Ningyo - Alan Scott Pate

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      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 The name is borrowed from the Saga area outside of Kyoto where these figures are believed to have been originally made.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.

      Noh libretto for the play Michinari Sagabon, press of Suminokura Soan (1571-1632), woodblock print, ink on colored paper with mica

       printed details, 9 1/2 x 7 inches.

       Spencer Collection, New York

       Public Library

      The popularity of the Saga-ningyō eventually led to their manufacture in other areas as well. While Saga-ningyō manufactured in Kyoto tended to focus most closely on religious subject matter such as the karako mentioned above, Edo Saga or Saga-ningyō fabricated in Edo centered around themes and images similar to that found in woodblock prints. Tanzen (dandies), bijin (beautiful women), yako (male servants), and wakashu (young princes) were among the most popular of Edo Saga. Stylistically, they were given a more heavily painted treatment and were sometimes called ōkiase-ningyō (thickly painted dolls).

      The only artist for which we have a reasonable attribution to Saga-style ningyō is for Shimizu Ryūkei (1659- 1720), also known as Hogan Ryūkei. In Kyōho 2 (1717) Ryūkei, a celebrated busshi, created a series of a hundred ningyō depicting various passersby and street scenes of townspeople. Carved from single pieces of wood, decorated with gofun and other pigments, each represents individuals that Ryūkei may have encountered in his daily walk: monks, merchants, courtesans, minstrels, priests, children. All were displayed on a six-level stand. He even documented members of the nobility, though they were judiciously arranged on a separate level with a verandah-like background. Their accessories, such as umbrellas, packages, walking sticks, and weapons, were all carved separately.

      The Saga-ningyō on page 20 is a particularly fine example. It is done in the dōji style depicting a young seated acolyte. His hair is closely cropped, and the side knots typical of dōji are simulated here through the use of flat leather panels which were originally painted black (one is now missing). The features of his face are finely painted in black charcoal-based sumi ink over the white gofun, and his mouth is slightly open. He is constructed in the nodder style known as kubifuri, so that his head pivots back and forth on a pin driven through the neck. As he bobs his head, his tongue appears and disappears out of his open mouth.

      His clothing is depicted in a Chinese style, with the design elements all executed in rich tones of red and green with gold highlights. He wears a high belt as well as a waist sash. His vest bears a cloud pattern floating over a repeat floral pattern, and the sleeves of his coat are decorated with roundels bearing the Chinese endless knot or "treasure knot" (takara-musubi). All of these design elements are executed in a raised moriage. Though he carries no particular attribute at his side, his hands are artfully executed, with the index finder of his right hand slightly extended as the hand itself rests on his raised knee.

      Hadaka-Saga-ningyō

      The hadaka-Saga or "naked" Saga-ningyō represent the earliest stages in the development of what are now called gosho-ningyō. Felt to be a derivative form of the highly prized Saga-ningyō, these pieces are distinctive and quite rare. Comparisons with the Saga might be somewhat confusing at first, for the Saga are much fuller figures sculpturally, typically fully clothed, with a minimal use of the signature white gofun. Like later ishō-ningyō (fashion dolls), the Saga also frequently portrayed well-dressed courtesans or entertainers, townsfolk and peddlers with their textiles elaborately portrayed with rich and vivid hues of painted and lacquered color. However, one category of Saga depicted karako (Chinese children) either seated or kneeling and holding on to an object such as a bird or a dog. As one begins to examine this category of Saga, the connections with latter-day gosho and the transitional hadaka-Saga become more readily apparent, both in the overall positions they assume as well as the frequent use of attributes.

      Yet, the hadaka-Saga can be seen as a distinct, intermediary stop in the development between Saga and gosho. When compared with "overstuffed" gosha, with their three-part construction where head, body and arms, and legs form three relatively equal units, the arms, legs, and head size of a hadaka-Saga are much more proportionate and life-like Although the gosho form would ultimately prove more popular, the hadaka-Saga represented a Significant step in the development of Japanese ningyō.

      Like the gosha, hadaka-Saga typically wear nothing but a simple haragake bib. Frequently, they are sexed, and exclusively male. The overall lack of clothing necessarily gave greater prominence to the gofun used to cover the rest of the body. Facially, they feature very narrow eyes with parallel arching upper and lower lids, diminutive noses and small mouths, a characteristic referred to as hikime kagihana (line eyes-dash nose). It is possible that the austere and brilliant white of the gofun contrasted with the jet black painted hair and the colorful embroidered red of the textiles, touched upon a simpler aesthetic note that may have accounted for its increased popularity as time went by.

      Girl carrying a hadaka-Saga-ningyō, from Ehon kiku gasane, Kitao Sekkōsai (1716-80) woodblock printed book. Yoshitoku Doll Company

      Hadaka-Saga-ningyō

      

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