Bringing Dolls to Life: Ningyo in Japan
INTRODUCTION
Japanese culture has a rich involvement in doll-making, or “ningyō,” which translates to “human-shaped,” or “dolls.” These dolls were not only play partners for children but also ranged in deep symbolism, value, and entertainment in Japanese society (even today) [6]. There are a multitude of different types of ningyō to be explored, each with its own meaning and unique way of being crafted, ranging from a variety of materials, styles, and purposes/uses such as simple paper dolls called nademono to complex automatons called karakuri ningyō used to impress the wealthy at gatherings. Overall, the artsmanship and making of ningyō in ancient Japan showcase the cultural values, spiritual beliefs, entertainment emphasis, and aesthetic wabi-sabi preferences of Japan.
EARLY NINGYO FORMS
The earliest recorded instance of ningyō making was during the Jōmon period, from 12000-250 BC, in which a large amount of doll-like forms was discovered. This led to the first ever form of ningyō in Japan, named “dogū” (Figure 1). Although the true purpose of the dogū, or literally “pottery doll,” is still unknown to scholars, it is generally accepted that such dolls were used for rituals. One reason why this is believed is due to the fragile nature of the doll. All the dolls were found broken, and historians believe that these dolls were made in such a way to be easily torn apart for rituals. They are made up of solid clay heads, torsos, and appendages, typically female in shape, and loosely connecting pieces of small wood. This base would then be covered in a lighter clay and finally decorated and fired. It is also believed that dogūs are a symbol associated with fertility and life as many of the dolls share an expanded stomach (displaying pregnancy), which is sometimes even exemplified by the dolls appearing in a position as if giving birth [6].
Next, during the Kofun period from 250 to 552 AD, another form of ningyō arose, haniwa, or, “circle of clay.” These types of clay dolls were also used during rituals. However, in this case, the dolls served as substitutes (typically depicted as warriors (Figure 2), shamans, noblemen, children, women, men, and nursing babies) for human sacrifice. They were used for funeral and burial rituals in which the dolls were placed in concentric rings around the tomb. Additionally, today, the haniwa also serve as figures providing historical information about Japan — their clothing, decorative preferences and ornamentation, and religious/spiritual beliefs during the Kofun period [6].
Following the haniwa ningyō is the hito katashiro, or more simply, katashiro. The katashiro were a more stylistic (less realistic) version of the haniwa, flat or tubular and roughly human-shaped, typically made of paper, wood, straw, or metal. These were also used in burial and funeral rituals often in substitution for a human sacrifice, the only difference being that these acted more as a talisman. They were used to keep away evil. For example, if an individual was thought to have been suffering from bad luck or would have a curse placed upon them, it was believed that the katashiro could absorb the bad luck or be a substitute target in place of the person the curse would be put upon. Simply, the doll will receive all the bad effects while the person would remain unharmed. Similarly, when such dolls were placed in a coffin, it was as though they had the power to repel disease and malevolent influences [6].
From the katashiro sprung another good luck charm, the nademono. Nademono, meaning “rubbing thing,” was termed this because the doll would be rubbed all over the body in order to “extract” any sickness or misfortune inside of the individuals. Following the rubbing ritual, the doll was destroyed or thrown into a river. These types of rituals were referred to as purification rituals and were very common in ancient Japan. Other similar talismans were often given to children, and they would look like the child they were given to in order to “confuse the evil spirits.” This way, the doll would suffer the consequences of any attack done by evil spirits versus the child [6].
The dogū, haniwa, katashiro, and nademono all constitute the distinct early ningyō forms. However, regardless of the many different forms and styles of the ningyō, the basic craft and materials remain consistent. Three main materials include wood, silk, and textiles. The material gofun, which is a white pigment coming from shells of oysters, clams, and scallops popular in Japan, gives ningyō their white porcelaneous look throughout the Edo period [9]. Concerning wood, it was a very popular material used in ancient Japan as the country had a culture and tradition around carpentry and wood carving. For example, during the Edo period, kiri, a lightweight and easy-to-use wood, was the favorite pick for artisans. Textile choice and pattern helped illustrate social class and imagery during the Edo period through the doll. Although cotton and ramie were also used, silk was the preferred choice of those who could afford it due to its aesthetics and value. Textiles not only added to the visual beauty of the doll, but they also often helped cover joints/hinges or any other moving parts that the artisan wished not to be seen such as in the automaton dolls. They did not want visibility of these parts to take away from the liveliness and fantasy of the robot dolls. Finally, gofun is thought to be one of the most distinguishing characteristics of ningyō. This material allowed for the finer detailing in the faces and hands of ningyō. The earliest found evidence of gofun usage was during the Kofun period, in which there were small amounts of white pigments found of haniwa dolls. On the interior of the doll, materials such as bamboo dowels, metal pins, cotton wadding, etc. were used [6].
The construction of the doll by artisans followed the general pattern of first picking out materials, then carving the doll out (usually from wood, but washi paper and pottery clay were also used), and then dressing the doll and applying finishing touches. Once the body is crafted, the doll is coated with gofun. Following this is decoration of the face and addition of further textile details. The details of doll crafting become very complicated as not only are there subcategories of the main types of dolls during the Edo period, but also subcategories of those subcategories, truly emphasizing the versatile and diverse ningyō culture of Japan at the time [1]. Oftentimes, crafters got creative and even used out-of-the-ordinary materials like eggshells (Figure 3). This was usually an emptied but intact chicken egg and was customarily sold as a cheaper souvenir gift [7].
TYPES OF NINGYO
One major type of ningyō is the gosho-ningyō, or “palace doll,” which was admired primarily by adults even though these dolls portrayed children (generally male). These dolls reflect a love of innocence and childhood in Japanese culture as the dolls are often depicted in child-like scenes such as playing and discovering new things (Figure 4). This childhood appeal is referred to as wayobi. Therefore, the form of the crawling baby doll (haihai) draws from the importance of these childhood aesthetics. These are typically made out of wood and covered in gofun. In the seventeenth and eighteenth centuries, these dolls were frequently used as gifts. For example, the haihai was frequently gifted to a family with a newborn as the baby doll would act as a talisman to absorb any evil and protect the newborn [6].
Another major type of doll is the hina doll. This doll was used for the Girl’s Day celebration (Hina-matsuri) on March 3rd in which girls' health and happiness is prayed for. In order to celebrate this day, families with young daughters decorate their homes with a display of hina dolls and offer food such as colorful rice crackers (hina arare) to the dolls. These dolls are dressed in elaborate, imperial Edo garments [3] This celebratory day started during the Edo period and as a spiritual celebration in which the dolls were believed to aid in the act of keeping away evil spirits [6]. One example of a hina doll is called the Suruga-hina doll. During the Edo period, artisans from both Kyoto and Edo (now Tokyo) brought skills of different types of hina dolls to Suruga. These techniques were then combined with those of the Suruga region, and a new type of hina doll was produced. To produce these dolls, rice straw was used. For example, the following would be the production steps: (1) making of the straw body - rice straw is wound to become the doll’s body. It is then wrapped with paper. (2) Paring — the body is shaped to human form using a knife and (3) assembling the body in which wood wool is wrapped in paper in order to create different shapes like the arms, legs, and feet of the doll. (4) The doll is dressed in luxurious textiles and dyes and (5) doll joints are chosen - the desired look of the doll is created in which the arms and legs are bent to convey a certain mood and feeling. For example, a male doll could be bent in a certain configuration to present power and strength. This is a critical step of the process since the wire in the arms can be bent only once. (6) The head is attached. (7) Finally, accessories are added such as a crown, fan, etc., and the Suruga-hina ningyō is complete (Figure 5) [8].
Similarly, there is also a celebration involving dolls called musha-ningyō on Tango-no-sekku (festival of the horse or Boy’s Day). Due to Japan’s strong military and samurai history, musha-ningyō, or warrior dolls, decorate homes of Japan to not only celebrate Japan’s history but also to celebrate the strength and potential of its children. It reminds the Japanese people of their history as the dolls can also be seen as a vessel holding the spirits of the brave, departed heroes of the past. This also helps to show values and ideals of strength, nobility, courage, loyalty, and self-sacrifice placed on boys during the Edo period (Figure 6) [6].
Next during the Edo period came more dolls meant purely for admiration which also show features of Edo culture. These are the isho-ningyō dolls, meaning “fashion” or “clothing.” The main focus of these dolls, therefore, was their clothing and the textiles used to make the fabrics which normally consisted of silk, cotton, velvet, gauze, hemp, and satin. The designs were also very elaborate, showcasing the talent of the artisans who made them with the use of embroidery, dyes, and weaving. Also, these dolls typically stand proudly upon a lacquered base. Each individual doll shares a lot about Japanese culture as each doll comes with a different meaning and story. These dolls tell historians a lot about Japanese history, politics, sex, and religion. For example, textiles were extremely popular during the Edo period. There were even design books made for popular patterns, which were called hi’inagatabon, and the article of clothing that was representative of the Edo period was called the kosode (meaning “small sleeve”), which was an ankle-length precursor of the kimono. The isho-ningyō dolls reflected the popularity of the kosode: a majority of the dolls were females wearing the kosode, and they were called bijin, meaning “beautiful woman” (Figure 7) [6].
Finally, the last type of ningyō dolls are the theatrical karakuri-ningyō. These are mechanical dolls, their purpose being entertainment. Large audiences would gather in theaters such as the popular Takeda karakuri-ningyō theaters (Figure 8) where these dolls would perform a variety of actions, from archery and showing off their strength to more comedic ones such as a young boy doll raising its kimono and urinating in front of the audience. Overall, these dolls were a fun distraction for the Japanese people of the Edo period. These dolls also made an appearance in private settings, such as in the home of noblemen to entertain guests or on festival floats. Making such dolls was complicated. They often required great knowledge of wood carving, textile production, and the knowledge of how to perfectly craft the joints so that they can move. Some even used mercury as weight in order to force the doll to move as mercury would flow from one end of the doll’s body to the other, raising or lowering the doll’s joints as a result [6].
CONCLUSION
Dolls in Japanese culture are highly valued, whether used as play toys, figures of admiration, for religious rituals, or entertainment. Not only this, but the act of making them by craftsmen was known to be an appreciated joy as well. The craft of ningyō is characterized as an art form in itself. During the Edo period, since it is marked by a time of peace (especially in comparison to Japan’s great prior war periods), there was an expanding economy that craftsmen and artisans greatly benefited from. Art started to greatly be appreciated and, therefore, doll makers could profit greatly. These dolls will forever be valued as part of Japanese culture. Not only do they reveal ancient Japanese thoughts and practice, but they also stand as a symbol of beauty and craftsmanship.
Figure 1: Presented above is a dogū from the late Jōmon period around 800 BC. This ningyō stands nine inches tall and is currently on display at the Seattle Art Museum [4].
Figure 2: Presented above is a haniwa ningyō warrior figure. This doll is from the 6trh century during the Kofun period. It stands 52 inches tall and is currently located in the Seattle Art Museum [5].
Figure 3: A baby princess doll made of the unconventional material eggshells.
Figure 4: A gosho-ningyō pictured crawling. This palace doll is from the 19th century Edo period, about 5 inches in length, and can be found in the Ayervais Collection [6].
Figure 5: Elaborate Suruga-hina doll display [8].
Figure 6: A strong warrior musha-ningyō portraying his strength by slaughtering a beast. This figure portrays the courageous and masculine virtues central to Edo Japan [6].
Figure 7: Bijin woman doll wearing elaborate textiles and patterns. This doll is from the eighteenth century Edo period [2].
Figure 8: A playbill from the Takeda theater during the Edo period. The playbill features the mechanical puppets to be presented [6]
Sources
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[3] Ferguson, Carlise. “Japanese Doll.” Edited by Joscelynn Garcia, UTSA Institute Of Texan Cultures, 24 June 2022, texancultures.utsa.edu/collections-blog/object-doll-3/#:~:text= The%20ningy%C5%8D%20were%20shaped%20to,ningy%C5%8D%20dolls%20 were%20usually%20destroyed.\.
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