LITMIR.BIZ

      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.