The Infinite Depths of Mingei According to Naoto Fukasawa

As a sacred site of Mingei, the Japan Folk Crafts Museum (Nihon Mingei-kan) attracts numerous visitors. Now in his twelfth year as director, Naoto Fukasawa reflects on Mingei’s current standing and its future trajectory.

Sharing a Common Sensibility, Despite Different Perspectives

Beyond Japan, Naoto Fukasawa has worked with some of the world’s most renowned companies. Yet, since July 2012, he has also taken on the role of the fifth director of the Japan Folk Crafts Museum. Why did a leading figure in industrial design, seemingly the opposite of Mingei, assume this position?

‘I understand that when I was appointed, there was some public stir. But I wasn’t the first designer to become director of the Japan Folk Crafts Museum.’

Indeed, the third director was none other than Sōri Yanagi, a key figure in post-war Japanese industrial design, known for masterpieces like the Butterfly Stool. Though the son of Mingei founder Sōetsu Yanagi, Sōri initially distanced himself from Mingei. However, by the late 1950s, he began producing black teapots at Kanjirō Kawai’s kiln. Serving as director for nearly thirty years from 1977, he dedicated himself to sharing the purity and integrity of Mingei with the world.

‘Sōri Yanagi was an undisputed superstar and the person I respect most in my design career. When he passed away in 2011, I felt it was my duty, as someone who walks the same path, to carry on the legacy of Mingei.’

Twelve years into his tenure, what has Naoto Fukasawa come to realize about Mingei?

‘Every time I engage with the museum’s collection or space, I find myself exclaiming, ‘Wow!’ It’s a series of continuous discoveries. But above all, the fact that one individual traveled across Japan, amassing over 17,000 Mingei works and dedicating his life to articulating their spirit is nothing short of astonishing.’

Sōetsu Yanagi was not merely a collector. His profound knowledge, keen insight, and vast network allowed him to share his discoveries. The Japan Folk Crafts Museum itself is an extension of that philosophy.

‘This is not a museum for simply appreciating beautiful crafts. It is a space for uncovering cultural value, deciphering ideas, and sharing awareness. Sōetsu Yanagi not only safeguarded and managed the Mingei pieces he collected but also created a place where their value could be shared widely. He had absolute confidence that their essence would be understood, even by future generations.’

A hundred years have passed since Sōetsu Yanagi first championed Mingei, and society has transformed dramatically. In an era where digital information circulates instantaneously, what does Mingei represent today?

‘The world is overflowing with objects, and manufacturing techniques have advanced tremendously. Japan, too, has achieved economic stability, and people’s lives have improved significantly. With this diversification of lifestyles, the way we discern objects has become more grounded in reality. And yet, we still long for purity and are captivated by simplicity. This is a universal human sentiment.’

Mingei provides a direct, intuitive path to experiencing richness beyond reason. The Japan Folk Crafts Museum intentionally omits explanatory captions in its displays. This approach encourages visitors to engage directly with objects, fostering an instinctive appreciation of their inherent beauty.

‘Even if our perspectives and positions differ, we can share the same sensibility. I call this ‘predestined synchronization.’ As museum director and university professor, I find myself moved by the very same objects that captivate our visitors. This universality is the essence of Mingei, and it’s why young people from around the world come to the Japan Folk Crafts Museum.’

At the same time, he hopes to see a rise in Japanese youth visiting the museum.

‘Perhaps due to certain shortcomings in arts education, there is a perception in Japan that art is for eccentrics, and that creativity ranks below intelligence. But Sōetsu Yanagi philosophized about creativity within the Mingei framework and treated it with the same depth as faith. Creativity is not separate from society—it is one of its essential pillars.’

Mingei teaches us fundamental truths about life. However, it does not seek to become a trend or lead a movement. It simply exists.

‘It is about facing objects with sincerity. About embedding warmth into daily life through craftsmanship. Since design is involved in everything that exists in the world, there is still much to learn from Mingei. But Mingei is not something one aims to create, nor can it be imitated. It is an elusive realm, one we may admire for a lifetime yet never reach. If I had to summarize my feelings now, it would be: ‘I am humbled by Mingei.’’

The Japan Folk Crafts Museum

Founded in 1936 by religious philosopher and thinker Sōetsu Yanagi, the Japan Folk Crafts Museum was established to promote the beauty and philosophy of Mingei. The museum houses approximately 17,000 works, including ceramics, textiles, lacquerware, and paintings collected by Sōetsu Yanagi. Its architecture, both exterior and interior, reflects meticulous design.

Address: 4-3-33 Komaba, Meguro-ku, Tokyo
Phone: 03-3467-4527
Hours: Main Building 10:00 AM–5:00 PM / West Building 10:00 AM–4:30 PM
Closed: Mondays (or the following day if Monday is a holiday)
West Building Open: Only on the second and third Wednesday and Saturday of each month
Admission: General ¥1,200