Manami Okazaki - Japanese Kokeshi Dolls: The Woodcraft and Culture of Japans Iconic Wooden Dolls
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- Book:Japanese Kokeshi Dolls: The Woodcraft and Culture of Japans Iconic Wooden Dolls
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Japanese Kokeshi Dolls: The Woodcraft and Culture of Japans Iconic Wooden Dolls: summary, description and annotation
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An inside look at kokeshi dolls: from the skilled woodworkers behind their design to their important cultural significance.
Kokeshi are the simple and charming traditional Japanese dolls characterized by their cylindrical shape and lack of arms and legs. Historically made as childrens toys in Japans northern region of Tohoku, they have now become a popular collectors item and have even inspired famous architects and artists.
In this visual guide, readers will find:
- An overview of the different types of dolls
- How kokeshi dolls are crafted, including information on tools and woods used
- Interviews with leading kokeshi craftspeople worldwide
- Detailed information about both traditional dolls and the modern ones being crafted today
- An exploration of the cultural significance of kokeshi dolls--both historically and for the areas of northern Japan that rebuilt themselves after their region was decimated by an earthquake and tsunami in 2011
- A guide to visiting Japans kokeshi regions
- Information on how to buy the dolls--either directly from Japanese artisans or stockists worldwide
Filled with artist interviews, gorgeous photos and firsthand travel experience, author Manami Okazaki has created a book to be enjoyed by all--from serious collectors to woodcrafters, interior designers, architects, armchair travelers and anyone with an interest in Japanese culture and travel.
Manami Okazaki: author's other books
Who wrote Japanese Kokeshi Dolls: The Woodcraft and Culture of Japans Iconic Wooden Dolls? Find out the surname, the name of the author of the book and a list of all author's works by series.
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Kijiyama kokeshi from Akita
Prefecture.
kokeshi by Hidenori Onuma.
Outlook is a contemporary
kokeshi inspired by the 2011
Tohoku earthquake. The
girl sitting on a piece of real
wreckage from the disaster
symbolizes life.
such as dogwood, maple and zelkova. These days there are many
contemporary kokeshi styles but the dolls are traditionally made in
hot-spring towns in the Tohoku region in the north of Japans main
island of Honshu.
scraps by woodworkers, character
ized by their cylindrical shape and
lack of arms and legs, they are now
admired as decorative pieces for the
home, loved for their minimalist and
elegant designs. Enthusiasts enjoy the
natural qualities and warmth of the
wood. Simple in form, kokeshi are
also said to have a healing, comfort
ing presence that resonates with the
soul. Crafted individually by artisans
in bucolic surroundings, no two dolls
are the same, and their imperfections
are one of the appealing aspects of
this folk craft.
beauty of kokeshi increases with age,
as the wood acquires a tawny patina
and the brushstrokes gently fade.
Kokeshi improve with time, says
the hot-spring town of Naruko
Onsen in Miyagi Prefecture. And
things that age are beautiful.
sparse, but it is thought kokeshi
production dates back to the 1800s.
Across Tohoku, where the culture of
kokeshi originated, they were called
different things, such as kogesu , deko
and kiboko depending on the region.
The Tokyo Kokeshi Collectors Club
consolidated these names into the
term kokeshi in 1940.
broad groups, traditional kokeshi and
modern or creative kokeshi that
flourished post World War II.
Traditional types are crafted in
decorates a kokeshi in his Sakunami Onsen
atelier.
by Teruyuki Hiraga with abstract crab chry
santhemums in green and red.
the Best Kokeshi Award at his atelier in
Naruko Onsen. His studio adjoins an expan
sive and well-stocked shop.
Yajiro kokeshi village.
known as kojin . There are a few kojin
outside Tohoku, often the children of
artisans who have moved away, or, in
exceptional cases, apprenticed in
other prefectures.
into twelve styles; Tsuchiyu, Naruko,
Togatta, Nanbu, Tsugaru, Yamagata,
Sakunami, Yajiro, Kijiyama, Zao and
Hijiori, with the recent addition of
Nakanosawa. Each of these group
ings have their own distinguishing
characteristics such as motifs, body
shapes, method of production, facial
features and colorways. In most
cases, the types are named after the
area where the kokeshi was devel
oped, in some cases using the
premodern regional names.
fied under one of the twelve afore
mentioned styles depending on the
kojin they apprenticed under. But
within a particular style, the aesthet
ic of one maker can differ greatly
from another. Also, some artisans
have teachers from more than one
style, so their work can have quite
tumes at the National Kokeshi Festival in Naruko Onsen.
difficult to identify by sight. Serious
collectors make use of complex
family trees to navigate kokeshi
lineages and where they diverge.
fully recreate the style handed down
to them through their lineage, many
traditional artisans also craft creative
kokeshi: Sakunami artisan Akira
Suzuki makes pancake- and straw
berry-themed kokeshi, Zao artisan
Naomi Umeki is known for her
adorable cats, and Tsuchiyu artisan
Toshihiko Nishiyama makes kokeshi
sitting in beer jockeys. Most of these
works retain some aspect of the
traditions associated with the style
under which the artisan apprenticed,
such as the hair decorations or the
types of flowers on the body, but
classic elements artisans must use.
sans agree on: to be a traditional
kokeshi kojin , they must have the ap
proval of their teacher and they need
to adhere to that style. While there
are playful elements to their work,
Naruko artisans will never make
Tsuchiyu kokeshi. To qualify as a tra
ditional artisan, whether a member
of a family dynasty or an apprentice
from outside the family, requires
years of training. By the time an arti
san is approved to turn profession
al, she or he is capable of producing
high quality, collectible work.
experienced several booms and
subcultures in Japan, there is a
passionate community of collectors
that fuel and shape the culture. Some
of these aficionados become re
searchers, curators and amateur
historians. Kokeshi organizations are
responsible for the value put on
some dolls, particularly antiques, and
members of these organization often
judge kokeshi competitions.
boom in kokeshi popularity, which
fell drastically at the start of the
1990s when Japans economic
bubble burst. Now, Japan is seeing a
fresh spike in demand for kokeshi.
shibu-kawaii (subdued cute), and no
doubt an element of retro nostalgia
and a renewed interest in artisan-
temporary maker Cookies.
artisan based in Gunma Prefecture.
Yamaya.
contemporary demand. In a world
flooded with mass-produced kitsch,
often made in ethically questionable
situations, there is something
elementally appealing about a
simple, handmade rural folk toy.
Women in their twenties and
thirties now find these dolls interest
ing, says female artisan Yasuko
Shiratori. I think for this generation
there might be something missing,
which can be found in kokeshi,
perhaps a kind of natural earthiness.
ambiguous facial expressions of
kokeshi are said to have similar
characteristics to contemporary
kawaii (cute) characters such as
Hello Kitty (who famously doesnt
have a mouth) and Rilakkuma, a
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