It is said that dolls, such as Amagatsu and Houko, were originally used as substitutes for children, to take on bad things in the hope that nothing bad would happen to the child.
Over time, this evolved into what is said to be the prototype of the Hina dolls played with by the daughters of court nobles and aristocrats during the Heian period, and was perfected during the Edo period. In addition, Gosho dolls, costume dolls, Ichimatsu dolls, and other types of dolls were created around the same time and continue to be produced today.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. In the case of dolls, the following techniques or methods shall be used:
  (1) The base material shall be prepared by one of the following methods:
  (i) In the case of court dolls, one of the following shall apply:
  1) In the case of wood carvings, the process involves "hollowing out the center" and then "covering it with Japanese paper."
  2) When using paulownia wood paste, after pressing the material into the wood, apply Japanese paper.
  (b) In the case of Ichimatsu dolls, the process involves "applying the material" using paulownia wood paste, followed by "covering with Japanese paper."
  H. In the case of Hina dolls, May dolls, and period costume dolls, the following shall apply:
  1) The head is shaped using the "dry-pressing" method with paulownia wood paste.
  2) The drum body must be constructed using either a "straw drum construction" or a "wooden drum construction."
  3) The hands and feet should be shaped by "sculpting".
  (2) The application of white pigment shall be carried out using the following techniques or methods:
  (i) The head should be coated with at least five coats of topcoat after the initial base coat, top coat, intermediate coat, and finishing coat.
  (b) The bodies of Gosho dolls and Ichimatsu dolls shall be painted with a base coat and an intermediate coat, followed by at least three top coats.
  H. For the hands and feet, apply a base coat, an intermediate coat, and a finger cut, followed by at least three coats of topcoat.
  (3) Face painting shall be done using a face brush to "paint in the eyes" (except when using artificial eyes), "paint in the eyebrows", and "apply lipstick". In this case, the ink shall be light ink.
  (4) "Hair attachment" involves using a curling iron to "straighten the curl" and then "implanting" the hair.
  (5) When the "fabric" of the costume is to be lined, the "floating backing" method using Japanese paper shall be used.

   

  2. In the case of armor, the following techniques or methods shall be used:
  (1) The process of making a bowl involves hammering and twisting, followed by riveting.
  (2) The process of making "small plates" involves "hammering" and "removing the small plates," followed by "backing."
  (3) The painting process involves applying raw lacquer first, and then applying a top coat using refined lacquer.
  (4) The lacing is done by "honji".

   

  raw materials

  1. For dolls, the following materials should be used:
  (1) The material used for "Kirito" shall be paulownia or cedar.
  (2) The materials used for "wood carving" shall be paulownia or fir.
  (3) The fabric used for the costumes shall be silk.
  (4) The thread used for the hair must be silk.

   

  2. For armor, the following raw materials shall be used:
  (1) The bowl, small plates, and base plates of the small armor pieces shall be made of iron.
  (2) The metal fittings shall be made of gold, silver, copper, or a copper alloy.
  (3) The material used for the leather covering shall be deerskin.
  (4) The cords used for lacing shall be braided silk cords or cords made of deerskin or cowhide.
  (5) The fabric used for the gauntlets, leg guards and greaves shall be silk.
  (6) The lacquer used must be natural lacquer.

• Work scene

  Work scene

  The production of KYO Ningyo (Dolls) is divided into many specialized tasks, including head makers, hair makers, hand and foot makers, accessory makers, and body makers. Here, we will focus on "Hina dolls," which are considered to be in a class of their own among KYO Ningyo (Dolls), and introduce the process of making them.

  Process 1: Head production (head maker)

  Apply a liquid made from white pigment (white pigment dissolved in water and animal glue) to the head of the wooden doll. Once dry, make incisions with a small knife in the areas where the glass is placed for the eyes. Apply red lipstick to the lips and draw the eyebrows. Draw the hairline with light ink.

  

  Step 2: Hair styling (hair stylist)

  Grooves are carved along the hairline, which is drawn in light ink, to be used for implanting the hair. The hair, which is made of black-dyed raw silk, is cut to a length that is easy to tie and bundled together.
  Using Himenori glue, plant the material little by little into the grooves, and then press it down with a twisted piece of paper so that the glue is not visible from the front.
  While gently holding the hair with your left fingers, comb it through with a boxwood comb. Comb with the boxwood comb, apply the curling iron, and comb again. As you repeat this process, the hair, which initially looked like nothing more than black thread, will gradually acquire the luster of human hair. Tie the hair up. Attach the hair ornament.

  

  Process 3: Hand and foot production (hand and foot craftsman)

  Thin wire is inserted into the wooden prism arm, and the shape of the fingers is shaped with pliers. The prism arm is then carved into a smooth arm shape using a small knife. A white liquid made from white pigment is applied.

  

  Process 4: Prop production (prop maker)

  We create and attach accessories that suit the doll, such as fans, measuring sticks, ceremonial trays, dressing tables, chests of drawers, chests of drawers, palanquins, sandals, bows, and painted hats.

  Step 5: Dressing the Hina dolls (Dress dresser: cutting, tailoring, and dressing)

  High-quality Japanese paper is glued to the back of the kimono fabric, which is then cut to size and pattern, and sewn together. The fabric used is traditional Kyoto NISHIJIN Ori (Textiles) such as Nishijin-ori, which are considered "Yusoku-fu" (traditional Kyoto textiles).
  Arms and legs are attached to a straw body, and a kimono is put on it. The kimono is secured with thread to prevent it from losing its shape. The arms are bent to set the pose.

  

  Step 6: Finishing and Completion

  Finally, add props such as a fan and a measuring stick to check the overall atmosphere, and it's complete.

   

• Close-up

  Close-up

  KYO Ningyo (Dolls) with their gentle expressions, exude a strong, dignified presence.

  Kyoto dolls, such as the elegant beauty adorned in Nishijin silk, or the plump, charmingly posed child dolls, captivate all who behold them. They are works of art in KYO Ningyo (Dolls) form. Yet, KYO Ningyo (Dolls), with their soft yet strong presence, lack the unapproachable quality often associated with works of art.

   

  KYO Ningyo (Dolls) born from the passion of doll makers.

  KYO Ningyo (Dolls) maker. He and his father have been involved in the production of KYO Ningyo (Dolls) for two generations. His father was Mitsuharu Kataoka, a KYO Ningyo (Dolls) maker who took the world by storm. A disciple of Haru Murai, he was a master craftsman who perfected a unique beauty in the dressing of KYO Ningyo (Dolls). He was one of the doll makers who led the golden age of KYO Ningyo (Dolls) from around 1955 to 1980. His gorgeous "Mitsuharu dolls" captivated fans all over the country, and his works can still be seen in various places throughout Japan. (Exhibition of treasured items from prominent families and wealthy merchants)
  Taken by his father, Kataoka visited workshops of head makers, hand and foot makers, and hair makers from a young age. Mitsuharu, who had an artistic temperament, would earnestly convey to each specialist the image of "the doll he wanted to make" and "the doll he envisioned," and he would strive to create "something truly good." "When you're little, you don't understand the complicated things adults talk about. Those discussions would continue until late at night, so as a child I would think, 'I wish I could go home soon,'" he laughs.

  While involved in doll making

  Having witnessed firsthand the life of her father, a doll maker, Ms. Kataoka explains that the job of "dressing" dolls is "not simply about putting clothes on a mannequin. It's about coordinating the heads, hands and feet, and props that are produced through a division of labor, so that the doll can truly come alive." Standing beside Ms. Kataoka is a plump, childlike doll, observing its surroundings. It is a unique, handcrafted doll, unlike any mass-produced doll. "When you're involved in doll making, you gradually start to want to make the dolls you envision." "When you actually make everything yourself like this, you learn so much. This applies to the heads, hands and feet, and props as well. Just because you want something that isn't standard doesn't mean it's actually technically possible or impossible, and even if it is possible, it's extremely difficult. You have to have that kind of background knowledge and ask specialists in each field, otherwise you'll be making unreasonable requests." There are several standard sizes for the "heads," "hands and feet," and "props" that are produced through a division of labor. However, in order to "create something better," it is sometimes necessary to have "heads," "hands and feet," and "props" that are not included in the standard sizes. When that happens, the kimono dresser, as a coordinator, needs the kind of passion that Mr. Mitsuharu had, who "sits face to face and talks earnestly every day."

  A richness of expression that seems to speak with the whole body.

  Regarding dressing the dolls, she says, "It's not simply a matter of cutting the fabric according to a pattern, tailoring it, and putting it on." She explains that the job of a doll dresser only begins when you consider the doll's character and give expression to the direction of its face, its limbs, and the sleeves and hem of its kimono. Indeed, every doll in the showroom is so expressive that you feel as if it might start talking at any moment. It seems to be trying to communicate with its whole body. Whether it's happiness or a desire to be pampered, you can feel it not only from its facial expression, but also from the tilt of its head, the gestures of its hands and feet, and the folds and curves of its kimono. The overall atmosphere of the doll moves the hearts of those who see it.

  

  The doll's posed gestures are adorable. Kataoka's dolls have lively expressions that seem to speak to you.

  A doll imbued with a prayer for peace

  In contrast to her father, Mitsuharu, who had close ties with artists, Ms. Kataoka approaches dolls with a philosophical perspective. She considers the meaning and place dolls hold in society, and how dolls should be in the face of societal changes. Doll makers who lived through different eras have reflected the changes in the world and the wishes of people, imbuing their skills and hearts into "human figures." What thoughts does Ms. Kataoka pour into her KYO Ningyo (Dolls), which are soft yet possess a strong inner core? "This is one of the creations I'm currently working on, and it's entirely made of wood," she explained, pointing to a doll with a plump face and endearing gestures. Within this KYO Ningyo (Dolls) with its rich expression lies a powerful "prayer." Ms. Kataoka believes the social significance of dolls lies in "a symbol and realization of peace." Mitsuharu's desire to "create good dolls" is still firmly carried on today.

  

  Kataoka says the dolls are "a symbol and realization of peace." They embody not only a prayer for peace, but also a "strong will."

  Craftsman Profile

  ​Yukio Kataoka

  Born November 18, 1934.
  KYO Ningyo (Dolls) maker.
  Traditional craftsman
  Kyoto Prefecture Craftsmen's Association Member

  

  Anecdotes

  KYO Ningyo (Dolls) that add color to the seasons

   

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    Sakura (owned by KYO Ningyo (Dolls) Preservation Committee). Her plump face is incredibly cute.