Ningyo. Alan Scott Pate

      Wakagimi-himegimi

       (young prince and princess pair) Edo period, 19th century

       Height 18 1/2 inches

       Ayervais Collection

      Saga-ningyō

       Edo period, 17th century

       Height 10 1/2 inches

       Asahara Collection

      EXAMPLES OF GOSHO-NINGYŌ

      Saga-ningyō

      The Saga-ningyō occupy a unique space within the topography of Japanese ningyō. Based on extant examples, Saga reached the peak of their popularity during the late seventeenth to early eighteenth century, though their production is thought to have begun as early as the late sixteenth century and continued intermittently through the end of the Edo period. Although their exact origins are obscure, it is generally assumed that they were carved by Kyoto-based busshi (Buddhist sculptors) as a sideline to their craft. The Buddhist influence is readily visible in many of these figures, particularly in the mode of decorating the clothing with a raised lacquer technique called moriage, a technique commonly found on Buddhist sculptures of the period.

      The faces and hands of these figures were typically covered in a highly burnished white gofun, but unlike many of the other ningyō forms presented here, Saga-ningyō were not typically clothed with actual textiles, either draped or applied. Their rich clothing effects, for which they were celebrated, were achieved through a sophisticated application of pigments combined with gold powder. To achieve this effect, layers of gofun would be applied over the entire base wood sculpture. The intricate textile patterning was then developed through the use of a thicker bead of gofun, marking out various designs and symbols. To make them more vivid, a moriage technique was then used which involved the application of a gold powder paste to the raised line of gofun. The rich hues for which Saga are known were achieved through the further application of gold leaf and the use of vibrant pigments, a bright red in imitation of beni (scarlet red), so popular in textile dyes of the period, and a copper-based green being the principal palette.

      The term "Saga" as with many ningyō appellations, is a Meiji-period invention. The name is borrowed from the Saga area outside of Kyoto where these figures are believed to have been originally made. The Saga area itself was celebrated for its Saga-bon (books from Saga). These were lavishly illustrated books designed and executed in part by such celebrated artists and calligraphers as Hon'ami Kōetsu (1558-1637) and Tawaraya Sōtatsu (d. 1640). The press, founded by Suminokura Soan (1571-1632), the son of a wealthy merchant whose family held a coveted franchise for trade with Tonkin (North Vietnam), focused on deluxe editions of Japanese classics such as the Genji monogatari (Tale of Genji) and the Ise monogatari (Tales of Ise) as well as the librettos of Noh plays. Some of its more distinguishing characteristics included the use of mica and skilled carving which made it difficult to discern whether the text was printed or actual calligraphy. Though operating for a relatively brief period during the opening decades of the seventeenth century, the popularity of the Saga-bon among certain sectors of society is seen as a partial catalyst for the revival of the "courtly aesthetic" synonymous with much of Kyoto art. The similarly lavish nature of Saga-bon and the Saga-ningyō, combined with the fact that ningyō makers and busshi were reputed to have lived in this section of Kyoto, seem to be the basis for the "Saga" name attribution.

      Although with the information currently available it is impossible to verify, initial distribution of Saga-ningyō may have been effected through Sōtatsus Kyoto shop, the Tawaraya. Sōtatsu was a principal figure in the founding of the celebrated Rimpa School of painting. Though largely known for the large-scale screens and smaller album-sized paintings sold there, the Tarawaya was also a purveyor of a variety of other goods, including painted fans, lantern paper, seashells and containers for the shell-matching game, in addition to ningyō.

      Subject matter for the Saga is traditionally divided into four distinct categories. The first, and most celebrated, is seated Chinese-style children called karako, kara-huzoku, or dōji. Frequently, they are depicted holding some animal such as a bird or a dog under their right arm with their left hand resting on their lap. They also often have a nodding head with a protruding tongue. These have the most overt Buddhist flavor, reminding one of young Buddhist acolytes called dōji that appear frequently in religious paintings and sculpture. The example shown on page 20 is from this first category The second category includes a range of figures drawn from Noh, popular religion, and folk beliefs, typically rendered standing with no movable elements. The third category, called hadaka-Saga or "naked Saga," is seen as a transitional form between the classic seated dōji-type Saga and the gosho-ningyō which was to overshadow Saga in terms of popularity within the eighteenth century The final category of classically recognized Saga-ningyō is that of ordinary townsfolk. These figures, though typically not as large as the seated dōji forms, are wonderful works, filled with delightful sensitivity, movement, and whimsy.