as the Thirty-six Immortal Poets), Sori Hishikawa II (act. late 18th to early 19th century),surimono (special edition New Year's woodblock print), ink and color on paper, 1802, 6 x 7 inches.
Herring Collection
Standing gosho-ningyō
Edo period, 18th century
Height 16 inches
Carabet Collection
Standing Gosho-ningyō
The emergence of gosho-ningyō as a distinct form is traditionally dated to the Kyōho era (1716-36). Unlike the Saga-ningyō which had dominated the seventeenth century, gosho-ningyō were marked by their extensive use of the brilliant white gofun and the use of actual textiles as opposed to the layered lacquer clothing treatment which so clearly defined the Saga-ningyō. Although the new gosho form was distinct in many ways, many of the Saga's features carried over into this new ningyō style. Like the Saga, the earliest gosho-ningyō, called igiui-ningyō, were generally depicted seated. Like the Saga, the hair, if depicted at all, was generally painted in black sumi ink. Although by the early eighteenth century real and silk fiber hair had made its appearance in the Genroku and Kyōho-bina forms for the Hina-matsuri (Girls Day Display), based on extant examples and woodblock print imagery, it was not until the early Meiwa era (1764-72) that gosho-ningyō began receiving this same treatment.
It was also around this time that standing gosho-ningyō made their appearance. The earliest of these standing gosho, referred to as tachiguri-ningyō, were relatively static in their appearance. Their legs were generally depicted close together, their arms bent at the elbow and extending straight forward, with their hands shaped as if holding on to some object(s). Their bodies continued to be carved entirely out of wood, with gently formed and rounded con tours. They also remained sexed. Eventually, however, these standing forms introduced a new era in gosho artistry, allowing ningyō artists to expand their range far beyond the single seated figures holding attributes. Clothed in increasingly elaborate textiles, the tachiguri forms, whether depicted singly, in pairs, or eventually in groups, allowed ningyō artists of the period to explore a wide variety of themes drawn from history, Noh, Kabuki, jōruri puppet drama, as well as other aspects of popular culture.
Over the course of this development, however, some of the features that had marked the basic gosho-ningyō were lost. Evidently, in order to create a properly balanced, freestanding figure, it was difficult to maintain the three-part (mitsuwari) conformation that had characterized many of the seated forms. Standing gosho began to resemble in many ways other ishō-ningyō forms. In fact, it is not uncommon to hear collectors today referring to these forms as "ishō gosho" ningyō. The single enduring trait that was to unify all of these new shapes was the overly round face that for many is the true hallmark and most singularly defining feature of the gosho-ningyō.
The standing gosho-ningyō shown here is an excellent example of the early Meiwa-era form. He stands bolt upright, with little overall movement. His legs are placed close together with the feet pointed forward, providing a stable base. His body is well carved and covered entirely in a highly burnished gofun. His arms are bent at the elbow and project directly out front from the body His hands are lightly cupped, with a hole passing through allowing for the placement of some object. The textiles here are of a red chirimen silk crepe with a padded hem and kosode-style narrow sleeve openings. The garment is covered with a variety of flowers and long-tailed birds executed in satin stitch embroidery with the use of gold-wrapped thread for highlights in the birds' tails. The garment is closed at the waist by a relatively narrow tie belt, also decorated with embroidered flowers, in keeping with the style of the period. He also wears an unlined inner kimono of white plain-weave silk. His hair is painted, in keeping with the earlier style, with a nakasori treatment leaving a bare spot on the top of his head.
Standing gosho-ningyō
Edo period, 19th century
Height 14 inches
Carabet Collection
Standing Gosho-ningyō: Red as Color and Symbol
Although the earliest gosho-ningyō forms, and some would say the "classic" gosho, were basically nude except for a small haragake bib, a large number of gosho-ningyō also sport beautiful textiles. Some are rich silk brocades with flashes of gold-backed paper thread, others are dramatically dyed in rich and varied colors with supplementary embroidered patterns done in metallic gold thread. But frequently the textiles themselves are simple silk crepe (chirimeri) dyed red or what was referred to as iro ari or garments "with color."
Beni-dyed fabrics or red-colored clothes have long been held to have strong protective or healing properties in traditional Japan. The red color was seen as exerting a particularly strong talismanic effect for such illnesses as measles and smallpox (hōsō) and many toy and ningyō forms with a predominantly red palette were employed to protect children from these devastating diseases. This association dates back as far as the fifth century when the benihana (safflower) was first introduced from China into Japan. The medicinal uses of benibana were emphasized and it came to be used as a palliative against fever and a cure for menstrual pains.
The use of red dyes in Japanese fabric dates back at least to the Nara period when the use of benibana scarlet came into use as a principal dyeing agent. During the Heian period, beni-dyed fabrics along with murasaki (gromwell) purple were tightly restricted to the imperial classes. With the decline of the central government's power, the use of beni became more popular and was very much in vogue among the warrior class. The use of beni-red reached its peak during the Momoyama period (1573-1615) when its strong hues accorded well with the lavish decorative impulses of the times. It remained quite popular throughout the succeeding Edo period as well, although it was more stringently regulated by the status-conscious Tokugawa government. Directly reflecting this popularity many ningyō presented here use red as either the predominant color or as a strong accent element. With time, this color, quite sensitive to light, fades to an orange brown or tan color as is evident in many of the examples shown in this volume.
This large standing figure here has lost his attribute, but stands proudly with his right foot forward and his right hand slightly raised as if pointing to the sky. His left hand is clenched as if holding something. He is clothed in a loosely fitting red chirimen kimono with full, open sleeves, wrapped at the waist, with a faded red inner lining. Kirihata Ken, former textile curator at the Kyoto National Museum, has written eloquently of the dramatic combination of the thick black hair, the brilliant white of the gofun, and the vibrant red of the textiles as forming a fundamental ningyō aesthetic. Such a dramatic counter-positioning of colors was seen as particularly auspicious (kisshō) and added to the overall gift-giving aspect that was inherent in the gosho form.
Gosho-ningyō: Daimyō Youth
Yanagisawa Nobutoki (1724-92) was a daimyō from Koriyama fief in Yamato Prefecture who, following his retirement, spent extended periods of time in Edo. Yanagisawa is noted for his remarkably detailed diary, the En'yū nikki (Diary of Banquets and Amusements), recording his daily life in Edo. Through his writings we can follow his trips to various spots in Edo, solo or accompanied by his wife and children, giving us a rare first-hand glimpse of Edo life during the late eighteenth century as well as insights into the interests and activities of a retired daimyō. In addition to his passion for wood-block prints, Yanagisawa was also a ningyō enthusiast, frequenting the doll markets along Nihonbashi Street, known as the Jukken-dana. An avid supporter of the hina-ningyō artist Hara Shūgetsu 1, Yanagisawa was known to have purchased a number of pieces between 1782 and 1784. Some of the
