Introduction

 

Traditional Kokeshi: The Families

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 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, (kijiya), 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 were imbued with inspiration largely rooted in the simple life inthe natural regional enviroments 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, 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 of 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 wild flowers. Maple,(momiji), leaves, Red Bamboo, (Take), 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 which 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 realisticlike painted designs on their dolls. 

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 temple was at a standstill. This is when the foot peddled lathe-turning work, (Hikimono) ,was taken full advantage 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 carving techniques. It is well known that these woodworkers used remnent pieces of wood left over from construction, in giving a second life through the creation of Kokeshi.

Sosaku Kokeshi: The Artists

Vintage Sosaku Kokeshi 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 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 a 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, color, materials, and construction techniques. It gave a basis for the creative Kokeshi artist to introduce his/her own representation, recording history through the media of wood and its decoration. Indeed, this is due to the fact that contemporary Kokeshi creations have the ability to 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 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 wearing 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.