless in his written word. But the book as whole is sometimes too repetitive and the cover and the title are definitely misleading. I would have felt more satisfied if the title was simply Essays by Soetsu Yanagi because I would have expected to read his philosophies and thoughts then. So I would have had much more patience with all the repetition too. Right now I'll give the book a 3 star because of the publishing but I'm rating it 4 just because his thoughts are truly precious.
June 18, 2019
I liked Soetsu Yanagi's voice. I can imagine him wandering all over the Japanese and Korean countryside in his quest to find beauty. A beautiful insight into Japanese philosophy as well as the Soetsu Yanagi's take on political events between Japan and Korea. At times he is repetitive, but I sort of like that about him. It shows obsession, and I think that is one of his most inspirational aspects, his obsession with raw beauty and Zen philosophy.
It is the sort of book that would work well for any person going into the arts. Seeped in the Way of Tea, Zen philosophy, discusses the act of seeing, and how different cultures are trained to see. Really a mind blowing read.
It is the sort of book that would work well for any person going into the arts. Seeped in the Way of Tea, Zen philosophy, discusses the act of seeing, and how different cultures are trained to see. Really a mind blowing read.
July 31, 2022
Insufferable attitude towards himself. Great resource for handicrafts in Japanese history and how to appreciate objects created for utility.
I had to ease my growing headache when it took him several pages just to prove to the reader that he totally would’ve bought the painting if it didn’t have the famous signature! He doesn’t understand why people buy art for the signature! He swears he only cares about the art itself! The signature means nothing! I REPEAT he would have still bought it if it was unsigned!!!!
Okay. I get it. You are holier than I.
It took all of my mental energy to not give up.
I had to ease my growing headache when it took him several pages just to prove to the reader that he totally would’ve bought the painting if it didn’t have the famous signature! He doesn’t understand why people buy art for the signature! He swears he only cares about the art itself! The signature means nothing! I REPEAT he would have still bought it if it was unsigned!!!!
Okay. I get it. You are holier than I.
It took all of my mental energy to not give up.
September 30, 2020
The first 100 pages were good but then it stops being about everyday objects while also being wildly repetitive. And a wee bit pretentious so yeah not my favourite but did enjoy a few of the essays.
May 5, 2019
A little pretentious, and certain chapters are far more repetitive than they ought to be
Read
April 18, 2024A good read. I found most interesting the connections he made between Zen Buddhism, tea ceremony and the ‘Japanese eye of seeing’.
January 1, 2024
THE BEAUTY OF EVERYDAY THINGS by Soetsu Yanagi is a book my daughter gifted to me. She saw it while browsing in a bookstore while at school in Scotland and thought it sounded interesting. She and I have had many conversations about the importance of buying quality versus buying cheaply, and she thought this collection of essays would reinforce her arguments for quality over affordability.
I didn't know what to expect when I first cracked open THE BEAUTY OF EVERYDAY THINGS. I had to adjust to the essay format, especially because there is little connecting one essay to another. The first several essays all focus on the beauty of handmade crafts and the decline of beauty in everyday essentials. The next few shift to discussing specific examples of handicrafts, Japanese specific and almost obsolete at the time of the essay writing, which was at least sixty years ago. The last few essays focus on Eastern vs. Western beauty, the superiority of Eastern beauty, and a lament on what Japan did to Korea almost 100 years ago.
All that to say, I feel the target audience for these essays gets more specific as you continue reading. The first few are generic enough to apply to any reader. Once Mr. Yanagi starts focusing on Japanese-specific handcrafted items, his arguments become more challenging because you don't know the craft or pattern he discusses. By the time you reach the last few essays, you are reading the opinions of someone who was middle-aged during World War II and who reinforces the Japanese sense of superiority that defined that era.
The main argument running through all of the essays did strike a chord with me, regardless of how confusing some of his essays were. It is difficult to fault his theme because it is true. Much of the items we use in our everyday lives, from kitchen utensils to the clothes we wear, are cheap and lack that sense of beauty that comes with something made well or made by hand.
In many ways, Mr. Yanagi's argument aligns with increasing dissatisfaction with fast fashion and the throw-away mentality encompassing modern society today you see in headlines. We revere handmade items for many reasons. Not only do we expect such items to be of better quality, but we also expect them to be more beautiful because they've been made by someone who loves what they do. Items made by a machine might be flawless, but they lose something in their consistency and perfection.
I found those essays touching on the beauty of handicrafts to be highly relatable. Not only that, but I've been much more careful about my purchases, opting for higher quality items and handcrafted ones if possible. Mr. Yanagi's early essays align with what my daughter and I have been discussing. I find myself looking at simple household items through a different lens.
In the last few essays, however, I struggled with the bias in Mr. Yanagi's words. One essay even argued that if the Western world took one look at Japanese art and handicrafts, they would agree that Japanese art is superior to Western art. He leaves no room for compromise in his arguments, wording his essays in such a way that seems to make his the only correct opinion. The tone of these essays, with that overwhelming sense of Eastern superiority, deviated so much from the earlier ones that I skimmed them instead of studying them in detail.
Despite my distaste for the tone and messaging of the last few essays, THE BEAUTY OF EVERYDAY THINGS is a collection I would recommend to others. What Mr. Yanagi says counters late-stage capitalism and the constant bombardment to buy, buy, buy. Much like Marie Kondo asked us if our items spark joy in us, Mr. Yanagi wants us to fill our lives and homes with truly beautiful items. We shouldn't buy something for the sake of buying or because it is cheap. It's an ideology we should all adopt and share with others to counter the billionaires who seem to run our lives these days.
I didn't know what to expect when I first cracked open THE BEAUTY OF EVERYDAY THINGS. I had to adjust to the essay format, especially because there is little connecting one essay to another. The first several essays all focus on the beauty of handmade crafts and the decline of beauty in everyday essentials. The next few shift to discussing specific examples of handicrafts, Japanese specific and almost obsolete at the time of the essay writing, which was at least sixty years ago. The last few essays focus on Eastern vs. Western beauty, the superiority of Eastern beauty, and a lament on what Japan did to Korea almost 100 years ago.
All that to say, I feel the target audience for these essays gets more specific as you continue reading. The first few are generic enough to apply to any reader. Once Mr. Yanagi starts focusing on Japanese-specific handcrafted items, his arguments become more challenging because you don't know the craft or pattern he discusses. By the time you reach the last few essays, you are reading the opinions of someone who was middle-aged during World War II and who reinforces the Japanese sense of superiority that defined that era.
The main argument running through all of the essays did strike a chord with me, regardless of how confusing some of his essays were. It is difficult to fault his theme because it is true. Much of the items we use in our everyday lives, from kitchen utensils to the clothes we wear, are cheap and lack that sense of beauty that comes with something made well or made by hand.
In many ways, Mr. Yanagi's argument aligns with increasing dissatisfaction with fast fashion and the throw-away mentality encompassing modern society today you see in headlines. We revere handmade items for many reasons. Not only do we expect such items to be of better quality, but we also expect them to be more beautiful because they've been made by someone who loves what they do. Items made by a machine might be flawless, but they lose something in their consistency and perfection.
I found those essays touching on the beauty of handicrafts to be highly relatable. Not only that, but I've been much more careful about my purchases, opting for higher quality items and handcrafted ones if possible. Mr. Yanagi's early essays align with what my daughter and I have been discussing. I find myself looking at simple household items through a different lens.
In the last few essays, however, I struggled with the bias in Mr. Yanagi's words. One essay even argued that if the Western world took one look at Japanese art and handicrafts, they would agree that Japanese art is superior to Western art. He leaves no room for compromise in his arguments, wording his essays in such a way that seems to make his the only correct opinion. The tone of these essays, with that overwhelming sense of Eastern superiority, deviated so much from the earlier ones that I skimmed them instead of studying them in detail.
Despite my distaste for the tone and messaging of the last few essays, THE BEAUTY OF EVERYDAY THINGS is a collection I would recommend to others. What Mr. Yanagi says counters late-stage capitalism and the constant bombardment to buy, buy, buy. Much like Marie Kondo asked us if our items spark joy in us, Mr. Yanagi wants us to fill our lives and homes with truly beautiful items. We shouldn't buy something for the sake of buying or because it is cheap. It's an ideology we should all adopt and share with others to counter the billionaires who seem to run our lives these days.
November 15, 2023
The Beauty of Everyday Things
Acho que este livro realçou algo que eu já percebia, mas de uma maneira direta e mais profunda, permitindo-me tomar consciência disso. A beleza das coisas com que nos deparamos no dia a dia, desde chávenas de chá, padrões, estatuetas, garfos, colheres, o que seja, todas estas coisas têm a sua beleza.
Soetsu Yanagi dá ênfase à palavra mingei, cunhada por ele e pelos seus colegas, que se traduz em Arte Folclórica. Para algo poder ser mingei, tem que ser criado não com o objetivo de ser uma peça cara, mas como uma peça relativamente barata, útil, de design simples e feita em grandes quantidades. Grandes quantidades não significa ser em quantidades industriais, mas sim em quantidades possíveis de manufaturar, por exemplo, por um artesão que fabrica pratos de barro. São pratos criados devido ao seu trabalho contínuo de manufaturar utensílios com o propósito de serem úteis. Estes utensílios, em geral, não têm marca, logotipo ou assinatura, pois não são feitos com o objetivo de serem reconhecidos, raros ou colecionáveis, mas sim úteis. Quanto maior a sua utilidade e robustez à passagem do tempo, mais a sua beleza é realçada.
Para Yanagi, um padrão é das maiores formas de beleza, pois capta a essência do objeto observado, deixando de fora tudo aquilo que não contribui para a sua essência. O objetivo não é desenhar o objeto tal e qual como o vemos, pois isso não seria um padrão, mas sim apenas desenhar a sua essência, por exemplo, o padrão de uma folha. Outro padrão que se destacou para mim foi o kasuri, um padrão tecido em bashofu (tecido de fibra de banana), que segundo Yanagi segue regras matemáticas, em que naturalmente o tecer dos fios irá sempre originar aquele padrão com o efeito de desfocado. O padrão apenas perderá a sua beleza se o tentarmos melhorar por meios lógicos, com um fim específico em vista; se não o tentarmos fazer, o padrão sairá sempre belo.
O livro fala de muitos mais exemplos de mingei, desde estátuas budistas a diferentes folhas de papel, mas para mim, os padrões, principalmente o kasuri, foram o que mais se destacou pela sua beleza.
A partir do momento que um livro retira o nevoeiro da minha mente, que me permite ver de forma clara algo que eu já tinha pensado algumas vezes mas nunca de uma maneira tão profunda, é sempre um bom livro. Neste caso, objetos com os quais nos deparamos no dia a dia passam a ter outra forma e o que antes parecia normal agora tem um tom de especial e belo, como o prato com que me serviram a comida num restaurante no outro dia. Se não tivesse lido este livro, provavelmente o prato ter-me-ia passado despercebido, mas não passou e devo-o a este livro.
Acho que este livro realçou algo que eu já percebia, mas de uma maneira direta e mais profunda, permitindo-me tomar consciência disso. A beleza das coisas com que nos deparamos no dia a dia, desde chávenas de chá, padrões, estatuetas, garfos, colheres, o que seja, todas estas coisas têm a sua beleza.
Soetsu Yanagi dá ênfase à palavra mingei, cunhada por ele e pelos seus colegas, que se traduz em Arte Folclórica. Para algo poder ser mingei, tem que ser criado não com o objetivo de ser uma peça cara, mas como uma peça relativamente barata, útil, de design simples e feita em grandes quantidades. Grandes quantidades não significa ser em quantidades industriais, mas sim em quantidades possíveis de manufaturar, por exemplo, por um artesão que fabrica pratos de barro. São pratos criados devido ao seu trabalho contínuo de manufaturar utensílios com o propósito de serem úteis. Estes utensílios, em geral, não têm marca, logotipo ou assinatura, pois não são feitos com o objetivo de serem reconhecidos, raros ou colecionáveis, mas sim úteis. Quanto maior a sua utilidade e robustez à passagem do tempo, mais a sua beleza é realçada.
Para Yanagi, um padrão é das maiores formas de beleza, pois capta a essência do objeto observado, deixando de fora tudo aquilo que não contribui para a sua essência. O objetivo não é desenhar o objeto tal e qual como o vemos, pois isso não seria um padrão, mas sim apenas desenhar a sua essência, por exemplo, o padrão de uma folha. Outro padrão que se destacou para mim foi o kasuri, um padrão tecido em bashofu (tecido de fibra de banana), que segundo Yanagi segue regras matemáticas, em que naturalmente o tecer dos fios irá sempre originar aquele padrão com o efeito de desfocado. O padrão apenas perderá a sua beleza se o tentarmos melhorar por meios lógicos, com um fim específico em vista; se não o tentarmos fazer, o padrão sairá sempre belo.
O livro fala de muitos mais exemplos de mingei, desde estátuas budistas a diferentes folhas de papel, mas para mim, os padrões, principalmente o kasuri, foram o que mais se destacou pela sua beleza.
A partir do momento que um livro retira o nevoeiro da minha mente, que me permite ver de forma clara algo que eu já tinha pensado algumas vezes mas nunca de uma maneira tão profunda, é sempre um bom livro. Neste caso, objetos com os quais nos deparamos no dia a dia passam a ter outra forma e o que antes parecia normal agora tem um tom de especial e belo, como o prato com que me serviram a comida num restaurante no outro dia. Se não tivesse lido este livro, provavelmente o prato ter-me-ia passado despercebido, mas não passou e devo-o a este livro.
September 10, 2023
The content of the book itself is not poorly written, but Yanagi is impressively boring.
There's nothing wrong with valuing the crafts of the commoner and taking pride in national or even regional goods and arts. In fact, I even encourage such pride and appreciation of common goods and handicrafts.
The problem is how impressively boring Yanagi is. This collection of essays, letters, and what are ostensibly journal entries overstays its welcome. And he borders on sanctimoniousness that just seems to disregard any opinions that do not totally agree or subscribe. Yanagi is that one person you know who you share an interest with, but they are almost obsessively enthusiastic in a way that just turns you off to talking about your shared interest.
We should take pride in the goods from our town, or city, et cetera. But that should not come at the cost of readability and alienating others from the appreciation of a nice teacup.
There's nothing wrong with valuing the crafts of the commoner and taking pride in national or even regional goods and arts. In fact, I even encourage such pride and appreciation of common goods and handicrafts.
The problem is how impressively boring Yanagi is. This collection of essays, letters, and what are ostensibly journal entries overstays its welcome. And he borders on sanctimoniousness that just seems to disregard any opinions that do not totally agree or subscribe. Yanagi is that one person you know who you share an interest with, but they are almost obsessively enthusiastic in a way that just turns you off to talking about your shared interest.
We should take pride in the goods from our town, or city, et cetera. But that should not come at the cost of readability and alienating others from the appreciation of a nice teacup.
March 24, 2021
While a few essays have interesting thoughts on art and beauty, a lot is very opinionated and repetitive and ultimately boring. Also the order of the essays seems to be a bit random and since basically all texts are almost 100 years old, some historical background would have been great. Definitely less a meditation on everyday objects (as the title suggest) and more a repetitive compilation of one slightly snobbish art critic.
March 7, 2022
Book 1 of 12 for the year
Collection of essays on “folk art” or “handicrafts”. A passionate assertion on the beauty that can be found in connection with everyday objects and a criticism of the elitism and rarity in art. Some of the wording was clunky, possibly as a result of the translation? It did feel pretty repetitive and ineffectively argued at times with passion overtaking justification but a heartwarming read about how beauty if perceived and more common than we think.
Collection of essays on “folk art” or “handicrafts”. A passionate assertion on the beauty that can be found in connection with everyday objects and a criticism of the elitism and rarity in art. Some of the wording was clunky, possibly as a result of the translation? It did feel pretty repetitive and ineffectively argued at times with passion overtaking justification but a heartwarming read about how beauty if perceived and more common than we think.
February 23, 2023
“Folk art is necessarily a hand craft. Aside from the hand of God, there is no tool as astonishingly creative as the human hand. From its natural movements are born all manner of beauteous things. No machine, no matter how powerful, can match its freedom of movement. The hand is nature’s greatest gift to humankind. Without it, beauty could not exist.”
Such a beautiful, earnest little book about the beauty and value of Japanese folk arts.
July 24, 2022
This is a collection of essays, not just one book. To be fair, it was a bit too long for my personal taste, but I recognize the importance of this work. My favourite essays were:
- What is Folk Craft
- The Story Behind the Discovery of Mokujiki
- The Beauty of Miscellaneous Things
- The Japan Folk Crafts Museum
- What is Folk Craft
- The Story Behind the Discovery of Mokujiki
- The Beauty of Miscellaneous Things
- The Japan Folk Crafts Museum
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