Traditional Rare Vintage, Narugo (Ginzan) Traditional Kokeshi by Izu, Mamoro
This u unusual style of the doll is known as a Ginzan Kokeshi, which is a substrain of the Narugo Family of dolls. Narugo dolls are one of the most well-known families and are defined by their straight-shaped body, narrowing slightly at the waist. As shown here, there are red Chrysanthemum, (kiku), hand-painted on the front of the body. There are small Rokoru moya varied circular bands in red framing the top and bottom of the doll. Bangs are expressively detailed with hair fringes being a definitive feature of the head, with very expressive eyes and a marubana, (round nose) and red lips. The doll is signed on the bottom by Izu Mamoru (b.1925). Master Izu, Sado, Obanazawa, Yamagata prefecture.
Condition: Excellent, original condition, with no fading or loss of color and consistent with age and standards of collectible Folk Art. All details are perfect and as crafted.
These are the popular “squeaking or crying child” dolls and are made of two pieces, with the head being attached to the body via a snap-in projection, allowing it to be turned, thus making the squeak. Naru is "sound or "cry," and ko is "child." Thus, naruko is "crying child," It's no surprise, then, that the Naruko kokeshi "cries" when her head is turned. They originally came from Narugo Onsen in Miyagi Prefecture and originated sometime in the Edo period when there were approximately 125 craftsmen producing this style. The Narugo kokeshi has been labeled the most sophisticated.
Collector's note – characteristics / painting style:
Narugo dolls are one of the most well-known families of Kokeshi and are defined by their straight-shaped body, narrowing slightly at the waist with beveled shoulders. Bangs set wide apart are the definitive feature of the head with side fringes, a single eyelid, and a cat nose. They also are very balanced, and typically have paintings of chrysanthemum, (Kiku), Iris (Ayame), or peony (Botan). Though these basically plain dolls are not as decorative as others of the Traditional school, their unique, flowing forms are stronger visually because of their inherent elegance.
Oonuma, Jun, b. 1924
Oonuma Sinbei, Master
Izu Mamoru, b.1925
Izu Sadao, Master
Kakizawa Koretaka, b. 1930
Takahashi Morio, Master