Kokeshi-Do

[kokeshi description]

• artisan : Tatsuo Sato
• type : Traditional Yajiro
• tall : 24cm(10inch)
• max width : 7cm(3inch)

What is "DO"(道)?

There is a variety of something-"DO(道)" in Japan - "JU-DO":martial arts,"KA-DO":art of flower arrangement,"Sa-DO":art of tea ceremony,"BUSHI-DO":practical ethics of old warriors,and all the rest. I have even heard "EIGO-DO",that is,"English language-DO".


It is proper to translate "DO" as "way" in English because the word "way" has a variety of meanings as much as the word "DO",which includes the meanings originally such as 'route' or 'path',and in expanse,'method' or 'approach' or 'style' or 'manner' etc. And "the way of  life" - actually,the word "DO" has the nuance of  "dedication".


So, the above "EIGO-DO" is that "you have to completely devote yourself to mastering English!" -one book about it says the following: "Use only English,not Japanese in your daily life, read a copy of TIME more than 100 times, talk to all the foreign people whom you could meet across in the street, and you will master English!" - I often used to go and talk to them in Roppongi, Tokyo according to its precept, but I gave it up later because it cost too much - people who were willing to reply to me were all barkers of "unreasonable" show pub.


Silly talk aside, "DO" itself has discipline or rules - in Kado, Japanese flower arrangement, you have to master much detailed rules - choice of seasonable flower, order of several kinds of flowers, length and angle of branch or flower... these are quite compulsory, so some people leave its lesson, but others who remain say, "these rules have real meaning" - although I'm quite a stranger to Kado, I can understand what they say.


If we want to express sense of the season of tender green as liveliness or vitality, we could choose flowers with rich foliage and make arrangement to emphasize rather its foliage than flowers. But there is a variety of limitation - space limitation or plant trait or something. So, Kado masters have repeated trial and error to express their feelings effectively within limitation -the accumulations of their creative efforts are such detailed rules.


"Limitation" - if we want to purely enjoy flowers or trees, we can just go and see them or we can garden. But the basis of Kado is "to appreciate the sense of the season through plants in a room(usually, "washitsu", a kind of Japanese-style room)". So,many detailed rules -these are also all decoration techniques- underlie this basic standpoint.

Kokeshi-DO

Considering it, kokeshi,especially traditional kokeshi seem to have much limitation - the first is "wooden", the second is "(like) doll ", the third is "with no limbs", the forth is "by using lathe"... these are "intentionally-defined" limitation and even "unwritten" rules. I am really surprised that artisans have followed these rules - if I were an artisan, I would have complained about them -"give me liberty!" - and an old stubborn artisan would say to me, "Do what you should before that!"


Then, what's the basic standpoint in crafting kokeshi? After all, I think it is "the craft by wood turning" - however, there is another craft by wood turning -lacquer ware. So,accurately, it is "the craft by wood turning without lacquer". Historically, they have taken pride in their skills - I'll talk about it as a theme of "Kijishi",woodworkers some time.


I think crafting kokeshi is a kind of "DO(道)" in the sense that artisans devote themselves to it. And "DO" is not limited to matters of Japan - whatever people devote themselves to. It doesn't matter whether it has strict formality or not - rather, its extreme formality even leaves people cold in Japan - actually, Sado or Kado are not as popular as they used to be - they used to be much popular as "training for married life" in Japan!


I think one of the reasons is peremptory teaching - basically, "No buts.Do as you are told!" - how many times I heard the word when I practised Judo - But sorry to say, modern Japanese aren't as obedient as old Japanese. So, I think instructors or coaches had better use more explanation in their coaching or training  - for example, the reason or meaning of suitable stem length or highly-attractive flower angle or something - if they really want to hand down the value of their tradition. Incidentally, as for my Judo practice, I had obeyed my coach from child as an "old Japanese", but I was just slow to realized "not all men are created equal in talent for sport".

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What's Tohoku in Japan_3?

[kokeshi description]

• artisan : Tsunekichi Abe
• type : traditional Zao
• tall : 15cm(6inch)
• max width : 8cm(3inch)

Isabella Bird's View of Tohoku

Isabella Lucy Bird says in her author,"Unbeaten Tracks in Japan"(below *notes marked by me),

The plain of Yonezawa(*town in Tohoku),with the prosperous town of Yonezawa in the south,and the frequented watering-place of Akayu(*spa spot in Tohoku) in the north,is a perfect garden of Eden,"tilled with a pencil instead of a plough,"growing in rich profusion rice,cotton,maize,tobacco,hemp,indigo,beans,egg-plants,walnuts,melons,cucumbers,persimmons,apricots,pomegranates;a smiling and plenteous land,an Asiatic Arcadia,...(LETTER XVIII)

Of-course,she doesn't blindly praise them.She also write much about the situation of poor peasants or wretched places "every daimiyo'(*local lord) town that I have seen has an air of decay"(LETTER XIX).But,

Shinjo(*town in Tohoku) has a large trade in rice, silk,and hemp,and ought not to be as poor as it looks(LETTER XIX)

I can see rugged people of the day in Tohoku in it.And when I read this book,"the scales fell from my eyes" - "the scales" for me was my "pre-existing bias" - the bias of "poor and pitiable Tohoku".Surely "tilled with a pencil instead of a plough",but this was common landscape in other regions in Japan as well.She described some shops provided "villainous forgeries of European eatables and drinkables" in Tohoku,but it even gave me a surprise - they had some knowledge about European food or drink even in rustic Tohoku- although "they would be hurtful enough" - although I also agree to this.

I think her view is relatively objective because she didn't need to have the same "scales" just as we have.So I conclude - "Tohoku was poor,but it was as poor as the other regions".

Then,why they suffered from starving later? - there are many analysis by authorities,but roughly speaking,"the government didn't put a priority on 'welfare' in the broad sense of the term -  including improvement of regional gap or adjustment of industrial structure" - although it is another matter whether such policy was feasible or not at that time.

True Intent of My Boss

"Poor Tohoku" - the reason why I talked about it is not simply because of complaint about unfair treatment - most modern people in Tohoku even seem lack of concern -,but rather because of "defogger" - which enables us to see it clearly and even to offer new insight into it.In that sense,Isabella Bird'book expanded my knowledge about old Tohoku - such as the custom of 'Touji',hot spring cure or aspect of old Japanese inns - first of all,she visited many places where I haven't visited yet! 

Anyway,there was a sequel to my boss's joke.After our wedding ceremony,I asked him -he got much drunk - "was your joke a little risky,wasn't it?"

He replied,"Sure,but that was the result of consideration.I often hear some Aizu people still dislike Yamaguchi people.If I had kept my mouth shut about my hometown,and they had been told from the others about it,what would have happened?" I said,"I don't know".


he acted as if he fell himself to the ground."they might have bawled at me 'you,coward!'and cut me with katana,Japanese sword" - apart from his drunk clowning,he made consideration accordingly.And he added,"cause...Aizu was the region of 'Bushido' - yes,Aizu was famous for its strict Bushido,the precept of samurai,warrior.

I said,"hmm,I see.But if they had raged about your joke,what would you have done?"
He said to me with a grin "you already said,'I commit Seppuku!'.Maybe they would accept it because you-and-me is subordinate-boss relationship.And Bushido values 'loyalty to master'".

He already prepared his risk-hedge! - too regretfully,I should have said another precept of Bushido to him.

"But Bushido also says,'if your master is stupid and unreasonable,you should rectify him'". 

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The Origin of Kokeshi_5

[kokeshi description]

• artisan : Kazue Abe
• tall : 38cm(15inch)
• max width : 10cm(4inch)

I have discussed "the origin of kokeshi" until now.They are summarized as below:

1. There are some notable features of kokeshi - "dolls with no limbs","doll in Tohoku,north-east region In Japan","doll by using lathe".
2. The direct ancestors of kokeshi are still unclear,they might even be non-existent.
3. It is unreasonable that the reason of kokeshi with no limbs is attributed to backwardness of Tohoku.
4. The beginning of production of kokeshi is at most in the early 19th.

Now let me talk about the origin of kokeshi considering the above.

Why with No Limbs?

At first,I think kokeshi was just a "new item" by wood turners - I don't think it is based on "esoteric mystery" or something - but I "do" think it was a new attempt in crafting dolls based on artisan's practical purpose and aesthetic.I'll talk about it later.

"Why with no limbs?" - Alan Booth interpreted it as fetish substitutes.
But - I really admire him for deeply thinking about Japanese kokeshi - I think he "overestimated the position of kokeshi" - because "kokeshi really didn't took root in Tohoku as its custom or convention".

The beginning of production of kokeshi was at most in the early 19th,and they got old-fashioned in the early 20th - for only 100 years or so.Although they were spotlighted as "folk art craft in Tohoku" once again by kokeshi manias in 1930s,that is "another thing".

If they had really taken root in Tohoku culture as fetish substitutes or mementos,relics of them would have been left in its traditional culture like custom or convention or folklore in one way or another.But I haven't heard or seen such cases.So,I think - "kokeshi didn't prevailed in Tohoku as much as we thought".

Then again,why kokeshi with no limbs? I simply think "artisan just didn't create kokeshi in their shapes".They were sure that anyone could easily recognize kokeshi as dolls even without their limbs.

Please remember just stick dolls - "commoners kids of those days played with these simple stick dolls"(cf."The Origin of Kokeshi_3").So,"it make no difference whether with limbs or not".

But their judgements were really right as toy business? It was because kokeshi were replaced with more realistic tin toys that they they got old-fashioned in the early 20th.But I think this is also a supporting evidence that kokeshi didn't deeply took root in Tohoku.

(Actually,I even doubt artisans really intended to craft kokeshi as "toys" because the design of them were heading for "art" - in terms of their shape or painting patterns.)

However - I still had one question about "with no limbs" - why didn't they just carve shape of limbs on the surface of kokeshi? - this was common practice in crafting dolls or sculptures.Actually,we can see it in creative-kokeshi,but I have never seen it in traditional kokeshi - while other dolls or wooden sculptures has been caved by using them.

I think "artisans stayed full value of their skills,wood turning".And this was the most significant key to "the origin of kokeshi".

Why in Tohoku?

There was a much booming industry in Tohoku at that time - lacquerware.Its main objects covered with lacquer were wooden products - bowls,cups,dishes and so on.These utensils needed much skills of wood turning.So,many woodworkers were asked to come and settle there.They were highly hailed -"in the beginning".

Originally,wood products were controlled by woodworkers -from chopping down trees to distributing products.But when the industry developed,the new production system was introduced for high volume production -division of labour.The more lacquerware prevailed in Japan,the more its division of labour became thorough - it caused the reduction of woodworker's power.They were degraded as the position of "wood turning workers".Some of them got out of their business.

Some struggled to seek new fields,in which they could manage by themselves and take advantage of their own skills.Then,they found a new rising,but still uncertain market in Tohoku - hot spa.The custom of touji,a kind of Balneotherapy had been prevailing in Tohoku(cf."Relax in Onsen") in 19th,so they moved into a new business - wood crafting in hot spa areas.

They tried desperately to craft many wood crafts there -spinning top,lamp stand,pot,bowl and so on by using lathe - although they were too simple wood crafts without lacquer -because they were not lacquerers.

This was the main background of "why in Tohoku?".

Beauty of Wood turning

I said above,"artisans stayed full value of their skills,wood turning" - it was based on not only their practical purpose - most use of their skills - ,but also their "aesthetic".

[sculpture description]

• kind : sculpture of peacock by hand with chisels and knives
• type : traditional "Sasano-Itto-Hori" in Yamagata Tohoku
• height : 7cm(3inch)
• width : 15cm(6inch)

Before lacquerware developed,wooden product had been plain.The quality of wood products depended on their balanced symmetry,beautiful curving line,smoothness,or fine wood grain -these were all wood turner's fields.But when lacquerware prevailed,people valued much highly lacquering than wood turning -people preferred "fancy colouring" to "austere elegance".

This was so humiliating to wood turners.In addition,there were already many popular carved dolls or sculptures by hand with using chisels or knives - the above picture is an example,which was one of major sculptures in Tohoku (frankly speaking,I have to acknowledge I also like it).Anyway,once they moved into new fields,they had to look for their own product - differentiation strategy.

Kokeshi was one of the fruits of their much efforts.I think they attempted "re-establishment of wood turning".I think,kinakina,simple wood object,a kind of baby's pacifier(dummy) was also "one of their attempts".

(So I also think - "there must have been many obscure wooden products by them")

Why do people feel comfortable when they see kokeshi? I think it is attributed not only to their pretty and rustic visage,but also to their form - symmetry and smooth curving lines.This is so simple,but not easy works."Traditional-kokeshi" - if the term has really some degree of positive significance,it is attributed to artisans' historical attitudes to lathe,wood turning,which has been the cornerstone of their professionalism,I think.

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"Stout" Kokeshi -Zao Kokeshi

Background of Zao

Mount Zao is an interesting and exciting area - first,as an outdoor recreation spot and second,as a historic district in Tohoku,Japan.

You can enjoy a variety of kind of outdoor recreation there - bicycling,camping,lake canoeing,river fishing,trekking,and climbing in summer,skating and skiing in winter.Of-course,after your recreation,you can relax in onsen(hot spa).

Another aspect of Mount Zao is "sacred mountain".It is one of the bases of an ancient Japanese religion,"Shugendo",whose practitioners do intensely ascetic practice in the deep in the mountains.The name "Zao" comes from the God name of Shugendo(*).

(accurately,the God name is "Zao-Gongen",which has both aspects of God and Buddha -it is because Shugendo itself has both aspects as a religion.In addition,its practitioners had played an important role in Japanese history -I'll discuss it another time.)

According to a lore,the beginning of onsen(hot spa) was early 2th -is that really?But even though it is rather overstated,it's sure that its area was opened up in the early time based on many remains and monuments.

The beginning of kokeshi production was in the close of the 19th,deliberately promoted on commercial basis - a souvenir shop owner sent one of his sons to Togatta,preceding kokeshi production area in order to master kokeshi,then he started selling them as a new souvenir product.It became a big hit - What a stout commercial spirit!And Its stout spirit is shown in their kokeshi.

Stocky Kokeshi

[kokeshi description]

• artisan : Tsunekichi Abe
• type : Traditional Zao
• tall : 30cm(12inch)
• max width : 9cm(3.5inch)
• max circumference : 27cm(11inch)

Zao kokeshi originally comes from Togatta kokeshi.But Afterwards,many other area's artisans migrated there,and it formed unique characteristics.Don't you think this doll is rather stocky?This is the most characteristic of Zao kokeshi.

The second is drooping nose.I think his nose is cute.This is in contrast to Togatta kokeshi,its parent -inverted-v nose.Actually,Togatta had originally such drooping noses,and afterwards they were given "rhinoplasty surgery",whereas Zao's remains.I think he must run away from the surgery just as I used to runaway from an injection in my childhood.

By the way,he seems to be somewhat awkward -because of floral-print dress.So,I'm so sorry,he might be not a boy,but a girl!Anyway,she seems as if she was forced to put on Sunday best - this floral pattern is the artisan's own style and it gives some humorousness.It reminds me of my childhood - my parents bought Sunday best for my entrance ceremony at elementary school,which was far from looking good on brat me.

Porter and Stout

There was a big and heavy stone monument on one of the peaks in Mount Zao,called "Mt.Ganto",1485m(4872ft) high.According to a lore,it weighs about 140kg(308lbs),it was brought by a mountain porter.Is that really? but it's sure there was many mountain porters in the past in Japan.They were stocky and stout,and often big drinkers - unfortunately,although they had little chance to enjoy porter and stout.The frame of Zao kokeshi give me the image of them.Maybe their artisans have crafted them with their wish for their children's strong growth like such mountain porters.And as for me,I go to gym with wish for losing my beer gut!

 

 

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Hybrid Kokeshi -Hijiori Kokeshi

Background of Hijiori

As I have mentioned on previous posts,the origins of many traditional kokeshi -except Tsuchiyu kokeshi- are traced to Togatta or Naruko.Most of them basically inherit their genes from only either of the two - and later,they have built their own personalities as they have grown.

But there is one who naturally inherit his gene from both two sides -that's Hijiori kokeshi.

Hijiori,the meaning "broken elbow", is located in the deep mountains in Yamagata prefecture,famous for its heavy snowfall over 4m(4.4yard) in winter.

Its somewhat odd name come from a folklore - an old wounded Buddhist monk cured his injury by soaking in its onsen(hot spa) - his injury was "broken elbow"(Before knowing it,I had been pretty sure that people had often broken their elbows by slipping and falling on the heavy snowy mountain path).

So,why could Hijiori "have its cake and eat it too"? Its beginning period of kokeshi was the latter half 19th.Its founders had practised their skills at both Naruko and Togatta before.In addition,some Naruko artisans and some Toggata artisans had migrated to Hijiori.So,it resulted in the birth of the hybrid.

Half and Half Kokeshi

[kokeshi description]

• artisan : Sei-ichi Suzuki
• type : Traditional Hijiori
• tall : 26cm(10inch)
• max width : 8cm(3inch)
• max circumference : 26cm(10inch)

This is a typical example of the hybrid."Large-headed" is inherited from Togatta kokeshi,and "square-shouldered" inherited from Naruko kokeshi.But accurately,her dominant gene seems to be Togatta's,because;

• red patterns radiating from the top of head
• red patterns from forehead down the side of both cheek
• eye with pupil,with lower eyelid
• piled up chrysanthemum patterns around body

These features are all Toggata's.But other Hijiori kokeshi have Naruko's features,so,as a whole,they are "half and half".

Well,haven't they built their own personalities but inherited characteristics?
See next picture.

Individual Kokeshi

[kokeshi description]

• artisan : Shoichi Sato
• type : Traditional Hijiori
• tall : 30cm(12inch)
• max width : 10cm(4inch)
• max circumference : 30cm(12inch)

How about this unique visage? I am not sure whether this doll is a girl or a boy.Or,it might not be human -Zashiki-warashi,a child spirit in Tohoku.
But I 'am sure he(she) is a lively monkey - very often annoying his(her) parents.

Hijiori's artisans express such old Japanese rustic simpleness in their works,and this is just their style.

Generally,visages or expressions of kokeshi are also noticeable reflections of each artisan's individuality,and it especially applies to Hijiori's artisans.They seems to have pursued rather developments of their own individualities than those of their style as a group.

But, it is also an unavoidable matter - due to few artisans.Now,there are just several artisans in its group,and just one in the native town.

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The Icon in Traditional kokeshi - Naruko Kokeshi

Background of Naruko Kokeshi

Naruko is a onsen town located in Miyagi,Tohoku.It has been one of the three biggest onsen town in Tohoku - that means it has been the biggest of all kokeshi production towns.So,Naruko kokeshi is the most well-known to such an extent that its name ring a bell even with Japanese who know little about kokeshi like my father - he used to rub his stiff neck with kokeshi to relieve them.

There is a famous saying among kokeshi manias - "Kokeshi collecting starts and ends with Naruko".It vividly represents its popularity.So,maybe I should revise the title - "The King of traditional kokeshi".

Its beginning of kokeshi production was in early 19th.According to a folklore,the origin was a wooden charm figure by a native Shinto priest - he went to "Ise Grand Shrine" ,virtual head shrine in Japan,about 700km(450mile) far from his home all the way,and met across a wooden charm there.After returning his home,he made the doll on the model of the charm for souvenir.
(actually,this folklore is so important in the study of origin of kokeshi.I will talk about it next time.)

Naruko kokeshi is really the king in the following respect:

• the largest number of artisans
• strong leadership that it have inspired other kokeshi production areas
• many fans from beginners to experts

What's the draw? I think one of the keys is a "draw" -elegant drawing and painting.Anyway,see its features.

Truly Elegant Kokeshi

 

[kokeshi description]

• artisan : Akira Goto
• type : Traditional Naruko
• tall : 25cm(10inch)
• max width : 7cm(2.8inch)
• max circumference : 22cm(8.7inch)

Please see this floral patterns around the body(especially,lower part).This is chrysanthemum, as same as Togatta kokeshi.

The difference between them is its shape - one is lozenge-like pattern(somewhat extending downward),the other is repeated bowed patterns,the former called "Hishi-Kiku",literally lozenge-chrysanthemum,the latter called "Kasane-Kiku",piled up-chrysanthemum.
("Kiku" means chrysanthemum in Japanese).And this lozenge-chrysanthemum is the "trademark" of Naruko kokeshi.

See another picture.

Colourful and luxurious pattern! (if you don't think so,that's my fault.Sorry for my poor picture...)Such picture patterns are seen in Japanese pottery and porcelain,contemporary trendy product - yes,Naruko's patterns were inspired by them,so they were "the fashion icon" in traditional kokeshi.

Next is about her hair style.She plaits her hair in one thick braid with red ribbon,called "Mizu-hiki".This hair style with Mizu-hiki originally comes from Kyoto doll,where has been the major cultural center in Japan.We can also find she is truly cultured and elegant.

The third feature,but the most popular characteristic is "squeaky head" - when you twist her head,her head squeaks.Of-course,it is due not to her worn-out,but to a special set-up of attaching head part to body part.(and again off-course,I'm sorry that I'm never liable for the result of your twisting her head as heavily as twisting your waist).

Other Features:

• square shoulder(I think this is also urbane design like shoulder pat)
• gentle curbed body line,and (somewhat) hourglass body
• head diameter nearly same as body diameter

Actually her body is so steady that she can deal even with an earthquake calmly -compare to this Togatta kokeshi!

Straight-A student in Kokeshi

As a whole,she is perfect,and I find well-calculated design in her.I really respect the founders of Naruko kokeshi in terms of their pursuit of its formal beauty.But at the same time,and frankly speaking,I can't exactly understand - most kokeshi authorities say,"Simpleness and rusticity of kokeshi give us much tranquillity".And they also admire Naruko kokeshi as the representative of such kokeshi.I agree to the former in general,but how about the latter? I think she stands far from such unsophistication.


Maybe this is the matter of comparison not within kokeshi,but with other dolls and so on.And I might be jealous of her - because I had been C student at best,and even gotten "F" in art class...

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Earth Mother Kokeshi - Nuruyu Kokeshi

Latecomer Kokeshi

There is a large-scaled,traditional -about 300 years of history- summer festival in Tohoku,Japan - Aomori Nebuta Matsuri.

It is very often said that natives of Tohoku are silent,careful,and stoic (and following cut and dried line is,"harsh weather in Tohoku has built their such characters").But if you go and see its festival with the hearsay,you may think either its character analysis is quite wrong or they are stressful enough to erupt - they are quite intense during the festival.

Nuruyu is located in the above Aomori prefecture.It is so rustic and calm onsen(hot spa) spot that it seems to be no related to such a revel - that's right,but Nuruyu kokeshi are aggressively involved in it.

Its beginning period of kokeshi production was about early 20th,not so early(according to an old record,there were some wooden dolls in early 19th,but it isn't proven till now).And there were mainly two trends in style of kokeshi -one was Naruko style,which was literally based on the design of Naruko kokeshi,the most major kokeshi production area,and another was original by its native artisans.

I will introduce the latter to you because "aggressively involved in it" is the latter.It has unique characteristics,and these characteristics reflect wide range of native history in the region.

Truly Native

[kokeshi description]

• artisan ; Senzo Mori
• tall ; 25cm(10inch)
• max width : 6.7cm(2.6inch)
• max circumferences : 21cm(8.2inch)

You may think this doll is quite different from other kokeshi.It make sense because:

• sensual body line
• purely dark hair
• long and thick eyelash
• gaudy painting
  

These features are opposite to "pretty" - innocuous remark which most people tell when they are asked to give impression of kokeshi. The most striking is "the tattoo of heavy-bearded Kabuki-face".What a far out fashion! She is rather avant-garde.

Actually,this design is one of Kabuki pictures,and it is inspired by Nebuta festival - Many floats are paraded in the festival,and most of them are painted with Kabuki pictures.So,this design is based on its native tradition.

And look at the red spiral pattern just below the Kabuki picture.This apparently seems to be just plain pattern.But this pattern comes from an ethnic - Ainu,Japanese indigenous people.This is called "Moreu",one of the patterns in their ethnic costume.Ainu have lived mainly in Hokkaido,northernmost area in Japan,and some of them have lived in Tohoku.So,we can see that the doll inherits the native design from them as well. Honestly,her look have some of the same features as Ainu have -purely dark hair,long and thick eyelash so on.I think Nukuyu artisans truly respect Ainu culture and tradition.

Earth Mother Kokeshi

Some people say this kind of kokeshi "play rather eccentric",and it is because that they are latecomers - that is,"they need draw everybody's attention." This is the landscape which we have seen before -"traditional kokeshi versus creative kokeshi".

In fact,I think this kind of Nuruyu kokeshi is "a creative kokeshi among traditional kokeshi".But at the same time,I have something to say,"This is really creative".This is far from "uniform product" - some of creative kokeshi are the case.And as we saw above, it really includes its tradition deeply rooted in its long history,in a way,than other traditional kokeshi.

Above all,she is so broad-minded.She can accept everything with her smile,even such a heavy-bearded man like bogeyman - he is also in Tohoku,Japan,called ""Namahage". I think she seems to be a symbol of  Earth Mother -who is the archetype of all people.

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Whether call it kokeshi or not?

[kokeshi description]

• artisan : Jitsutaro Susumago
• type : Traditional Hanamai
• tall : 18cm(7inch)

"Faceless" Kokeshi

Look at this odd object in the picture.It is literally "faceless".This is called "Kinakina",a local craft in Tohoku.If I wake at midnight and look at it,I may scream from fear as if I met across "Noppera-bo", a faceless ghost in Japanese. It looks like kokeshi.Kokeshi authorities say that this was originally a baby's pacifier(dummy),already in being in early 19th.Indeed,the reason why this craft is colourless is its craftworkers might think dye could be toxic to sucking babies.

I said above, "it looks LIKE KOKESHI".It is also "faceless" in another way. There used to be a little argument among kokeshi manias about it -"kinakina is included in kokeshi or not?".Most authorities voted "No" -for the main reason of "just a pacifier".Some of them even say that kinakina shouldn't be appreciated as much as kokeshi.But at the same time,they almost always introduced it in their own authors,and even says in them that kinakina was the basis of Hanamaki kokeshi,a type of traditional kokeshi.I hear early kokeshi in Hanamaki was "painted kinakina".Is this treatment unfair - of a contributors to kokeshi?

Features of Kinakina

• Faceless and colourless
• Bobbing head -head inserted into body part somewhat loosely(but the extent that it is not easily pulled off)
• Slim body -for baby's easy grasping

Just What's Kokeshi?

"Kinakina shouldn't be appreciated as much as kokeshi" -the aforementioned statement really reflects the essence of the matter. Actually,the word "kokeshi" was formed as a unified term in 1939 -"unified" means the words for wooden dolls had varied regionally before(I'll discuss about this further more some time soon).And the more important is "why was it formed?"

At that time,there was a movement of revaluation of kokeshi.It was originally just a toy,furthermore,in the stage of old-fashioned "dog" from the market analysis,being ousted by tin toys.Then,kokeshi was miraculously "promoted to the higher position" of craft art by voluntary kokeshi devotees.

I really respect them because kokeshi would not have been what it is without them.But as for this too simple faceless doll,kinakina,"it wasn't their taste".Maybe they thought as following:"Kokeshi should be one of craft ARTS.And ART should be an activity which express some beauty or serious message or some such.But kinakina is just an infant toy,and moreover non-expressive! So,it shouldn't be included in kokeshi." I can partly take their points.But someone might say "this is a kind of abstract ARTS!" -unfortunately,I have little appreciation for abstract arts,but if Tarou Okamoto were alive,he might take a case for it.

Anyway,apart from its artistic quality,it is a little pity that kinakina is excluded from the category of kokeshi in spite of its primitive ancestor.So,at least I will regard it with reverence based on our traditional moral -"filial piety". Although,I really want to be exempt from being possessed by ghost.

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"Folksy and Rustic Doll" -Kijiyama kokeshi

Background of Kijiyama Kokeshi

"Kijiyama" = "Kijishi"(woodcrafters) + "yama"(mountains),that is,the name of place originally comes from the history that woodcrafters had lived in the area,mainly in the mountains.As they had been scattered over a wide range in each small group,there are many place called "Kijiyama" in Japan.But "The Kijiyama in kokeshi" is just a certain area in Tohoku - Not all of them had been engaged in kokeshi (about "Kijishi",cf.""Gypsies in Japan").

"Not all of them had been engaged in kokeshi" -it is applied to Kijiyama itself as well.Supposedly,the start of kokeshi production there was not so early,about early 20th.And it came from Naruko,the biggest kokeshi production area.Therefore,early Kijiyama kokeshi were modeled on Naruko kokeshi.And later on,its artisans established their own original style.

Once Kijiyama used to be very popular among kokeshi enthusiasts as a "mecca of kokeshi" because of its mysteriousness -it is located in so deep in the mountains that at that time it was quite out of reach -people always yearn for the unknown with very big fantasy.Now,it has only ten or so artisans.

Shape-shifting Kokeshi?

• craftsman : Kaneichi Sato
• type : Kijiyama
• tall : 25cm(10inch)
• max width : 6cm(2.5inch)
• max circumference : 18cm(7cm)

When I met across her for the first time,I used to think she looked as if she was a stereotyped character in old Japanese fairy tales -in most cases,she played as strange,inscrutable woman,and often changed herself into a "fox" -fox has been
"a symbol of cunning and trickery, or as a familiar animal possessed of magic powers"(quoted from wikipedia) in Japan as well.

Simple is Best!

You can find she puts on an apron -this is "Maedare" in Japanese,and it's one of the most characteristic of Kijiyama kokeshi.But why is such an apron so characteristic?

Authorities say,"this costume was "Sunday best" for girls in Kijiyama region at that time." When I knew it for the first time,I couldn't believe it because it seems just an apron -at least,it is completely different from modern apron dress.And the word "Maedare" has another meaning of "servant" because Maedare was a typical work jumper of servant.This is too modest Sunday best.

Another appearance features are:

• too simple bob cut(in fact,I hesitate to call this hair style "bob cut"...anyway)
• relatively narrow face -in contrast with other type of kokeshi,especially Togatta kokeshi
• half-moon-shaped eyes

And the major difference between Kijiyama kokeshi and others is the physical structure of them. Others are made up of body-part and head- part.That is,artisans make body-part and head-part separately,and join them in the last step.But Kijiyama kokeshi is originally "a unit" -not split into parts.This is simple in terms of its structure,but not easy in terms of crafting process.

The word "simple" is quite an apt remark for Kijiyama kokeshi.I think the girl in the above picture was a typical figure that mirrored the ordinary people of the day.Maybe the girl "Hanako" had to work as a maid away from home to earn money for her poor family.She might be really pushed over,and even needled about her Tohoku accent -that could make her tighter-lipped.
But we don't have to worry about her,because she must change herself into "the rich",not a fox due to her simpleness -like "Oshin",a successful businesswoman from Tohoku.

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"Free from Tradition" -Yajiro kokeshi

Background of Yajiro

"Yajiro"(弥治郎) is originally a person's name,which comes from a local legend that a surviving warrior with the name hid and lived there.

(incidentally,the ending of the word "ro"("郎" or "朗") is a popular given name for boys - for example,"Ichi-ro".)


It is a small village of Kijishi(craft workers) like Toggata.And the production of kokeshi started from the latter half 19th.Its target market was Kamasaki onsen(hot spa area),where is far about one mile from the village.

Yajiro is also located in the foot of Mt.Zao as Toggata is.As I discuss later,this geographical condition relates to Yajiro kokeshi's design significantly.

Children of Togatta Kokeshi

Yajiro kokeshi originally come from Togatta kokeshi -both villages are relatively close to each other in the same foot of Mt.Zao.In fact,early Yajiro's artisans positively introduced the skills and design of Togatta kokeshi into their works.

• artisan : Fukuo Niiyama
• type : Yajiro
• tall : 31cm(12inch)
• max width : 9.5cm(3.7inch)
• max circumferences : 30cm(11.8inch)

As you can see,this doll is large-headed,and this is the feature of the type Togatta kokeshi.It shows a piece of evidence that they both has been "parent and child".But the kids had much "independent-mind".

Switched-on Kokeshi

She has a "body like a bottle".I don't know whether the body line was inspired by Coke,but definitely this is one of Yajiro kokeshi's own characteristics.Yes,Yajiro's artisan had much enterprising spirits.I hear some old kokeshi wore their hair in topknots,and some wore muffler.

The second characteristic is "wear a beret".See below picture.

Why is this stripe patterns around her head called "beret"? I don't know exactly,but more popular was the beret with dark green or purple at the time in Japan.The point is a variety of shade.Now most artisans paint their works with many colours,but the pioneers were Yajiro's artisans.Moreover,some of them had moved from place to place to craft kokeshi - I think their such flexibility also shows they are of Kijishi's origin.So,now artisans of Yajiro group live and craft kokeshi in many areas.

Today,where is the pioneer spirit of Yajiro? Of-course,it still remains in modern Yajiro's artisans.Some are trying to pursue their own originality with respecting its traditional design.I think the essence of tradition in Yajiro is their such attitudes toward works.

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Togatta kokeshi

Background of Togatta

Togatta is located in the foot of "Mt.Zao",a onsen town and the base of ski areas in this mountains.

The main settlement of kokeshi artisans is outer small village of the town centre,quiet and rustic amid deep woods -just "The village of Kijishi" - but lately,rather deserted because of downturn in kokeshi.

The production of kokeshi started from the mid 19th,and the more thriving its onsen,the more thriving its kokeshi.

Now,although kokeshi artisans are decreasing,it has about thirty artisans or so,relatively more than other kokeshi production areas.

Large-Headed Kokeshi

Japan has been a quake-prone country and it often has annoyed the people - including manias for kokeshi.The other day,an earthquake occured in Tohoku which had a magnitude of 6.6.Fortunately,there was little damage to the people -excluding one of my friends.He phoned me and said,"What a disaster! all my kokeshi have fallen down! " I worried about him and his kokeshi,especially about his Togatta-kokeshi.Because ...

• artisan : Masato Midorikawa
• type : Togatta
• tall : 31cm(12inch)
• max width : 8cm(3inch)
• max circumferences : 28cm(11inch)

They are large-headed as you can see.This is the most characteristic and so unique of all type of kokeshi.But at the same time this is the weakness - to earthquake.I said before,"she might have been concerned about her own head"("type of traditional kokeshi") -this concern is about her lack of stability rather than about her own looks.

Other features are:

• red patterns radiating from the top of head
• red patterns from forehead down the side of both cheeck
• eye with pupil,with lower eyelid
• inverted-v nose
• with lip rouge

Flowery Kokeshi

In addition,their body are very often painted with floral pattern - such as cherry,Japanese plum,chrysanthemum.These are main characteristics of Togatta-kokeshi.You can refer to an another Togatta kokeshi(LS) as another sample of them.And if you have time,I'd like you to compare these with other type of kokeshi such as Tsuchiyu kokeshi.

When I saw Togatta-kokeshi at first,I didn't like very much them because of their unique shape.But as I see and study more kinds of kokeshi,I feel they are more and more pleasant.Sure,they are large-headed,but they are never "big headed" -they know very well that they are vulnerable.Rather,the problem is I can't find good solution for them -as a last resort,I lay them on the floor.But it's also quite a strange spectacle!

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Tsuchiyu kokeshi(2)

I told the background of Tsuchiyu kokeshi in previous post(cf.""Tsuchiyu kokeshi(1)").Now I'll talk about its features.Before that,a superfluity,"All is relative" - these features are always just ones "in comparison with others".And the more important is "so many men,so many mind" - each artisan has his(her) own idiom.So,please remember that "type" is just one perspective in appreciation for kokeshi.

Now,These are some typical Tsuchiyu kokshi.

The typical features of body in Tsuchiyu kokeshi are

• small head
• slim waist
• body line with a slightly wide hem

Kokeshi with Fish Eyes 

Focus on their head parts.See below picture.


Both have coiled patterns like fish eyes on the top of head.This is called "jyano-me",snake eyes in Japanese.

(but actually,I don't realize these patterns are snake eyes because I always ran for my life without meeting their eyes whenever I encountered them).

And you can see red ribbon-like side on foreheads. This is called "kase" in Japanese.These are most characteristic of Tsuchiyu kokeshi.Other features are

• eye with pupil and lower eyelid
• round nose
• stripe patterns around body -with "rokuro"(cf."spinning kokeshi")

Friendly Kokeshi

It was Tsuchiyu kokeshi that I felt familiar with at first when I was just a beginner. I suppose Tsuchiyu kokeshi are comparatively acceptable to kokeshi beginners because of their balanced shape.Say,look at this kokeshi doll!She might have been concerned about her own head.Or,look at the boy kokeshi.When I saw his flat head and his primitive look at first,I would feel sick as if I saw myself what I used to be! Of-course,now I love them.

Anyway,you think two of the above picture are alike.That's right because they are sisters -by the same artisan.I think the right girl is elder because she is taller and seems rather cheeky - watch her smile on her lips! I was so afraid of her strict watch,so I didn't write anything in their face(cf."Type of traditional kokeshi") this time.

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Tsuchiyu kokeshi (1)

Ten Major Areas of Traditional Kokeshi

There are 10 types in traditional kokeshi(cf."Type of traditional-kokeshi.Each type has been generally developed on each production area.So,each type is named after the name of its production area.Below is the list of them.

1. Tsuchiyu (土湯)
2. Yajiro (弥次郎)
3. Togatta (遠刈田)
4. Naruko (鳴子)
5. Yamagata (山形)
6. Zao (蔵王)
7. Hiziori (肘折)
8. Kijiyama (木地山)
9. Hanamaki (花巻)
10. Nuruyu (温湯)

This is the map showing all production areas.

Large traditional-kokeshi mapDisplay

The above map indicates almost all Tohoku region-Fukushima (福島),Miyagi (宮城)(above is marked Sendai(仙台)),Yamagata (山形),Iwate (岩手),Akita (秋田),and Aomori (青森).All are onsen spots as well.

(Niigata (新潟) is not included in Tohoku.)

Background of Tsuchiyu

First of all,I will talk about "Tsuchiyu kokeshi".You can know the overview of Tsuchiyu from the site "the Tsuchiyu".Might I add,it had some historical background below.

• a major base of transportation which led to big cities of the day in Tohoku
• a vibrant town with many amusements including nightlife
• a town with attractive culture brought from Edo and Kyoto

These factors enabled Tsuchiyu to product kokeshi early in Japan.

Later on,it was replaced as a major town along with other areas development in Tohoku.And worse,some terrible disasters caused its decline.But now it still remains as one of popular spa spots in Tohoku.

Next Time I will talk about the characteristics of Tsuchiyu kokeshi.

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Type of traditional-kokeshi

"Type" in Traditional Kokeshi

As mentioned previous post(""Whether creative or not?"), The word of traditional kokeshi was introduced somewhat rashly to react against the situation at that time. But it doesn't always mean the word is pointless.



There had already been and still has been an another term "type"(or "group") in the kokeshi world before the word traditional kokeshi was invented.



A "type" literally means a group of kokeshi which have particular features in common. The concept of type applies only to traditional kokeshi because creative kokeshi had not appeared yet at that time when this concept was introduced.



I'll show you some example of "type" before explaining it.


(you may have to enlarge below picture)

Something Traditional

These are just a few features of each type. Each type has each features on body shape, looks, colouring, paint design, structure and so on. Or conversely, when some kokeshi are similar to each other on these perspectives, they are categorized as a type. Now Most people accept the classification of 10 types.



Without further discussion about the details of each type(I'll do it sometime soon), the point is that these features are exactly something traditional. Too big head and waistless body line in type "Togatta" might be even supported by people at that time, and squared shoulder in type "Naruko" might be futuristic against common low shoulder. These has been modified over again and again, and become as they are. There are many accumulations of know-how -so careful and so delicate brushwork and whittling so on.

"An art which cannot be specified in detail cannot be transmitted by prescription, since no prescription for it exists. It can be passed on only be example from master to apprentice. This restricts the range of diffusion to that of personal contacts, and we find accordingly that craftsmanship tends to survive in closely circumscribed local traditions."(*1)

said Michael Polanyi, a philosopher. It quite applies to kokeshi. Therefore, some authorities exerted themselves to preserve these traditional kokeshi. Or else,

"It follows that an art which has fallen into disuse for the period of a generation is altogether lost."(*1)

Anyway, I must sincerely apologize for them on the above picture. I have made them lose face with writing anything so rude literally in their face!

They have a lot of good reason to speak nothing to me...

(*1)Michael Polanyi,"Personal Knowledge,P53,The University of Chicago Press"

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Relax in onsen!

[kokeshi description]

• artisan : Tomio Takahashi
• type : Togatta
• tall : 47cm(18.5inch)
• max width : 13cm(5inch)
• max circumference : 41cm(16inch)

"Touji" a Kind of Balneotherapy

Kokeshi was born in onsen, hot spa area of Tohoku where craft workers had settled in.


Modern Japanese go to onsen for their leisure usually in a couple of days. It is so good, but this is somewhat different from the way of our ancestors.



They rather would use onsen as balneotherapy. This is called "touji(or "toji") in Japanese. So,some people still now go onsen for their cures -if you google such words as "onsen + cancer"etc, you can find some interesting articles. But I am not in position to say yes or no to them.



Touji had and still has the following.

• long stay -usually almost for a month
• self-catering in simple cabin near spa spot
• many kinds of bathing based on their conditions

You may remember some kind of people if you have been to onsen. Some of them take short-time bath(usually for 5-10minutes) over again and again- as if they are doing hard interval training like long-distance athletes towards the Olympic games. Some of them just lie on the floor like tuna -you can see them which are lined up in Tsukiji fish market. Actually they take shower of hot spa steam. And others take "nonstop-onsen", without a rest as if they seems to be boiled octopus.

(and for some reason, they are also often "bald")

Kokeshi in Onsen

All these are just rough sketch of touji treatment.


(I think the third nonstop-onsen treatment is not good for health. And if you try to come to onsen for your care, you had better consult with doctors or some kind of onsen therapists beforehands.)


And the point is, kokeshi has been popular as this custom of touji has been popular. Originally the custom of touji had been only among privileges such as Mikado, Shogun and so such. And most onsen spots are located too far and deep in the mountain to go. To become common needs improvement of the basis. I think that the background of its popularity was due to the significant development of the society at that time.


By the way, Japanese has the custom that they give their new born babies first bath -this is called "ubuyu" in Japanese. So,kokeshi might take an onsen-ubuyu when they was born. Moreover, it is said that some onsen make your skin more beautiful. I get there, this is the just secret that kokeshi keep their looks!!(*) -Anyway, now I will admire Mao Asada for her challenge although she didn't win the gold medal. I think what she need is to take some time off -to relax in peaceful and comfortable place and...to take an onsen!



(*)No water with kokeshi! We have to keep wood works away from water.

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Whether creative or not?

"Traditional" versus "Creative"

When I dropped at an antique shop with my dead father-in-low, I picked up a kokeshi and said to him, "wow,how pretty! don't you agree?"


He checked it for a while and said to me, "it's not so good.Because it is a...Sousaku Kokeshi".



"What' s the sousaku kokeshi" I said.

"hmm..." He fumbled with his words.

"I mean what' s the differences between 'sousaku' and others."

"hmm..."

"Well, aren't your kokeshi sousaku kokeshi? "

"No. Absolutely not!" he denied with some impatient tone.

"Okay, what are your kokeshi called?"

"Those are called 'traditional kokeshi'"he replied.




I didn't inquire about it any more. It was obvious that he was so annoyed with my question -I was a complete beginner of kokeshi at that time(and maybe still just a beginner). But at the same time I realized that his irritation was not only because of my lack of knowledge, but also of his own inarticulacy.

Origin of Creative Kokeshi

You can easily find many kinds of something "sousaku"(or "sosaku") if you google the word. The word is generally translated as "creative" in English. So, you can also find the word like "creative kokeshi".



"A creative person has the ability to invent and develop original ideas, especially in the arts."(quoted from "Collins COBUILD English Dictionary").



That's almost right. "sosaku ryori" is an attempt to break traditional Japanese cuisine and "sosaku rakugo" is also an attempt to break traditional rakugo, a Japanese traditional verbal entertainment. But as for kokeshi, it was somewhat different from these artistic or cultural challenges.



Kokeshi, originally made only in Tohoku, north-east region in Japan, has been made in many parts of Japan since WWⅡ.



So many men, so many minds, and so many kokeshi. These kokeshi was different from original kokeshi in many aspects -some with colourful, some with gorgeous dress, and some with blond -I hear some kokeshi even had limb. Moreover, here many factory-made kokeshi came in. Kokeshi had originally been made by Kijishi' s own hand all alone.



In fact, this movement had been promoted not on artistic or art craft basis but on commercial basis -as 'easy to develop souvenir'. This was a danger to those who had loved and preserved classical kokeshi. So they distinguished these classical kokeshi from others and called the former as traditional-kokeshi and the latter as creative-kokeshi. Some people even call the latter as 'new-type-kokeshi' instead of the word 'creative kokeshi' because they think "those kind of kokeshi are not absolutely creative!!".

Coexistence

Today, this doesn't really matter -yes, so many men, so many minds, and so many kokeshi. I know some of creative kokeshi are quite hand made and so attractive.
Rather the matter is whether we can keep 'so many kokeshi' -kokeshi artisans has been decreasing years as other traditional artisans has been decreasing. It is because I really want many people as possible understand and enjoy kokeshi that I write about them with bad English.

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