Introduction to the Art of Kokeshi

A New Look at an Old Tradition

The art of Kokeshi doll making began in the early 1940s, grew and flourished in the 1950s-60s, and well into the 1970s. Kokeshi represents a measure of the spirit-infused status of the wood, and they are believed to retain the material’s original sacred and natural qualities. ‘Kokeshi made in other countries (China, Korea, Indonesia, and the United States) are not Kokeshi and do not represent the spirit from which they were conceived.

After Japan gave access to Western ideas, the next generation of Kokeshi artists wanted to honor the carving tradition but did not want to follow traditional family designs. The Japanese use the term ‘Mottainai’, originally a Buddhist word that referred to the “essence of things.” Applied to everything in the physical universe, the word suggests that objects do not exist in isolation but are intrinsically linked to one another. ‘Mottainai’ is also an expression of sadness for the disrespect shown when any living or non-living entity is wasted. Thus we find the contemporary artists focusing on a new visual approach to the creation of the Kokeshi doll, reinforcing the important part that forests play in the daily life of the people.

While a number of these artisans did apprentice under Traditional masters, the next generation of Kokeshi artists showed exciting variety and imagination, for the dolls produced were larger in many cases, and were certainly more elegant. Many of them were created using more than one type of wood, with the various woods comprising the clothing and hair treatments; and with the application of different methods of carving, chiseling, “harmonic chatter-work”, (Birikan’na), and wood-burning techniques, the dolls were a far different type of Kokeshi than their Traditional predecessors.

Once the tourists visiting the area’s popular hot springs, during the long winters, wanted a token of their stay, the woodworkers began shaping and painting versions of their dolls that became more attractive and culturally sensitive. This act reinforced the importance of both historical and contemporary impressions of motifs, including interpreting the natural world with a constantly shifting palette across the seasons; each impression offering a unique visual experience with a distinct design and color scheme on the body of these beautiful forms. 

Kokeshi Birthplace — Tohoku and Gunma

We aim to transmit faithfully, not only the visual beauty of the Kokeshi doll, but to share their historical base and origins, and to impart a little of the importance of keeping alive the traditions involved in the woodworking arts.

Kokeshi are 'created' by artists and woodworkers (kiji-shi), and have features and styles unique to their particular artist, craftsperson, local culture, and region. The majority of Traditional Kokeshi come from the Tohoku region, while Creative, (Sosaku), and Kokeshi were, and are, primarily made in Gunma prefecture.

Mingei Arts' collection of Traditional and Creative Kokeshi was acquired beginning in 1998 after numerous visits to the wood carvers studios, associated retail shops, and onsens. As long-time researchers and collectors of Japanese folk art, we have found that Kokeshi and Kokeshi-inspired toys continue to imbue a spiritual significance from their original beginnings.  

Traditional Kokeshi: The Families  

Overview

The world is drawn to the beauty and simplicity of these "Wooden Treasures of Japan" © (2005). The Traditional Kokeshi were created as early as the late 1600s to the 1800s, by the members of the original eleven families.  Since the popularity of Kokeshi spread all over Japan after originating in the Tohoku region, certain styles can be traced back to the onsen, (Hot Springs), in the mountains where they originally sold. Earlyi wooden dolls and toys were not signed, because Japanese travelers knew the artists/family. From the early 1900s forward, and particularly after World War II, dolls began to be signed, for domestic and international tourists traveling throughout Japan who were charmed by the dolls’ unique simplicity and rustic beauty. 

The first Kokeshi Dolls, often referred to as Kikuriboko, or, "Child of Wood" appeared during the Edo period (1603-1868) and were originally inspired by carpenters who began creating both hand-held and freestanding Kokeshi, tops, and mechanically-pulled toys for the children of farmers. These simple wooden forms were then sold as souvenir dolls to parents for their children, introducing them to the villages and people they visited. Each of the original Kokeshi was imbued with inspiration largely rooted in the simple life in the natural regional environment in Northern Japan. The history of each family in this section has the family or craftsmen’s identification, date of birth, or production, the prefecture, and the master who guided these known and unknown apprentices. Most were typically members of the Family, (Kei), or founder. 

 Each of the Eleven Families developed different graphic patterns, face and hair details, and silhouettes all within a spherical head, long torso, and no arms or legs. History tells us that the absence of limbs was primarily because these were lathe-turned dolls and not hand-carved. One important fact is that each family and the associated craftsmen required that their design could "never be changed throughout the years," for their style of motif was considered the result of a master's craft with the family’s images, honored. In Miyagi alone, there are four styles — namely Naruko, Tougatta, Yajirou, and Sakunami — that have their distinct designs and features. Fukushima has two styles, Nakanosawa and Tsuchiyu, both recognizable by their vivid red accents. Yamagata, on the other hand, has three styles — Hijiori, Zao, and Yamagata — best known for their heavy floral designs. For Aomori, there’s the Tsugaru style, where the head and the body of the Kokeshi doll are made from the same type of wood and are often decorated with a drawing of a peony. Iwate’s Nanbu style was initially known for leaving the doll’s body bare to allow appreciation for the wood’s natural grain. However, painted designs were adapted over time. And lastly, Akita produced the Kijiyama style, which is most recognizable for its striped kimono designs. However, some. Later designs also feature floral patterns.

The craftsmen representing the “Eleven Families of Kokeshi” standardly incorporated seasonal motifs from nature, particularly focusing on floral patterns. While not always explicitly depicted, most of the Traditional Kokeshi were made and finished in the natural color of the wood, although several families incorporated painted motifs in colors of red and dark green with an occasional use of the color yellow with ’stacked’, layered, and ’spray’ flowers of Cherry blossom (Sakura); Plum blossoms (Ume); Chrysanthemums, (Kiku); Iris, (Ayame); Peony, (Botan); Camellia, (Kameria); Red Rose, (Akai bara); and an occasional array of wildflowers. Maple,(Momiji), leaves, Red Bamboo, (Take), and leaves were also used, but each always reflected the changing seasons of the region. Atypical were vegetables such as eggplant, (Nasu), and Edamame (Bean), with occasional horizontally colored line work, (Rokoru moyo), framing the body on many of the dolls. In some cases, they were used as talismans for good luck, or as symbols of protection, and several families, such as the Tougatta-Kei Kokeshi, incorporated individual images of the Seven Lucky Gods, Buddha, Daruma, and the Sea Bream, (good luck symbol of fisherman). They have graphic elements rooted in the religious and spiritual traditions throughout Northern Japan. The Traditional Kokeshi doll prompted the “birth” of the Sosaku movement, which allowed for more creative liberties on the part of the contemporary artists/carvers, who were primarily inspired by seasonal kimono designs with both abstract and realistic-like painted designs on their dolls. NOTE: We are grateful and acknowledge all the wonderful research by Chizuko Takeuchi and Roberta Stephens in 1982 for all their work related to recording the history of Japanese Traditional Kokeshi. Without their writings, it would not have been possible to have such a complete recording documented in our Traditional Browse by Family section.

Woodworking Heritage:

As the dolls were crafted by local woodworkers who were known for their aesthetic construction projects, they are delicately and historically detailed. They engaged in toy and doll making during the long winter months when their work building teahouses, residential structures, and temples was at a standstill. This is when the foot peddled lathe-turning work, (Hikimono), was taken full advantage of in turning Kokeshi dolls. The Traditional Kijiya’s design of Kokeshi and toys, as well as the later Sosaku Kokeshi, often reflected the readily available wood types: cherry, maple, camellia, dogwood, mizuki, and cedar, which were all traditionally associated with carving techniques. It is well known that these woodworkers used remnant pieces of wood left over from construction, in giving a second life through the creation of Kokeshi.

Sosaku Kokeshi: The Artists 

Overview

The Kokeshi-kojin is a craftsperson who creates figures from beginning to end, and Kokeshi collectors are drawn to the aesthetic beauty and simplicity in the form of these spirit-infused, lathe-turned dolls. Created as toys for children, and souvenirs for the Japanese traveler, Kokeshi represent different aspects of daily life in Japanese society. Creative Kokeshi emerged in the early 1940s, flourished from the 1950s through the 1970s, and continues, even today.

Sosaku Kokeshi, from its onset, avoided the regimented artistic motif of the Traditional family of dolls, moving to a more abstract, free-form graphic. This added breadth and depth to the diversity of this style of doll. Inspired by the changing seasons, Japanese textile artists experimented with a wide range of graphic designs, colors, materials, and construction techniques. It gave a basis for the creative Kokeshi artist to introduce his/her representation, recording history through the media of wood and its decoration. Indeed, this is because contemporary Kokeshi creations can continue to carry a basic theme, while fashion is continuously renewing to meet an ever-changing interest of society. Doll design and fashion share similar values in the Sosaku Movement, and are presented in different artistic forms and graphics, thus intimately linking the two artistic expressions. 

In this section, we feature a variety of dolls adorned with motifs that represent history, folk tales, abstract interpretations of fashion, nature, and everyday life. A provenance is included in the history of each doll, which is archived after the sale, for future research and reference. The collector of Sosaku Kokeshi will see in this broad representation of many Masters of Sosaku Kokeshi address both the front and the back of their dolls, which are decorated with a focus on both the coloration, graphic design, and construction, to identify this new style of textile art. 

Representations of classic clothing with graphic features may include: Heian traditional garments including Juunihitoe, (layered robes) and Sokutai, (formal and round collared jackets). Men and women wear the Traditional rice-straw and feather snow coat called “Mino” and Susanoo-no-Mikoto (God of storms and the sea), and finally, period hairstyles including unique ‘Mage” or ‘Bob’ on their heads.

On the body of Kimono, Fukusa, Haori, and Obi incorporating the following motifs became the focus, depending on the artist/carver’s message he/she was trying to share, as part of their wood creations. An important part of the Japanese heritage/culture:

Four Seasons Motif: Clouds, (Kumo), Sun, (Taiyō), and Sunrise (Hinode), (cherished for long life & virtue); Chrysanthemum, (kiku); Plum Blossom, (Ume); Cherry Blossom, (Sakura); Camellia Blossom, (Tsubaki);  Peony, (Botan); Red Roses, (Akaibara), Daisy (Deijī), and Iris, (Shobu). Images of Nature Motifs: Bamboo Culm and leaves; Pine Needles, Pine Cones, Forest, Seasonal Leaves; Grasses; Wheat; Paulownia leaves. Food-style motif: Eggplant, (Nasu); Bean, (Edamame). Animals and Sea Life Motif: Butterfly; Rare birds; Phoenix; Crane; Tonbo, (Dragon Fly); Macaque, (monkey), Dragon; ShiShi, (Lion Dog); Lobster; Koi, and finally, Animals of the Zodiac. Historical, Religious Figure Motif: Temples, the Torii Gate, Daruma, Okame, and Kannon. Everyday Objects and Toys Motif to four seasons: Sho-chiku-bai (three friends of winter), Coin-style motif, fans, and Koma, (spinning tops). Historical Landmarks motif: Waterfall, Streams, Waves; and Mt. Fuji. Abstract Graphic-style motif: geometric lozenge; diamond shapes; and stripes, (denoting a woman of high rank and wealth), Imperial Family Crest, and the Family (mon). Wood Motif: The type, color, and wood grain through textural-style motifs are substituted for painted graphic designs on many Kokeshi forms. 

And finally, We need to address color as a foundational motif as many were used to form the base body color of the doll. Colors have distinctive meanings in Japan. Bright colors are used for spring; dark colors are used for winter and pastel colors are used for summer. For example: Blue, the ocean, sea life, and sky; Red, (Aka), wards off evil spirits; Pink: spring and youth; Purple: nobility; Yellow: harvest season.

Japanese Names, Signatures & Seals 

In more recent times, an artist’s signature has become the standard, if you will, and nowhere is this more prevalent than it is on Kokeshi dolls. One of the very few, if not the only, folk-art doll creations bearing signatures, Kokeshi artists have been signing their works since the 1950s-60s when Kokeshi became an important Folk Art for collectors around the world.

Japanese artists’ names, (surname first, given name second), appear as transcribed from the actual artwork or exhibition catalogs. The signatures of the artists on the dolls are ALWAYS unique, and artistically rendered. Artists and Kokeshi carvers may use one or several seals to sign their work. These seals may contain the artist’s real name in full or in part or their artistic pseudonym. Other exotic scripts meant particularly for seal carving are generically called Zattaisho and include scripts of varying forms. These impressions are also used by connoisseurs, who have purchased an antique artifact.

Finally, these impressions are different than Katakana. When writing is shown as part of the doll, for clarification, and identification, it could be showing the artist’s signature, maybe the studio and/or Onsen, but many, particularly the older dolls show the Name of the Doll which many collectors think is the artist's name.