First Ningyo Exhibition in Bali, Presents 67 Dolls from Japan
Curator Tokyo National Museum Mita Kakuyuki said, one major aspect of Japanese culture is the depth of love for dolls. Doll culture spread in Japan particularly in the 17th century, and dolls could be found in the many facets of daily life, both life in the Japanese imperial court and that of the common people.
Furthermore, those dolls were advanced achievements even from the standpoint of modern arts and craftsmanship. The fact that many examples indeed enter the realm of high art is an extremely rare occurrence when compared to the culture of dolls seen elsewhere in the world.
Thus it can be said that Japan is truly a Nation Ningyo, deeply colored by the superb dolls created here and the long cultural history of valuing them. This exhibition examines Japan’s diverse doll culture from 4 perspectives to introduce the principle type of Japanese dolls and the culture behind each.
- Ningyo to pray for children’s growth
If one searches deep in to the history of doll culture in Japan, they will arrive at rites intended to dispel misfortune which have been passed down since ancient times. As early as the 7 th century, simple dolls made from wooden plank were breathed on to entrust them with protecting against misfortune in the coming year, after which the dolls were floated away on rivers. Katashiro are paper dolls still use today in purification rites for the same purpose at Shinto shrines throughout Japan.
Amagatsu and Hoko are dolls designed to protect babies from any misfortune that may befall them. Amagatsu in particular date to the imperial court over 1.000 years ago to a custom of first passing the baby’s swaddle through the arm of the doll before dressing the baby.
Japan has also long practiced rites of offering food in gratitude to the gods at each seasonal milestone, and from the 17th century onward, one such event became specialized for praying for the growth of children. March 3rd, a time when the flowers are beginning to bloom, is the day to celebrate the growth of female children. On this day, a display with am male and female dolls dressed for an imperial wedding is decorated with dolls of their servants and bridal implements, and a feast is served for the children .
A similar day of celebration is held for the growth of male children on May 5. The iris flowers offered on this day have been considered medicinal plants from ancient times, and the pronunciation of their name in Japanese also represented respect for the martial arts and spirit, making the appropriate for praying for the healthy growth of male children. Models od armor and dolls of heroes are put on display for the festival, and rice cake sweets wrapped in blades of bamboo grass or oak leaves are eaten in celebration. Hero dolls that are particularly popular include Momotaro and Kintaro,both known for possessing super human streght and for having saved the people by overcoming monsters.
- Ningyo as fine art
Members of the upper class and the Japanese imperial court in particular had a love for dolls of especially refine craftsmanship. One leading of these is Goso Ningyo. Fashion after plump baby boys, they were used as gifts during celebration at the imperial court. They are designed to show exemplary health and instilled with auspiciousness in their clothing and implements. The general shapes are made from wood or sawdust and them finished with the thick application of a white paint made from crushed shells, giving them their notable luxurious white shine.
Saga Ningyo originated with dolls are created by Buddhist sculptors. They are carved from wood and then richly adorned in gold and various types of paint to present patterns that stand out in relief. They are considered particularly extravagant in their use of color even compared to other Japanese dolls, and were created as works of art rather than as toys.
Nara Ningyo originated with small dolls offered to the gods at festivals held at the Kasugataisha shrine in Nara prefecture. Originally simple dolls carved from wood., the style of carving was eventually found to possess a unique beauty and it evolved into a refined and formalized style. It can be observed the unique aesthetic of Nara Ningyo in the polyhedral forms of their bodies and their delicate patterns of color.
Isho Ningyo are art dolls dressed in garments actually made of woven fabrics. The dolls, made as display items for grownups from around the 18th century, are notable for the tiny clothing made in the same way as the real items, and the poses which demonstrate the excellence of that clothing made in the same way as the real items, and the poses which demonstrate the excellence if that clothing. They are also very popular overseas for accessibly expressing traditional Japanese dress, hair styles, and theatrical act.
- Ningyo as folk art
A love for dolls has a long been a part of the culture of the common people as well. Event without the use of expensive materials, colorful and fun dolls have arisen fromm countless examples of doll culture throughout Japan.
The folk dolls were primarily made from inexpensive materials such as clay, paper, and wood . Many were produced as a side occupation during breaks from farm work, and they provided sustenance for their simple lives. Among them, those made by painting unglazed pottery formed from common clay were the most frequently made because a mold could easily be created from an existing doll. Some clay dolls are appealing for their simple forms, such as Imado Ningyo, while others, such as Hakata Ningyo are more artistically refined with sculpting techniques to create dolls.
Miharu Ningyo and Takasaki Daruma are made by layering paper and then painting them. Miharu Ningyo are created with Japanese washi paper and depict Kabuki actors and legendary heroes with a delicacy of both form and mannerism. The delicacy of their coloring is also particularly appealing, making them one of the leading examples of paper dolls. Daruma represent Darumadaishi, or Bodhidharma, a high priest of Buddhism. They are painted in red, which is believed to prevent illness, and their bases are made heavier so that they stand back up automatically when knocked over. They are still widely loved throughout Japan for the belief that they bring about good health and prosperity.
Meanwhile, one of the leading wooden folk dolls is Kokeshi. These emerged in the 19th century as gifts for children sold in hot spring towns, and children are said to have played with them on their backs. The dolls represented the application of wood lathing techniques to the production of dolls, and naturally their heads and bodies are round and cylindrical accordingly. They are notable for the easy going expressions applied with a light touch and the red based coloring that represents protection from illness.
- Spread of Ningyo culture
Doll culture has also expanded in to the world of traditional performing arts. Joruri Ningyo are large dolls used for a traditional puppet theater, Joruri, and three people operate a single doll while reciting a story using impressive voices. Their bold expressions were designed for the stage, and the true value of these dolls can be seen in their delicate and sensitive movements.
Oshie Hagoita are wooden paddles made to strike small feathered acorns, similar to tiny badminton shuttlecocks, to which silk dolls in bas relief are affixed. They typically follow themes from Kabuki plays and represent popular actors. With expressive faces faces like Japanese paintings and collages of beautiful fabrics, great effort is put to express dynamic action within the narrow confines of the Hagoita paddles.
As Japan began to modernize in the late 19th century, the artistic evaluation of dolls temporarily became less valued for a time in the context of new values emerged. It was about 13.000 dolls sent by the United State as gifts for the children of Japan in 1927 that changed this trend. These were greatly welcomed as so called blue eyed dolls, and eventually Japan sent 58 dolls made specially to the United State in gratitude. The style chosen at that time was Ichimatsu Ningyo, which represents children in traditional dress.
During the production of the dolls, the contributions of doll craftsman Hirata Goyo were of particularly high quality. Goyo adopted sculptural approach based on observation of the human form to create his dolls, resulting in many works which achieved the level of high art. His creative work led to a reevaluation of dolls from an artistic standpoint and drove the emergence of new artist who made contemporary and creative dolls.
On the other hand, there is Licca chan dress up doll produced out of soft plastic by toy maker Takara Company Ltd. in 1967, one of the most loved toy dolls in Japan today. The toy was designed to be smaller and younger than the popular Barbie dolls in the United State to make them more familiar as dress up dolls for Japanese girls. At the same time, Japan’s culture of collector figures that embody popular manga and anime characters in three dimensions has also become highly praised and popular throughout the world.
Thus dolls, Ningyo have a power to bridge the differences of race and ethnicity and directly appeal to the child in us and to our fascination with things beautiful and lovely. This is the same spirit in all of us that desires a life of abundance of peace, meaning that these dolls, though unable to speak, are perhaps messengers who come to awaken those feelings and bring us that peace. I hope that the love of dolls and the craftsmanship cultivated over long history, continues to contribute to peace throughout the world for many years to come.
