"Kasuri | Ikat"
Dimensions: 7-1/8” h
The word ‘Ikat’ comes from the Malaysian word ‘to tie’, because the loose threads are tied into bundles using grasses or wax- treated cotton to specify where the dye is able to sink in and color the thread. Some Ikat emphasize precision, where it is difficult to distinguish it from block printing. The Japanese learned about this type of printing from the Dutch traders in the early eighteenth century. Here the artist masterfully incorporates this motif onto the bodies of these simple figures. The most unique and characteristic feature of this doll is the “pin head” in which Sato Bunkichi’s dolls are easily recognized, but very hard to find. The piece is signed on the bottom.
Vintage Condition: “As is” with some scattered light wear or stain that does not affect the design, and retains the original craft/workmanship. Any discoloration, chipping/cracking, surface wear or structural damage noted.
Return Policy
Our antique/vintage pieces are identified/described and professionally photographed, and considered, “as is”, therefore all sales are final. Read our full refund and return policy.
Artisan | Woodworker: Sato, Bunkichi | 1922-2008
Biographical History:
Born in Tendo, Yamagata Prefecture, to a family of traditional Tougatta doll makers. Bunkichi did his early training under Master Tougatta artist Sato, Ushizo. He moved to Matsushima City, in Miyagi, and began creating Sosaku dolls, using a very traditional Ikat patterning for his dolls.
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.
Collector's note – descriptive qualities, standard characteristics & ornamentation styles:
Due to the smaller head shape than normally seen, Sato Bunkichi’s dolls are easily recognized, but very rare and hard to find. The word ‘Ikat’ comes from the Malaysian word ‘to tie’, because the loose threads are tied into bundles using grasses or wax-treated cotton to specify where the dye is able to sink in and color the thread. This technique developed independently across many different cultures. Some Ikat emphasizes precision, where it is difficult to distinguish it from block printing. The Japanese learned about this type of printing from the Dutch traders in the early 18th century. Here the artist masterfully incorporates this motif onto the bodies of these simple figures.