[Meibokuwan, a Bowl of Gentleness]

The other day, I had a chance to talk with a customer who has been using Sonobe Sangyo's Meibokuwan, which she purchased at our store several years ago. Meibokuwan come in zelkova, cherry, beech, walnut, chestnut, and oak, and each type of wood has a different color, grain tone, and weight.

The person said, “I am happy to be able to eat with wooden bowls, and they are easy to hold because the bowls don't get hot even when hot food is put in them. I love the way the texture of each type of wood changes as it is used, and everyone uses their own bowls with care,” she said lovingly, describing the different changes of each type of wood. I was so happy to listen to her words, which were filled with love for the vessels and daily joy, but after she left, I casually opened a copy of Muneyoshi Yanagi's “民藝四十年 (Forty Years of Mingei)” and was struck by an apt description of the book.

“If it is not used, the vessel will not become beautiful. A vessel becomes beautiful when it is used, and because it becomes beautiful, people use it even more. There is a bond of master and servant between man and vessel. The vessel increases in beauty by serving, and the master increases in love by using.”

Muneyoshi Yanagi found beauty and religious “salvation” in the simple, everyday tools and vessels made by the hands of the people, which until then had never been appreciated by anyone. Yanagi's words have a tremendous appeal, and it is tempting to follow his profound philosophy, but I realized through conversations with customers that the beauty of folk art would not be complete without the love and joy of the people who use it, which is an important point. As I was reading the book while thinking about this and that, I came across one more passage that I think is perfect for Meibokuwan.

“It is the material that should be paid attention to. Good craftsmanship is based on good nature. The rich quality is protected by nature. It should be said that the material invites the vessel, rather than that the vessel chooses the material. Mingei always has its hometown. The raw materials are found in the locality, and the folk art is established there. Materials blessed by nature are the birth mother. Climate, materials, and production should not be separated from each other. When they are united, the crops are honest. This is because nature is on our side.”

Odawara City in Kanagawa Prefecture, where Meibokuwan are made, has long been known for its forest resources. The craftsmen of Sonobe Sangyo, feeling the power of nature firsthand, use wood “until it returns to the soil without waste or strain,” without wasting any scraps or wood shavings, such as forging tools (blades used to sharpen wood) as fuel. The vessels are born from nature, people, and various other factors. Knowing such a production background, I feel that the beauty of the vessels is even more deeply appreciated.

The round, snag-free design is suitable for both Japanese and Western cuisine, and fits the curves of the hand. The bottom of the bowl has been cut to be thicker, so it feels stable and secure when you hold it, and of course, it is easy to use. The dishes are simple and gentle, yet time-consuming to make. We hope you will take a look at them in our showroom.

Sonobe Sangyo's Meibokuwan
https://www.shokunin.com/en/sonobe/wan.html
Sonobe Sangyo's Pomme
https://www.shokunin.com/en/sonobe/pomme.html
Showroom Information
https://www.shokunin.com/en/showroom/

Reference
Muneyoshi Yanagi, Forty Years of Mingei (Iwanami Bunko, 1984)