Vintage Japanese 'Takobozu' Nakanosawa Ejiko Kokeshi by Kakizaki, Fumio
Dimensions: 4-1/2”h x 3-1/4”dia.
The Ejiko is the only other doll form that transcends all ten+one different traditional types. While this form is not considered a separate member of the ten original families, it later was accepted by collectors as its own entity, and as a traditional doll in its own right. As opposed to the standard Ejiko form of having a hollowed-out body to be used as a container, the upper portion of the body, (neck and head) appears to be a cover or lid but is not. This particular doll follows the overall characteristics of design as applied to the standard, traditional kokeshi made by both the Nakanosawa and Tsuchiyu-kei family of dolls.
The artist uses the same basic short, rotund-style form of the Ejiko. The head treatment has a larger over-sized head with a small tuft of hair strand on the back, and side hair friges which was typical of practitioners of the Zen Buddhist faith. The design of an abstract peony flower on the center of the body surrounded a basket weave motif in green to simulate the original woven basket design of the Izume.Ko styling in which babies were placed while families were working on the farm. The doll shows large expressive Bikkuri-me eyes, (surprised eyes), but interestingly the artist did not incorporate the expressive Shishi-bata Lion’s nose with flared nostrils, instead using the “tare-bata” long nose) made famous by the Tsuchiyu family. Finally, he has incorporated patterns of flowers on the shoulder, framed between red and black “Rokuro Moyo” patterned lifework. The piece is signed on the bottom by the artist.
Condition: Excellent vintage condition and commensurate with age. This is a rarely seen example of this family style of dolls that were based on the Nakanosawa styling. It has historical significance related to the establishment of this style of Ejiko and is extremely unique. You will not see another currently being sold.
Japanese Traditional Kokeshi
Nakanosowa-Kei (Family)
Prefecture: Fukushima
Origin:
The Nakanosawa doll is a member of the Tsuchiyu family and one of the “youngest” of the twelve styles of Kokeshi. and recognized as a separate style in the mid-1920s, and so different from the rest of the Tsuchiyu family that it warrants its description and category. This distinctively painted traditional doll was created in Nakanosawa Onsen, in the town of Inawashiro, Fukushima Prefecture, by Iwamoto Zenkichi, one of the original founding members of the Tsuchiyu family. The facial expression shows humor that is representative of Iwamoto Kenichi, a street dancer (Sutorītodansā), in the 1920s, who performed a fast tempo foot dance called a "kappore fore”, Zenkichi-san then created a Kokeshi doll copied after a pillow that he used in this dance. The painted pillow had facial features as well as bold flower patterns. Additionally, Kenichi-san gave dancing lessons to local geisha girls, and his audience was soon so taken with his dance with the pillow that they asked for a doll to be made with these special features with the characteristically large popping eyes, and when the doll was originally made of papier maché.
Later, lathe-turned representations of dolls emerged as expressive wooden and painted forms. With Kenichi’s son, Yoshizou, and a group of craftsmen, the making of the Nakanosawa doll was alive and its popularity grew. While considered a sub-strain of the Tsuchiyu Kokeshi, these beguiling dolls have a special attraction to collectors because of their history. This specific type of Kokeshi is often described as male rather than female by Kokeshi enthusiasts, even though it was not specifically designed to be male. The doll later became known as "Tako bozu” (たこ坊主, bald boys), i.e., an octopus face with a shaven head, reminiscent of the hairstyle worn by monks.
Collector's note – characteristics / painting style:
The Nakanosowa doll was made like the rest of the traditional Kokeshi, with a large oval or rounded blocky head with reddish to pink blush on each cheek, on a thin, tapering body. The most characteristic element is the large, expressive, surprised-looking eyes (bikkuri-me). The dolls also have very different noses, with expressive Shishi-bata Lion’s nose and flared nostrils. Its mouth is fully open and accented in red. These dolls have bangs or side tufts and occasionally one long tuft of hair that has the purpose of being a perch for gods. This is based on what was known as the “Yorisiro” phenomenon, and it is a very important Shinto concept of “purity”, which was typical of practitioners of the Zen Buddhist faith. The body decoration of this strain typically consists of large open peonies inspired by the tattoos that the Geisha sported, or double cherry blossoms, incorporated with zig-zag (kaeshi rokuro) lines in multiple colors. The rarest form of this doll is an Ejiko-style called Izume.ko, Doll (“Isume baby”).
Leading Craftsmen:
Arakawa, Yoichi, 1936- No additional published information
Iwamoto, Zenkuchi, 1926, Grand Master- No additional published information
Iwamoto Yoshizo, 1912-1973, Grand Master- No additional published information
Kakizaki, Fumio, 1947- No additional published information
Fumio, Kakizaki, 1947, (Inawashiro, Fukushima) - Master: Iwamoto, Yoshizo. No additional published information
Honda, Nobuo - 1918-1995, Tsuchiyu Lineage. Master: Iwamoto Yoshizo. the eldest son of Honda Rugoro and Saki in Nakanosawa, Yama District, Fukushima Prefecture (2855 Numajiriyamako, Kanyo, Inawashiro Town). He apprenticed with Iwamoto Yoshizo and learned woodworking techniques. At the same time, he was exposed to toys and Kokeshi dolls which at the time were all made by a division of labor, and Iwamoto’s works were made with the help of Nobuo. In 1946 he moved to the mountain areas with Iwamoto Yoshizo to collect materials for kokeshi dolls and toys. From 1950 to 1955, he explored new types of kokeshi doll making and introduced his form of Ejiko dolls painted with whitewash in the 1970s. His hobbies were confectionery making and photography, and served as a photographer at various events in the introduction of and publication of the Nakanosawa doll. No additional published information
Sato, Tokuju, 1926-2021, (Aizu-waka-matsu) - Master: Iwamoto, Yoshizo. He was the second son of Shigeru Saito and in 1948, he found some relief and worked as a self-taught fashion designer. In 1955 he began making kokeshi dolls for souvenirs and in 1956, he was encouraged by Yoshiharu Inoue (father of Yukiko Inoue) of Aizu-Wakamatsu to move his studio Named “Roman Kokeshi Saito Kobo” to Aizu-Wakamatsu. In 1966, he began training in wood carving under Suzuki Chisato. In May 1968, he became an apprentice under Iwamoto Yoshizo of Nakanosawa. He received instruction in Takobozu Kokeshi from Yoshizo-san, and continued to make Kokeshi thereafter. In 1979, he won an Excellence Award at the Fukushima Prefecture Tourist Souvenir Competition. No additional published information.
Sabe Harou, 1929 -No additional published information
Seya, Kouji, 1952, (Nakanosawa) - Master: Iwamoto, Yoshio. No additional published information
Seya, Juji, 1924-2004, (Inawashiro, Fukushima) - Master: Iwamoto, Yoshizo. No additional published information
Takahashi, Yoshi, 1927, (Hino, Tokyo) - Master: Takahashi, Chuzo.No additional published information
Explore & Learn More about Nakanosowa-Kei (Family)