The purpose of this study is to identify perception of Soetsu Yanagi (1883-1961) toward Kodakeo. Takeo Ware is the general term for ceramics from Takeo, Saga Prefecture and the concept includes Kodakeo made in Takeo during Edo Period. The ceramic culture in Takeo region started when the lord of Takeo brought Korean prisoners including Hukaumi Souden during Japanese Invasion of Korea in 1592 and ordered them to make ceramics at Uchida Mura, Takeo. Meanwhile, Yanagi visited morning market at Kyoto or traveled around whole Japanese regions to investigate and collect folk crafts starting from 1920s. In this process, Yanagi collected ceramic works made in Takeo region. He perceived ceramics of Takeo region as sundry articles and highly praised three ceramics among them. The ceramics were all made in private kilns. First one was green overglazed ‘Big Pan’ with 50cm diameter, second one was ‘Storage jar, pine motif with iron and copper green glaze over white slip’ from Yumino region, and the third one was ‘Coffin jar with applied clay designed, iron glaze’ from Tatarou kiln. Yanagi evaluated their beauty as bold, magnificent, and simple and perceived as the representative Japanese folk crafts. The first reason for such beauty was inheriting the traditions of Joseon Dynasty’s kilns while the second reason was being made in modest and simple life. For the last 10 years, Kodakeo has been re-evaluated in history of ceramics. However, Yanagi highly praised the ceramic works’ excellent design from long before in 1920s and perceived them as the representative Japanese folk crafts. As Kodakeo and Takeo Ware are re-evaluated these days, one should focus on Yanagi’s reference on Takeo Ware.