Vintage Japanese Transitional Kokeshi entitled: “Daruma | Bodhidharma” by Shibuya, Shinraku
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Dimensions: 14-0” h
Daruma is the Japanese abbreviated pronunciation of the Sanskrit Bodhidharma. On the front of this figure is a portrait of Daruma presented in full profile—a somewhat uncommon rendering, though precedents exist in surviving works in both wood and work on paper attributed to Shibuya, Shinraku.
Shibuya is a prolific artist of Daruma dolls. His work dates from the 1960s until his death. Before the 19th century, the government did not allow wood craftsmen, (Kiji-ya) and lathe workers, (Rukuru-shi), to make something as frivolous as dolls because they were considered a luxury, and what was made then was assuredly fashioned from the odd bits of wood.
While some Kokeshi carvers went so far as to claim that they were produced as an object of faith—an atavistic “phallic” symbol of worship, or a talisman created for ensuring a successful harvest, the tradition of placing Daruma’s image on wood began as a relief measure for farmers who were suffering from famine. Kokeshi woodcarvers, (kiji-shi), lived in the mountain villages in the Northern regions of Japan and worked part-time as temple carvers. They began to produce Kokeshi in the winter when work was not available. Hence this form of Kokeshi was born for which many were made and sold in temples or popular hot springs, (Onsen), to Japanese travelers.
This form of Kokeshi developed many different iterations of Daruma, but there is one philosophy that all Daruma share and that is the pursuit of beauty and artistry through simplicity. This large doll focuses on the portrait of Daruma, (Bodidharma), wearing his cloaked garment with his recognizable hairy face and body and stern look. His long earlobes are featured, with an interesting element, an “ear-hoop”, which later Daruma, gave up because he considered them ostentatious. His arms are crossed under the garment. Note the fact that the image is placed on a large amount of background, which divides the surface and balances the design with space, to appreciate the image. The piece is made of Cherry wood (Sakura).
The Kokeshi head is beautifully shaped and positioned on top of the shoulders with a light red, ‘Rokuro- moyo’, horizontal, carved line work. The face has a ‘cat’ nose and a small mouth with black eyes looking outwards, exhibiting a serene expression. And, finally, the doll is placed on a circular base from the same piece of wood, with the same “Rokuro-moyo’ line-work. Wood carving of this type sometimes retains the natural defects from its growth, which in these cases, the artist celebrates them as “unique and unusual” to the wood from which it is made. The piece has the acknowledgment on the back in beautiful script, signed by the artist, and his Hanko included.
The piece was published in the 2022 publication of Sosaku Kokeshi: Celebrating the Major Artists of the Creative Movement. For more information on this artist see: https://mingeiarts.com/collections/artisan-woodworker-shibuya-shinraku
Condition: Excellent, “as is”, with a knot on the base that appears as a dark ring, or circle, and a hole in the wood’s grain that runs through the base that does not affect the design or function. It retains the original craft/workmanship, details, and finishes. The piece celebrates the wood from which it was made and meets all the standards of the vintage collectible Kokeshi.
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Artisan | Woodworker: Shibuya, Shinraku
Biographical History:
Transitional artist Shibuya, Shinraku is from Yuzawa City, in Akita Prefecture. Virtually nothing is known about this artist, but it is clear that many of his dolls are in the traditional Kijiyama style, which originated in Yuzawa, Minase, and Inagawa cities. Shibuya-san’s dolls range from the bright and beautifully painted to the skillfully and minimally drawn designs. He is also a prolific artist of Daruma dolls. His work dates from the 1960s onward. There is little biographical data on Shinrak-san, but 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:
At New Year’s, most Japanese individuals and corporations buy Daruma dolls and make a resolution for the New Year. The tradition began in the late 17th century as a relief measure for farmers who were suffering from famine.
There are many different styles of Daruma, as you will see by Shibuya’s creations, but there is one philosophy that all of his Daruma share, and that is the pursuit of beauty and artistry through simplicity. Noted is the fact that the images are placed on a large amount of background, which divides the surface and balances the design with space to appreciate the image. Often seen is the use of black and white paint to create the impression. Additionally, we see the celebration of seasonal succession incorporating Iris, Camellia flowers, with many having an emphasis on Bamboo. Artists working in the sumi-e’ style of painting achieve a suggestion of detail by using different intensities of ink and line work. Unpainted areas of the doll give form and volume. It is most interesting that Shibuya continues to use both traditional and creative elements to express his feelings about Japanese life and values.