You could probably save yourself quite some time by accepting the following 3 sentences instead of reading this whole book:

Yanagi’s philosophy of patterns has an interesting parallel in Cezanne’s portraits of the landscapes of Provence in southern France (such as Sainte Victoire Mountain), using a demanding system of parallel brushstrokes, which suggests an inner unity in keeping with Cezanne’s aim of painting being “harmony in parallel with nature.” What is the proper way of seeing? In brief, it is to see things as they are. However, very few people possess this purity of sight. That is, such people are not seeing things as they are, but are influenced by preconceptions. 'Knowing' has been added to 'seeing'.” 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.” 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 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.

For Yanagi, that meant the handmade artefacts and craft traditions that were disappearing as Japan industrialised. What it means for us in the 21st century is up to us to decide, according to our own tastes and preferences. Save up for quality kitchenware, well made furniture and timeless fashions. Choose fewer and better made things. Find objects you like and keep them forever. Write with a good pen on quality stationery. After all, “quality is how the heart and soul of a civilization should be measured”, says Yanagi. “How can bad paper and high civilization possibly be bedmates?” Asian art represents a latent treasure trove of immense and wide-reaching value for the future and that is precisely because it presents a sharp contrast to Western art. Our lives are filled with objects. Everyday things used in everyday settings, they are our constant companions. 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—an aesthetic fulfillment of our practical needs. They should, in short, be things of beauty.

Literally, sabi commonly means "loneliness" but as a Buddhist term it originally referred to the cessation of attachment. Yanagi also provides some concrete examples of what he means by Mingei, from Okinawan Bashofu cloth and Washi paper to traditional indigo Katsuri patterns. He draws out certain unifying principles to determine which art forms should and should not be considered Mingei. The Japanese philosopher and aesthete's definitive, hugely influential exposition of his philosophy of folkcrafts, setting out the hallmarks of Japanese design as we know it today - anonymity, quality, simplicity and honesty - and, of course, wabi-sabi, the beauty of imperfection