The sprouting of various artistic organizations around that time inspired Yagi to seek a collective force to power new developments in ceramic design and production.
They attempted to examine the larger environment of arts and crafts in order to establish new forms, products, and procedures that could allow potters in the new era to refrain from the existing, systematic rules.
[6] In an article written for The Japan Times, Robert Yellin wrote of the Sodeisha philosophy that: "They had as their unwritten laws that they would not submit work to official exhibitions, to avoid being judged on others criteria, and not to copy antique wares of the past.
An emphasis on the sculptural as opposed to the functional meant that typically their pieces didn't have holes, or 'mouths', that might allow the work in question to be seen as a vase or pot.
In the late 1940s and early 1950s, the works of Klee, Miro and Picasso were an influence on members of the group, as were the ceramics produced by Isamu Noguchi in the studio of Rosanjin in 1952.
[9] There were ideological and aesthetic similarities to the Abstract expressionist ceramic artists of California (led by Peter Voulkos), but they formed independently of each other.