For many years we have been distributing The Yoshino Newsletter by mail, now with the popularity of the internet we moved to posting our newsletter online. We hope you enjoy these informative articles written to increase your knowledge and interest about Japanese antiques and culture.
Since the festivals of Hina Matsuri and Kodomo no Hi, were recently celebrated in March and May, we think that the topic of dolls is a good one to explore. In both of these festivals the exhibition of dolls is an important part of the celebration. The traditional Hina Matsuri, Doll Festival (celebrated on March 3rd) is marked by the tiered display of hina dolls. This festival is for the girls of each Japanese home. On Kodomo no Hi (May 5th), traditionally known as Boys' Day, warrior dolls are displayed in the house and koi-nobori, carp banners fly over the houses for the sons in the family. The origins of these festivals and the part that dolls play in them demonstrate the interesting evolution of dolls in Japan. This article will highlight not only these types of dolls, it will also explore some of the other well known types of dolls found in old Japan. We will also touch upon how the traditional perception of dolls differs from that of Western play dolls. Integral to that perception is the word for doll, ningyo which literally translated means human form.
Prehistory to Buddhism
The emergence of doll-like figures dates back to the prehistory of Japan.
The first human-looking figures are the dogu from
the Jomon Period.
These clay-formed figures, depicting men,women, and animal /human combinations,
are thought to be gods used in shamanistic practices. Most of the cultures
utilizing these figures were located in the northern end of Honshu. Some
of these figures with their bulging eyes are very similar in style to Central
American figures. The next era, the Yayoi Period did not produce any new
examples of figurines that have been found to date.
In the Kofun Period there emerge t
he haniwa, the
clay figurines which were funerary stand-ins (similar to their much larger
Chinese terra-cotta cousins ). Haniwa were representations of mortals. It
is speculated that haniwa replaced the older practice of actual human sacrifice
when a leader was entombed. They were the first figures to show a playful
nature. They depict dancers, falconers, soldiers, happy farmers and animals.
Although no doll-like figures emerged from the following Asuka Period, the introduction of Buddhism with its statue building techniques provided the foundation for future doll development. Excavations from the Nara area have found small wooden figures which are speculated to be play dolls. Also during the latter Nara period, ayatsuri ningyo, or hand-operated puppet dolls, were used by itinerant performers to perform plays. These puppet plays are considered to be the forerunners of the Bunraku puppet theater. It is during this time that ancient folk beliefs held that dolls or effigies had a spirit of own and that some possessed magical powers.
Heian, Kamakura, Muromachi, and Azuchi-Momoyama Period Doll Forms
It is during the Heian and Kamakura periods that we begin to see the first documented accounts of dolls. However, some of the dolls in these periods were hardly playthings because their function was that of scapegoat. Hitogata (human form) or katashiro (divine shape) were flat wooden dolls that resembled gingerbread men. During Kamakura period they began to be made of metal. It was thought that these figures had souls and their purpose was to absorb all that was evil or malevolent in the area. Once they had served their purpose they were sacrificed by throwing them on a bonfire or into the nearest river. This ritual, which came from China, was conducted on the third day of the third month of the lunar year. So the Doll Festival traces one of its origins back to this ritual. The third day of the third month was called a number of names; such as Joshi no Sekku, Momo no Sekku, and Sangatsu Sekku.
Amagatsu, heavenly cherubs, were the first true plaything and clothing dolls. They are documented back to the early 12th century. They were stick figures made from crossed pieces of bamboo. Silk cloth was placed on them for clothing and a head was fashioned from silk cloth with several painted lines to indicate a face. These dolls were only for the aristocrats. Their clothing was changed according to the season and they were considered to have special powers. Amagatsu would accompany and protect the child at their miyamairi, presentation to the community at the local shrine. Another type of doll called hoko , crawling children, were similar in function but were soft bodied dolls. Because of their simplicity of construction, hoko usage expanded to the common people. Both of these dolls are said to have been the inspiration and ancestors of the male and female hina dolls to come later. Both of these style dolls continued to be used, and evolved over the following Muromachi and Azuchi-Momoyama Periods, into standing dolls. During these periods, the dolls were still considered to have protective influences over their owners. It was not unusual to see hoko dolls placed at the head of a pregnant woman about to give birth to ensure a safe birth for the mother and baby. This practice continued into the Edo Period.
Dolls in the Edo Period
It was the relatively peaceful Edo Period when the doll making craft
was truly at its height. The origins of many doll forms came from shrine
and temple festivals. In one such type of display, dolls sat on two wheeled
carts, called dashi. which were paraded around during festival time.
Each region's temples and shrines had their own set of tsuchiningyo
(earthen and clay dolls) used as charms, talismans and, of course, revenue
sources. But it was primarily both Hina Matsuri and Boys' Day which helped
promote dolls throughout Japan. Festival display dolls which had been the
sole pastime of the elite were now being purchased and displayed by the
increasing affluent merchant class. Dolls were quite a big business and
sections of the cities
of Kyoto, Edo, and
Osaka were the hotbed of activity during the times just preceding Hina Matsuri
and Boys Day. Each year those areas (such as present day Ningyo-cho in Tokyo)
would be packed with people looking to see what the new fashion and accessories
were for the dolls. Dolls were getting larger and more sumptuous. So much
so, that the shogunate put an edict on doll size and types of clothing,
which was largely ignored or circumvented. Doll sizes eventually did get
smaller later in the Edo period. New types of dolls began to appear: kimekomi
ningyo, Kamo ningyo, Gosho ningyo, Saga ningyo, Nara ningyo, kokeshi ningyo,
which we will discuss further. Not only did new types develop but dolls
advanced technically during the Edo period as well. Karakuri ningyo
, mechanical dolls with wind up gears and mitsuore ningyo , triple
jointed dolls, were very popular in the late Edo Period. But usually girls
would get hadaka ningyo, naked dolls, for which they would design
and make seasonal clothes. Also popular were anesama ningyo, elder
sister dolls which were made from folded paper.
The term hina had long been used as a word to describe playthings. The imperial court ladies were said to have made soft bodied hoko type dolls which Heian texts called hiina . Eventually the term was shortened to hina. The amagatsu are considered the predecessors to the male forms in hina dolls, while the hoko are considered the predecessors of the female form. Sometime during the Muromachi period the two were displayed side-by-side. Eventually their being displayed together took on a separate interpretation, the symbolism of the imperial heritage. They did not directly represent the emperor and empress, but they represented the feeling of the Imperial court in Kyoto, since that was their origin. Of course in that representation the dolls had to be adorned in the most elaborate fabric that could be afforded.
The earliest hina dolls were stick figure "standing" dolls. These were not free standing but were hand held. They had solid heads, made of wood or a composite of sawdust and wheat starch. The heads were perched on a stick with a straw collar. The body of the doll was intricately folded expensive paper wrapped around a cloth undergarment. The earliest true standing hina are from the late Muromachi period. The male figures have their arms outstretched, like the amagatsu. The female dolls usually have no arms. Typically the male doll is two inches taller than the female, which could either be attributed to rank or the origins of the dolls.
Seated Hina dolls, Suwari-bina
It is believed that seated hina dolls began to appear in the latter part
of the Muromachi Period although some authorities feel that they were from
the later Azuchi-Momoyama or early Edo Periods. In fact, the earliest seated
dolls are called Muromachi hina ningyo. They are quite similar to the standing
dolls with the exception, besides being seated, that the female doll also
has her arms outstretched. Heads are of similar construction and shape but
the bodies are m
ade of bundled straw. The next development
for seated hina dolls came in the Kanei era (1624-1644) of the Edo period.
The heads are more elongated and the arms are now bent and holding a shaku
or imperial scepter. Later in the Edo Period, during the Horeiki era, a
new form of lavishly clothed hina appeared. These were called Jirozaemon
hina, supposedly named after the doll shop that introduced them. These
dolls have small round heads and refined clothing, some of which is the
finest that could be found.
The last development in the shape of hina dolls came in the form of the Kyoho hina. (1716-1736). These are considered some of the finest and largest hina dolls made. The heads are made of solid wood or sawdust glue composite and are thickly covered with gofun (pulverized clamshell and glue composite). The head is elongated and the facial features are finely detailed. The kimono are made of fabric in seven thickly padded layers of fabric. The largest of these dolls are two feet tall. Large doll sets are called dairi-bina. Some came with musicians, ladies in waiting, and other attendants. Kyoho hina were popular with the samurai class and but went out of favor, with them, at the end of the Edo Period. After the late 1700's there appeared the kokin hina dolls which came in pairs and sets. These dolls differed from their predecessors in size, shape of mouth and clothing style.
It was also during the mid-Edo period that
sets of hina dolls were sold. The sets would include the imperial pair,
ministers of the right and left, ladies in waiting, orchestra, dancers,
courtiers, and pages and all their accessories. Some the sets had thirty-four
dolls in them. Eventually the size and number of dolls was reduced down.
The standard set is now considered to be fifteen. These dolls are displayed
on a tiered stand with a red felt cloth over it. The stands were orginally
displayed close to the street, however later they were moved to inner rooms.
The order of the tiers from top to bottom is as follows: imperial couple
with lanterns and peach blossom arrangements, then the left and right ministers
and ladies-in-waiting, then courtiers and dancers (if present), and finally
musicians and pages. Normally there are other accessories below them such
as lacquered furniture and toilet set pieces, oxcarts, etc.
Hina dolls became very popular throughout the Edo Period. In the early seventeenth century some form of hina doll was found throughout Japan. Even the poorest communities had at least paper hina dolls in their households. Hina dolls became big business, with doll shops competing to outdo one another with the latest features. Hina doll sets are still being produced today but not with the same materials or craftsmanship as those in the past.
The fifth day of the fifth month of the lunar year was Tango no Sekku, or Shobu no Sekku, the Iris Flower Festival. This festival, along with several other sekku celebrated throughout the year, observed the coming seasons with their associated flowers. Sekku festivals were imported traditions from China. During the Heian Period, the Tango no Sekku was only associated with the iris flower. Sometime between then and the Edo period, the Tango no Sekku came to be associated with manhood and martial matters and hence it became Boys' Day, which is now celebrated as Children's Day. The shape of the iris with its sword-like leaves probably influenced this evolution.
We were in Japan last year for Children's' Day. It was nice to know that the koi nobori (carp banners) and small scale suits of armor are still displayed to celebrate the boys of the households. During the Edo Period it was customary to display real arms and armor in the samurai homes. This custom was changed during the latter part of the Edo Period as the influence of the merchant class increased. It was at that time that musha-ningyo, warrior dolls, and smaller replica sets of armor, helmets, etc. replaced the real things. Musha-ningyo or gogatsu-ningyo, as they were also called, began to be displayed around 1800. The first dolls are particularly large in size, approximately two feet tall. They eventually became smaller, to about 12 to 16 inches in height.
Most warrior dolls represent heroic figures. The dolls and other trappings
of the festival were meant to instill a sense of 
courage, valor
and bravery into the boys of the samurai families. One of the popular examples
is that of Minamoto Yoshitsune, the tragic hero of the Gempei Wars. Yoshitsune,
who fought with strategic brilliance to win the Gempei Wars, was afterward
hunted down by his jealous step brother Yoritomo. He and his loyal retainer
Mushashi bo Benkei were eventually killed in Hiraizumi in northern Honshu
by Fujiwara Yasuhiro, on behalf of Yoritomo. During our trip, we had the
opportunity to visit Hiraizumi. It once was on par with Kyoto in its elegance.
But Yoritomo, using the pretense of revenge of his step-brother's death,
invaded and almost completely destroyed Hiraizumi. Yoritomo's real motive
for the attack was that he wanted the gold that was found in that area.
The Yoshitsune dolls usually depict him seated in full armor with Benkei
at his side and a bannerman next to him. Now, however all you see is Yoshitsune
and the crouching bannerman; the Benkei dolls are usually separated from
this grouping and have become rarer.
The other Boys' Day dolls seen are Empress Jingu with the old man Takenouchi-no-Sukune holding the baby Ojin (later to deified as Hachiman, the god of war). Most Boys' Day dolls are very elaborate, made from various materials. Since most have some martial context they are usually seen with armor, helmets and swords, some of which can be finely made. The age of these pieces can be determined by size, fabric used, facial expressions and coloring, etc.
Some of the most popular and rare dolls are the gosho ningyo,
lit. "imperial palace dolls". These are the roly poly white 
textured dolls that look like plump, round-faced boy
babies. The first gosho ningyo were made from clay but eventually they were
made from formed kiri , paulownia wood, covered with gofun
which was sanded smooth. Gosho ningyo are believed to have originated as
realistic interpretations of the hoko dolls because initially both were
votive figures and talismans given during pregnancies and childbirth. However,
over time gosho dolls became less talismans and more associated as gifts
or souvenirs from Kyoto. During imperial visits, gifts were exchanged and
gosho dolls were given to visiting daimyo on their way to and from Edo.
Gosho dolls became very popular in Edo. It wasn't long before the enterprising
doll makers were selling gosho dolls in Kyoto. They were so popular that
they began to be made outside of Kyoto in Edo, Osaka, and Nagoya; and they
were called by other names in those regions. They were also called omiyage
ningyo (gift dolls), shirajishi ningyo (white skinned dolls)
or zudai ningyo ( big headed dolls). Gosho dolls range in size from
small, 1 1/2 inches , to large, over three feet tall. They are usually seen
in four forms: crawling, standing, sitting and squatting, although sleeping
versions are also seen. The crawling figures are generally naked, the other
two are usually clothed in bibs. There are fully clothed gosho - these are
usually the standing variety and they usually have human hair. Gosho dolls
were popular for a number of reasons, not the least of which was that they
originated in Kyoto, the center of cultural sophistication. They exhibited
a realistic refinement that was the rage at the time. Gosho ningyo were
always display pieces and not considered playdolls.
Kamo dolls origininated at the Kamo Shrine in Kyoto in 1736-40 by Takahashi
Tadashige, a ritual object craftsman at the shrine. He is said 
to have made the first Kamo ningyo from leftover willow wood.
Kamo ningyo are said to be the first to use the kimekomi technique of clothing
decoration. The wood is carved in such a way to represent folds in the clothing;within
the crevices, slits are made and the fabric is stretched over the wood and
fitted into the slits. The fabric smoothly covers the surface of the wood
and requires no adhesive of any kind to hold it in place. The willow wood
provides a nice pinkish color which resembles skin tones. Kamo ningyo are
usually small size dolls and like daruma ningyo types which are ball shaped
without any arms or legs. Their appearance is very playful and most figures
represent everyday people doing everyday things. Miniature groupings are
also seen. True old Kamo dolls are rare although there are many Meiji Period
dolls that look similar but lack the playful quality of the Edo pieces.
If you have ever been to Nara you most likely have visited the Kasuga Shrine with its many donated lanterns. It was established in 768A.D. Nara ningyo originated from Kasuga's ancient festival dance called dengaku. Certain musicians would wear hats with small wood figures hanging from them. In 1620-40's a craftsman by the name of Okano Heiemon started making what are now called Nara dolls modeled after the small figures on the hats. Nara dolls are distinct in their appearance. They are cut from a block of wood and the cuts are very angular and are called to-no-kiri (sword cut) or itto-bori (one chisel carving). The dolls are painted with very bright matte colors. Most dolls are representations of Noh theater characters. Most pre-Meiji dolls are rare since these dolls are not cute and cuddly and exhibit a sharp crudeness.
Saga ningyo are considered to be the finest
and rarest of the wooden carved dolls. Saga dolls originated during the
Edo period in the town of Saga which is close to Kyoto. Without a doubt,
Saga dolls were originally made by the same craftsmen who produced shrine
deity statues. With just one look you can see similarities to the statues
found in shrines. One of the earliest Saga ningyo is kept in a temple as
a religious piece. Most early Saga dolls have a religious aspect to them,
either as representations of Buddhist deities or as humans whose qualities
made them deities after their death. Toward the late Edo Period the dolls
became a bit more playful with wobbling heads and tongues that protruded
when the dolls are tipped forward. As stated, the workmanship of these dolls
is remarkable. The carving of the wood was exquisite and the colors were
dark lacquer, elaborately decorated in red and gold colored lacquer. These
dolls were so popular in Edo that doll making shops copied the style, calling
them Edo Saga ningyo. One of these dolls is represented in the accompanying
picture. Edo Saga dolls were usually shown in active poses and required
a stand of some sort to support them.
Almost everyone familiar with Japanese dolls know about kokeshi. The
no limbs, cylindrical wooden dolls are created on 
lathes and are
brightly painted with floral designs and a girl's face. Most people look
at kokeshi and wonder how what is basically a cylinder of wood with a ball
stuck on could be a play doll. Kokeshi ningyo originated in the Tohoku (northern)
region of Honshu (the main island). The Tohoku area was such an austere
area that fabric was a luxury that could not be wasted on a doll. What it
did have a great abundance of was lumber and the means to process it. So
dolls being made solely out of wood made perfect sense. What makes kokeshi
such a captivating folk craft is the painted faces, hairdos, the decorative
treatment of the body, and the body shapes. Life in the Tohoku region, especially
in the winter, was severe. With a climate that could not support a cash
crop such as cotton, and a short growing season, it was difficult for most
farmers to eke out an existence for their families. Many farmers would work
in mines in the winter or travel elsewhere to find work to try to survive.
Many people believe that early kokeshi were representations of girl children
that were aborted or put to death after child birth due to the inability
to support a family of greater size. Even the word, kokeshi, can be loosely
translated as "extinguished child". There is no documentation
to confirm this theory. It may be that kokeshi were kept as reminders of
a dead child's plaything. Kokeshi are also given as charms to childless
women in an effort to bring children . Kokeshi were kept in the family and
passed down from generation to generation. Some believe that kokeshi date
back three hundred years and were the north's equivalent of the standing
hina doll.
Some have their heads made from the same piece of wood as the body, however most heads are separate. They are attached by heat friction with the body rotating on the lathe while the head is fitted on the spindle that holds the head. The wood surrounding the hole at the base on the head eventually cools and contracts to a snug fit. Supposedly the sign of a good kokeshi is a head that squeaks when rotated, but some are just made to do that. Their nickname is kina-kina ninygo. The sizes of old kokeshi range from 5" to 18", but there are newer ones that are as tall as 30 inches. Kokeshi were once made in about sixty different regions, but now ten classifications exist:Hijiori, Kijiyama, Tsugaru, Nambu, Tsuchiyu, Togatta, Narugo, Yajiro, Sakunami, Zao Takayu are. Each area has its own manufacturing technique, decoration, and head and body shape. The Meiji period saw increased affluence of the middle class which increased travel and sight seeing into the Tohoku area for its other abundant resource, hot springs. Some hot spring areas sell souvenir kokeshi, each with their own characteristics. At one time, old kokeshi could be purchased cheaply at flea markets, but now the price has gone up dramatically. We were recently in Sendai and saw some of the new, larger ones going for about $600.
Wrap Up
As can be seen, most dolls of old Japan can hardly be called playdolls, since most fall into the category of display dolls. Dolls were given a certain special reverence, since it was felt that there was a spirit embodied in the doll. Certainly Shinto with its animistic principles was the chief influence of this thought. The power of the dolls lies in the feelings they evoke from the observer. This power brings the doll alive more than pretending it can walk and talk.