The term mingei (folk art) was coined by Soetsu Yanagi in 1926 to refer to common crafts that had been brushed aside and overlooked by the industrial revolution.

In the wake of the great tide of industrialism in the early part of this century, something of the human touch and spirit was lost in everyday articles of use. It was with a sense of urgency that Yanagi and his lifelong companions, the potters Bernard Leach, Shoji Hamada, Kenkichi Tomimoto and Kanjiro Kawai, sought to counteract the desire for cheap, mass-produced products by pointing to the works of ordinary craftsmen that spoke to the spiritual and practical needs of life. The mingei movement is responsible for keeping alive many traditions.

A retrospective exhibition of Kanjiro Kawai (1890-1966) is at the Japan Folk Craft Museum (Nihon Mingeikan) in Komaba, Tokyo, until June 24, with some 150 pieces. Kawai's output is so tremendous that it almost seems as if some supernatural force was guiding him. The Buddhist term tariki refers to such a reliance on grace, and it appears that Kawai had embraced it.

"When you become so absorbed in your work that beauty flows naturally then your work truly becomes a work of art," he wrote in an essay titled "We Do Not Work Alone." He continued, "Everything that is, is not. Everything is, yet at the same time, nothing is. I myself am the emptiest of all."

In a Western sense this would most likely be perceived as a negative and pitiful comment, but in the East it is often the emptiness and the silence that are most important. Only when something is empty can it be filled. Kawai filled his spirit and works with tariki. The somewhat eccentric Kawai was an extraordinary being, like an elf working alone late into the night; many of his pieces are full of a beauty and mystery that one can only describe as otherworldliness.

He also never let his joy and wonder at simple things pass, even late into his years -- a flower petal or the movement of his hands were causes for celebration. Like his lifelong friend Hamada, Kawai never signed his work but said, "My work itself is my best signature." There is no mistaking his distinctive style.

He was a master of glazes, and performed 10,000 experiments on glazes while a student at the ceramic divisions of Tokyo Technical College and Kyoto Municipal Institute of Ceramics. (It was at the latter that he first met Hamada around 1912.)

Red copper glazes (shinsha or yuriko) were one of his trademark colors. He also used a deep brown iron glaze (tetsu-yu) and a brilliant cobalt blue glaze (gosu); the latter is often found on works like the square-shouldered vase pictured here. This piece was produced in 1937 and was cast in a mold -- a preferred technique of his.

His pots come in many asymmetrical shapes and show expressionistic techniques such as tsutsugaki (slip-trailed decoration), ronuki (wax-resist) or hakeme (white slip). Two roundels (marumon) are on the front of this vase, with a single marumon on the side drawn in gosu. It has a sturdy feel, wholesome and honest, but it is so obviously Kawai's that it sort of contradicts the "unknown craftsman" spirit of the mingei ideal. That's one of the reasons his friend Tomimoto left the mingei group: He couldn't justify making mingei pieces with so much personality. Kawai was full of personality and warmth. It comes through in all of his work; which includes calligraphy, wood carvings and ceramic sculpture.

Yet he didn't bask in the limelight, but refused all official positions and honors including that of Living National Treasure. He never lost touch with common folk and greatly respected the farmers in the countryside. "They are the kind of people we can never do without," he wrote.

I wonder what he would make of today's Japan. Yet even in these changing times, his work is there to remind us of the beauty that Japan once had and may be on the verge of losing.

Works by Kanjiro Kawai until June 24 at Japan Folk Crafts Museum, (03) 3457-4527, a short walk from Komaba Todaimae Station on the Inokashira Line. Kawai's house in Gojozaka, Kyoto, is now the Kawai Kanjiro Kinenkan museum.

I just returned from Masami Nagaoka's kiln unloading in Shuzenji. He still has another kiln-load to bring into the light of day and get ready for his exhibition, which begins shortly; the gallery called his house several times to check (nervously, I may add) on progress.

The pieces I saw were stunning Iga and Shigaraki vases, and various items for the table including some fabulous sake utensils. Many of the works have stamped impressions and incised lines on the body, which add visual texture and movement on the natural ash glazed surface. It was hard to contain my desire to take them all home.

You'll have the chance to see what I mean at his show which runs through May 12 at Kuroda Toen, (03) 3499-3225, in Shibuya on the first floor of the Metro Plaza.

Other shows of interest include a look at contemporary Kutani ware for the table, at Wako in Ginza until May 13. Ten ceramists will be featured, including Toshio Ohi, Fujio Kitade and Takuo Nakamura. Nakamura is also currently showing in New York at Dai Ichi Gallery.

A look at 11 sculptural ceramists is at Nihonbashi Takashimaya's eighth-floor hall May 13-18. If you appreciate some very creative and often wild work, do check out this show, which includes the works of Kinpei Nakamura, Etsuko Tajima, Harumi Nakajima, Hideo Matsumoto and Kazuhiko Miwa.

Korean potter Togo An (b. 1919) will be having a special show of hakuji (white porcelain) and sometsuke (underglaze blue) wares that he made in the 1960s, at Shinjuku Keio department store's sixth-floor gallery until May 12.

Kohiki (white "powder" glaze) specialist Samon Takahashi in Nagoya at Maruei department store's eighth-floor gallery until May 11 and then at Maruei in Toyohashi May 27-June 2. I've said this before about Takahashi, but his kohiki is dazzling and reminds me of what a medieval alchemist was trying to accomplish: the changing of one or more elements (in pottery's case, clay, fire, water and air) into something more precious. Takahashi has succeeded.

The wonderful Chinese Song Dynasty masterpiece exhibition that was at the Tobu Museum in Tokyo has moved on to the Museum of Oriental Arts, (06) 6223-0055, in Osaka until June 13.

Bizen great Anjin Abe couldn't make it to the opening of his exhibition (on until May 9 at the Museum of Arts and Crafts in Itami). While cutting a tree branch to clear space for a new kiln he fell to the ground, and is now hospitalized with severe back injuries. Here's wishing him a speedy recovery.

E-mail Robert Yellin at [email protected]