Artisan | Woodworker: Nozawa, Kaoru | 1930

Biographical History:

As collectors, we felt it was most important to represent all Sosaku Kokeshi artists, whether or not each artist has a written account of his/her life. We show the diversity of cultural values and the creative work produced by a multitude of artists. As a valued customer, Kokeshi collector noted, “Kokeshi collecting is a personal journey in this everlasting realm of Japanese esthetics”.  DF

In researching old writings through articles and books that remain, it is evident that the Kokeshi Craftsperson not only created beautiful forms as toys, but also kept alive cultural values, customs, and fashion through the extensive representations of Kokeshi dolls. The beauty is in the doll and not the signatures, for most masters never signed their dolls. Later they named the dolls, but only when Westerners insisted on signatures because they did not know the artists, so the carvers began to sign their works, for the carvers wanted to promote sales to make a living, during the seasons that did not provide an environment to continue their otherwise daily work.

The only record information is that Nozawa, Kaoru was born in 1930-. She won an award at the 65th All Japan Kokeshi Competition. Historically, the Japanese have been very modest people. Japanese artists, in particular, felt their work spoke for them, and so for centuries, creative efforts by many artists, except woodblock prints, were unsigned, yet were easily recognized by the public through a specific style and the artists’ unique personalities. What is known is that Nozawa-san primarily focused on Wedding Kimono designs in her Kokeshi creations, because Kimono design has always been an indication of social status, personal identity, and cultural sensitivity expressed through auspicious animals and color. Additionally, all of her designs were based on ancient legends promising good luck and long life because only the elite regularly wore luxurious garments symbolizing success. Beyond this information, there is little biographical data on Nozawa-san background, but as researchers and collectors, we felt it was most important to represent all Sosaku Kokeshi artists, particularly females since most woodworkers were men, and whether or not the artist has a written account of his or her life.  

Collector's note – descriptive qualities, standard characteristics & ornamentation styles:

Nozawa’s main theme was the “Numa no kami | Crane God”. The Ainu love the beautiful snow-white cranes, (Tsuru), that inhabit the Isles of Northern Japan, as a symbol of peace and a symbol of peace. The crane, being a national treasure, is a favorite motif and a revered symbol used by many artists. Tsuru are also monogamous and therefore are often seen on many wedding objects including the heavy, broad kimono. The expressions on the faces of the Kokeshi are always extraordinary, and the lathe-carved figure is virtuous, intense, and fascinating with the use of his ‘one-stroke eye’, (Hitofude-me). The eye interpretations are always elegant and innocent, and the face typically wrapped with black, long hair running down her shoulders. Nozawa loved the look and texture of Heian-style hair treatment. All of the pieces known expressed the interrelationship between heart, spirit, and soul (Kokeiro).