Karakuri Ningyo photo thanks to A Gallery of Karakuri

Karakuri are often referred to as "puppets" but they are more appropriately called "AUTOMATA". These are fabulous wood animated dolls with clockwork type mechanisms. They are significant not only due to their novel beauty but also because they are used during fabulous public festivals and are maintained as a treasured community property.  There are three types of Karakuri: dashi ningyo or chariot dolls are manipulated by men inside a festival chariot. mounted doll or group of dolls, where some or all of the mechanisms for movement reside in the display or base. free-standing dolls, where the mechanism for movement resides inside of the doll. Examples of this type would be: Tea serving dolls, and somersaulting dolls.

The 100% mechanical mechanisms animating these dolls are intriguing. They use combinations of gears, wires, and materials such as sand and mercury (using the flow and weight of these materials to trigger, time, and maintain movement - like sand in an hour-glass). These "puppets" became extremely popular and the movements and complexity of these dolls increased over time.

The sheer beauty of these dolls should be enough to satisfy most people. These mechanical actors were created to entertain, and to be a visual treat. So expect to see fantastic costumes, bright colors, and expressive sculpting.

It is interesting that the earliest of karakuri ningyo was shinan-sha which was brought to Japan by Chinese craftsmen in the 7th century. Its mechanism caused it to always turn toward the south.

Luckily there is still one school of carvers still creating Karakuri. It is wonderful to see how the Japanese treasure their artists and artwork.

A Gallery of Karakuri Wonderful photographs with detailed information about each Karakuri, this site is worth a long visit!

A review of the 1986 "Karakuri Ningyo" Exhibition in London

exhibit catalog: "Karakuri Ningyo" An Exhibition of Ancient Festival Robots From Japan
organised by The Japan Foundation and Barbican Art Gallery: 28 November 1986 - 26 January 1986
The Concourse Gallery; Barbican Centre; London EC2
*Copyright The Japan Foundation, Published by Barbican Art Gallery
 City of London 1985 ISBN 0 94637228

Inner workings of a Karakuri This page from the 1986 London Karakuri Exhibit shows a photo of a Karakuri tea server (free-standing type) dressed and undressed to show the mechanism.....Fascinating!

Karakuri - The Mechanical Dolls in and around Osu

BUNRAKU

Yaegaki Hime Image thanks to member of J.A.D.E.

Bunraku has taken the traditional rod puppets to the extreme in size and complexity. Bunraku are large wood puppets which are quite collectible and very expensive. See more detail on the Lotz Asian Puppet Page

NARA AND NOH NINGYO - Nara Prefecture

Nara/Noh Ningyo Edo Period from the collection of  Marvin and Flora Herring Member of J.A.D.E.

Nara Dolls typically represent Noh actors. Small wooden Noh figures were first used to decorate the hats of priests and musicians at the Kasuga shrine festival. Other well known subjects are represented by Nara dolls, such as Jo and Uba, a happy old couple of Takasago, which are a popular wedding or anniversary gift. Small animals are also crafted in this style in plain wood. These very small cypress wood dolls ranged in size from 3 cm to 1 m. They were carved using a technique called "itto-bori" (one knife carving) / "to no kiri" (sword cut carving). They were cut in sharp, angular planes and painted in strong, pure matte colors. Over time the dolls became more intricately caved and the painting more elaborate. Since these dolls were rather crudely made, they were not treasured so few of these very old Nara dolls have survived. Okano Heiemon is credited with first creating the Nara doll around 1624-43. They were inspired and modeled from the priest hat decorations. The Okano family carried on this tradition for thirteen generations. Another famous Japanese carver to make Nara dolls is Morikawa Toen who was the leader of master carvers of Nara Ningyo (1820-1894). Dolls that can be definitely attributed to Toen are rare and very coveted by netsuke and doll collectors. Toen had many imitators. See the similar Uji Ningyo. Click on the image of the Nara ninygo at left to see a close up of the face and mask. Note that the Noh mask vs the flesh is very obvious at the neck. This doll is richly painted in dark colors and gold.

Nara Ningyo Photo by Vicky A. DeAngelis Member of J.A.D.E.

Jo and Uba Nara Ningyo photo thanks to Judy Shoaf Member of J.A.D.E.

TAKEDA NINGYO

Some of the oldest Takeda ningyo were carved from wood. Since the heads are attached to the bodies with a wooden dowel, people might incorrectly assume their doll head is solid wood instead of toso.

These dolls stand in a fixed dramatic poses and can NOT be re-posed nor undressed.
 

Takeda Ningyo in a Kabuki theater Mei pose. from the collection of J.A.D.E. members,  Marvin and Flora Herring

Takeda dolls are named after the Takeda-za (Takeda Karakuri), a mechanical puppet theater founded in Osaka in 1662. The are based on theater performances and were used as advertisements or souvenirs from the theater. Early dolls from the Edo period (around 1800) have a solid wood heads rather than later papier-mâché, or ceramic. They have flimsy torsos of straw and paper.  The dolls often depict historical and mythical figures in dramatic (often fighting) stances and poses with exaggerated facial features, and dramatic billowing costumes. The head, hands and feet are often held in sharp angles. Supports are required due to their dramatic, unbalanced poses. Takeda dolls are mounted on an elaborately decorated, lacquered base. Many box shaped bases have an embroidered panel (using orange and gold thread) framed in the middle of a cut-out. Older Edo dolls are dressed in rich textiles: crepe and brocade (primarily red and green). They are also larger (up to 24" tall) than the later dolls.

15" Takeda Ningyo c.1820 Photo thanks to L'Asie Exotique

This Japanese Takeda Doll is a standing Male Figure in a dynamic pose. His head and hands are carved of wood and covered in gofun. His face is in a grimacing expression with painted features.  He is dressed in silk crepe and shu-chin textiles with wide sleeves bearing embroidered image of the "wedded rocks" at Futami no Ura. He wears a broad rimmed hat dangling from his back, and his swords are thrust into his belt. He is mounted standing on a black lacquered box-like base with aperture covered in slightly embroidered silk crepe.  There are minor losses to hair and textiles, but overall he is in fine condition.