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La belleza del objeto cotidiano
Al despertar, lo primero que percibimos es el tacto de nuestras sábanas, la luz con la que nos envuelve la lámpara que encendemos, la forma y color de la vajilla del desayuno... Desde ese momento y hasta terminar el día, cuando cerramos de nuevo los ojos sobre el textil de la almohada, nuestro cuerpo se habrá topado y desenvuelto con una infinidad de objetos diversos. Se trata de cosas modestas, comunes y ordinarias, que usamos constantemente sin prestarles apenas atención. Pero los objetos son también unos compañeros constantes en nuestra vida y, como tales, afirma Soetsu Yanagi, deben hacerse con cuidado y fabricarse para que duren. Deben ser tratados con respeto e incluso afecto. Y deben aunar perfectamente belleza y utilidad.
Soetsu Yanagi es un pensador imprescindible hasta ahora inédito en castellano, y una de las voces clave del siglo XX en llamar la atención sobre el valor de los objetos cotidianos y la artesanía anónima. Este libro, que recopila los ensayos breves del crítico japonés, nos enseñará a mirar con nuevos ojos a nuestro alrededor y a admirar el increíble valor material e intangible de las creaciones anónimas, siempre bellas y honestas, que forman parte de nuestra vida cotidiana.
Soetsu Yanagi es un pensador imprescindible hasta ahora inédito en castellano, y una de las voces clave del siglo XX en llamar la atención sobre el valor de los objetos cotidianos y la artesanía anónima. Este libro, que recopila los ensayos breves del crítico japonés, nos enseñará a mirar con nuevos ojos a nuestro alrededor y a admirar el increíble valor material e intangible de las creaciones anónimas, siempre bellas y honestas, que forman parte de nuestra vida cotidiana.
240 pages, Paperback
Published March 12, 2020
879 people are currently reading
17622 people want to read
About the author
Soetsu Yanagi
49 books63 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 289 reviews
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
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.
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.
December 30, 2023
we got a professional yapper over here 💥💥💥
June 23, 2023
If this wasn't a library book I would have left in on the train
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.
October 8, 2022
Liked it. Cool to hear the insight of someone who’s super passionate about something I’ve never even considered
June 18, 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.
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.
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.
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 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.
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!
June 1, 2024
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 a 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 from 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 a 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 from 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.
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.
September 10, 2024
This collection of essays are about art, beauty, utility, spirituality, culture & class, war & peace. I have been carrying my copy everywhere, on-and-off, for months now. I have been reading pages in between classes, in lines, on transport, etc… 10 or so pages done in a few fleeting minutes. This is the perfect type of book to read in such a way, it has simple writing, with so much said between the lines. It inspires a more thorough and thoughtful way of approaching and seeing the world around you, the breaks spent quickly reading filled my appreciation for the world. I found myself rejuvenated in these breaks. Intentionally simple, yet so deeply philosophical. I have been thinking about the words I’ve read especially as I have been wheel-throwing pottery, this is a must-read for artists, especially if you struggle with perfectionism.
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.
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
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
May 5, 2019
A little pretentious, and certain chapters are far more repetitive than they ought to be
December 27, 2024
The English title is quite misleading to start with. The Japanese one was much clearer: A collection of essays on Japanese folk craft. I approached the book expecting to be reading some analysis or observation on specific objects just to be dissatisfied.
There are essays on folk crafts, on how to appreciate the beauty of miscellaneous things, on specific weaving techniques and whatnot. Some essays are good, especially the first few ones, some are just scratching the surface and more like journals with no insights.
The arrangement of the essays is also something I do not quite understand. The previous essay is irrelevant to the next, and some of the essays put at the end argue the same points as the one appearing in the beginning of the book. There are sure a lot of repetition across essays.
Overall this is not a bad one, but not a deep-dive into the beauty of specific Japanese objects either.
/Một điều mình không hiểu nữa là bản tiếng Việt của cuốn này để hình trên bìa là cái cốc uống bia?? Title đã misleading rồi cái hình còn misleading nữa :)) Ruột thì nói về folk art của Nhật, cũng không có dòng nào nói về cốc uống bia, mà bìa để hình như vậy có khác nào treo đầu dê 🐐
There are essays on folk crafts, on how to appreciate the beauty of miscellaneous things, on specific weaving techniques and whatnot. Some essays are good, especially the first few ones, some are just scratching the surface and more like journals with no insights.
The arrangement of the essays is also something I do not quite understand. The previous essay is irrelevant to the next, and some of the essays put at the end argue the same points as the one appearing in the beginning of the book. There are sure a lot of repetition across essays.
Overall this is not a bad one, but not a deep-dive into the beauty of specific Japanese objects either.
/Một điều mình không hiểu nữa là bản tiếng Việt của cuốn này để hình trên bìa là cái cốc uống bia?? Title đã misleading rồi cái hình còn misleading nữa :)) Ruột thì nói về folk art của Nhật, cũng không có dòng nào nói về cốc uống bia, mà bìa để hình như vậy có khác nào treo đầu dê 🐐
November 11, 2025
TLDR;
1. Folk art is better than aristocratic art. Art belongs to the people, not the elite. Go mingei go!
2. Broken wares are beautiful but do not go breaking them on purpose lol
3. Individualism bad. Fuck seals and signatures because anonymity is modesty (+ I bought a painting from a famous painter but I didn’t buy it just because it’s by him, I only bought it because of its beauty and I have impeccable taste; and btw I also have a Cezanne at home)
4. Banana fiber fabric in Okinawa is cool
5. Do not bow down to western influence. Japan number 1. Korea number 2
Maybe enjoyed 2 or 3 essays in total (about seeing vs knowing, the effects of industrialisation on our ability to appreciate beauty) but it’s quite repetitious and he writes with a certain patronising sanctimony which I didn’t like… I’m sensing a lot of ego from this guy, which is quite ironic given how much he likes to talk about the zen selfless mindset 😆
1. Folk art is better than aristocratic art. Art belongs to the people, not the elite. Go mingei go!
2. Broken wares are beautiful but do not go breaking them on purpose lol
3. Individualism bad. Fuck seals and signatures because anonymity is modesty (+ I bought a painting from a famous painter but I didn’t buy it just because it’s by him, I only bought it because of its beauty and I have impeccable taste; and btw I also have a Cezanne at home)
4. Banana fiber fabric in Okinawa is cool
5. Do not bow down to western influence. Japan number 1. Korea number 2
Maybe enjoyed 2 or 3 essays in total (about seeing vs knowing, the effects of industrialisation on our ability to appreciate beauty) but it’s quite repetitious and he writes with a certain patronising sanctimony which I didn’t like… I’m sensing a lot of ego from this guy, which is quite ironic given how much he likes to talk about the zen selfless mindset 😆
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.
September 29, 2025
Meditative!! 😋😋
Interesting perspective on beauty and what it means to see.
Interesting perspective on beauty and what it means to see.
September 11, 2025
(2.5) boring. sorry! and weirdly preachy but it did put me to sleep every night so an extra half star for that. my aesthetics journey is off to a rocky start.
April 15, 2024
not what i expected but a pleasant surprise
November 20, 2025
“If a government policy is enacted that contravenes common humanity, that policy cannot expect a long life. No matter how powerful a force might be, it cannot defy the will of God […] When there is a country that is oppressed unjustly, righteous feelings will eventually arise, and people will stand side by side with the oppressed. Those who oppress, rather than those who are oppressed, are closer to eventual extinction. The oppressed will surely win friends and allies, and the oppressors will surely be punished by the laws of nature.”
3.5/5 not because of actual literary value (I found Yanagi’s tone to be at times pompous and self righteous) but rather as an appreciation for the sheer breadth covered by this book! My expectations for this were fairly simple- I was looking for an exploration of the title- the beauty of everyday things. Admittedly, this was indeed covered. But so was literally everything else, so I decided to frame this review around the topics the author touched on to give an accurate representation of the whiplash I got every time I flipped the page.
The initial chapter went over finding beauty in its detailing of mealtime utensils, like in this passage:
(On forks): “to think of them as nothing but physical objects would be an error. They may simply be things, but who can say that they don't have a heart? Forbearance, wholesomeness, and sincerity - aren't these virtues witnesses to the fact that everyday objects have a heart?”
He feels equally strongly about poorly created utensils, which I found amusing:
“The fact that the colouring is vulgar, the shapes thin, weak, and prone to break, and that the finish easily flakes, all this comes from a lack of honest attention to the objects' utilitarian purpose. I am tempted to call this type of work amoral and unethical.”
The author then notably had an illuminating segment arguing against the artistic (or lack thereof) consequences of the Industrial Revolution:
“It is common knowledge that the mechanization and commercialization 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, organizational distortions, technical limitations, and much more. Furthermore, the working conditions in factories are oppressive, and workers find their work to be meaningless.”
After this, however he veered off very quickly into a critique of the United States (which I will never disagree with):
“The United States is perhaps the most outstanding example of a mechanized country, but still many of its citizens are suffering from stress and the
feelings of angst. The fact that tranquillizers are in such demand there is a reflection of social disease. As rich as it is, America is perhaps unrivalled for its vulgar lack of propriety and social decorum, which may account for its having the world's highest crime rate. Why does everything 'modern' have to be seen through Western eyes?”
From there, the author continues to speak highly of various art mediums in Asia, specifically focusing multiple 50-page chapters on frocks, pots, and other artisanal items. His passion was so endearing and close to the heart, shining in passages like these, where he pays homage to the women who created a traditional hand-embroidery technique he is particularly fond of:
“Being poor women living in obscure villages, they now sleep under the snow, with no one to visit their graves, no one bearing flowers when spring comes around. In place of such mourners, I would like to dedicate this short essay to these women. I would like each word to be a memorial to the creators of kogin. Together let us memorialize the work they did. Those who feel as I do, who would like to place flowers from the heart on their graves, will grow in number in the coming years. This is the kogin that never dies, the genuine kogin.”
Not sure if I was feeling especially emotional when reading this but I wanted to cry because of how sweet it was. This part was followed by a reflection on seeing vs knowing, and how the two cannot coexist because true “seeing” is an intuitive practice that necessitates having no prior knowledge. It is, he argues, the only way to possess purity of sight, an essential skill for experiencing beauty. Interestingly, this argument is the most stringent one I’ve seen, even positing:
“Something we saw yesterday can no longer be seen directly, it has already become a secondhand experience.”
But worry not! He gives us lowly readers some tips on building intuitive skills and seeing properly
“My primary piece of advice is, when first looking at something, do not judge; do not let critical thoughts come to mind. Developing this noncritical attitude is of utmost importance. It means, from the very start, not to make the object a subject of intellectual consideration”
He finally concludes his writing with an ode to Japanese art, but makes notable mention of the current political tension between Japan and Korea following Japan’s actions during its colonization of Korea during 1910-1945. Many Koreans feel that Japan has not taken responsibility for forcing Korean women into sexual slavery, mandating forced labour, and culturally suppressing Korean art. He issues a heartfelt apology as a Japanese man sympathetic with the Korean cause and regretful of the situation that exists. I found this to be particularly beautiful, with parallels that run deeply between this and the Palestinian struggle for freedom from colonial powers and the notoriously corrupt, soulless, and brutal Zionist enemy.
He says, of the two people:
“ How can there be an exchange of love and affection? The animosity that Koreans hold for Japan is only natural, I think, and Japan must take responsibility for the upheaval it has caused. Japanese administrators in Korea are trying to assimilate Korean culture, but given Japan's own imperfections, what right do they have to do this? Nothing can be stranger or more lacking in persuasiveness. In atonement for its policy of assimilation, Japan has no choice but to accept its result, which is resistance.”
There have been so many think pieces produced by western scholars on the feasibility of a two state solution, condemning Palestinians for their real and expected resistance (both to the initial stripping of their homes, and to the later supposition that they should coexist with their oppressors), and somehow this writer encompasses the true nature of this proposed solution far better than any of them have.
Overall, this had strong themes and I appreciated this book for the magnitude of its attempts, but would struggle broadly recommending it. Thank you for reading this insanely long review love u guys!!!!
3.5/5 not because of actual literary value (I found Yanagi’s tone to be at times pompous and self righteous) but rather as an appreciation for the sheer breadth covered by this book! My expectations for this were fairly simple- I was looking for an exploration of the title- the beauty of everyday things. Admittedly, this was indeed covered. But so was literally everything else, so I decided to frame this review around the topics the author touched on to give an accurate representation of the whiplash I got every time I flipped the page.
The initial chapter went over finding beauty in its detailing of mealtime utensils, like in this passage:
(On forks): “to think of them as nothing but physical objects would be an error. They may simply be things, but who can say that they don't have a heart? Forbearance, wholesomeness, and sincerity - aren't these virtues witnesses to the fact that everyday objects have a heart?”
He feels equally strongly about poorly created utensils, which I found amusing:
“The fact that the colouring is vulgar, the shapes thin, weak, and prone to break, and that the finish easily flakes, all this comes from a lack of honest attention to the objects' utilitarian purpose. I am tempted to call this type of work amoral and unethical.”
The author then notably had an illuminating segment arguing against the artistic (or lack thereof) consequences of the Industrial Revolution:
“It is common knowledge that the mechanization and commercialization 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, organizational distortions, technical limitations, and much more. Furthermore, the working conditions in factories are oppressive, and workers find their work to be meaningless.”
After this, however he veered off very quickly into a critique of the United States (which I will never disagree with):
“The United States is perhaps the most outstanding example of a mechanized country, but still many of its citizens are suffering from stress and the
feelings of angst. The fact that tranquillizers are in such demand there is a reflection of social disease. As rich as it is, America is perhaps unrivalled for its vulgar lack of propriety and social decorum, which may account for its having the world's highest crime rate. Why does everything 'modern' have to be seen through Western eyes?”
From there, the author continues to speak highly of various art mediums in Asia, specifically focusing multiple 50-page chapters on frocks, pots, and other artisanal items. His passion was so endearing and close to the heart, shining in passages like these, where he pays homage to the women who created a traditional hand-embroidery technique he is particularly fond of:
“Being poor women living in obscure villages, they now sleep under the snow, with no one to visit their graves, no one bearing flowers when spring comes around. In place of such mourners, I would like to dedicate this short essay to these women. I would like each word to be a memorial to the creators of kogin. Together let us memorialize the work they did. Those who feel as I do, who would like to place flowers from the heart on their graves, will grow in number in the coming years. This is the kogin that never dies, the genuine kogin.”
Not sure if I was feeling especially emotional when reading this but I wanted to cry because of how sweet it was. This part was followed by a reflection on seeing vs knowing, and how the two cannot coexist because true “seeing” is an intuitive practice that necessitates having no prior knowledge. It is, he argues, the only way to possess purity of sight, an essential skill for experiencing beauty. Interestingly, this argument is the most stringent one I’ve seen, even positing:
“Something we saw yesterday can no longer be seen directly, it has already become a secondhand experience.”
But worry not! He gives us lowly readers some tips on building intuitive skills and seeing properly
“My primary piece of advice is, when first looking at something, do not judge; do not let critical thoughts come to mind. Developing this noncritical attitude is of utmost importance. It means, from the very start, not to make the object a subject of intellectual consideration”
He finally concludes his writing with an ode to Japanese art, but makes notable mention of the current political tension between Japan and Korea following Japan’s actions during its colonization of Korea during 1910-1945. Many Koreans feel that Japan has not taken responsibility for forcing Korean women into sexual slavery, mandating forced labour, and culturally suppressing Korean art. He issues a heartfelt apology as a Japanese man sympathetic with the Korean cause and regretful of the situation that exists. I found this to be particularly beautiful, with parallels that run deeply between this and the Palestinian struggle for freedom from colonial powers and the notoriously corrupt, soulless, and brutal Zionist enemy.
He says, of the two people:
“ How can there be an exchange of love and affection? The animosity that Koreans hold for Japan is only natural, I think, and Japan must take responsibility for the upheaval it has caused. Japanese administrators in Korea are trying to assimilate Korean culture, but given Japan's own imperfections, what right do they have to do this? Nothing can be stranger or more lacking in persuasiveness. In atonement for its policy of assimilation, Japan has no choice but to accept its result, which is resistance.”
There have been so many think pieces produced by western scholars on the feasibility of a two state solution, condemning Palestinians for their real and expected resistance (both to the initial stripping of their homes, and to the later supposition that they should coexist with their oppressors), and somehow this writer encompasses the true nature of this proposed solution far better than any of them have.
Overall, this had strong themes and I appreciated this book for the magnitude of its attempts, but would struggle broadly recommending it. Thank you for reading this insanely long review love u guys!!!!
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.
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.
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