The art of the doll

The story of Japan's Kimekomi dolls goes something like this: About 250 years ago, during the Genbun era, there was a man called Tadashige Takahashi who served at the Kamigamo Shrine in Kyoto. Whenever the shrine's annual festival came around, Takahashi crafted decorative items for ceremonies from the willow trees that grew along the banks of the Gamo River. He started making dolls out of leftover wood, and an enduring form of doll-making was thus born. Using fabric from priests' garments, he pressed the edges of the cloth into the grain of the wood from which the little dolls were carved, bringing the polished willow piece to life.

Kimekomi dolls embody Japan's traditional doll-making technique. They are also referred to as Gamo dolls or Willow dolls.

Years pass but they still remain:

Expert use of this doll-making technique was passed on from Takahashi's son to his grandson, Daihachiro, who was very prolific (especially from the Bunsei to the Kaei eras) and perfected the technique, earning the moniker of “Master of Kimekomi Ningyo.” Many of Daihachiro's excellent works still remain today.

Upon entering the Meiji era, Tokyo doll-maker Eikichi Yoshino, wanting to revive the art of Kimekomi doll-making, re-introduced the technique. However, he modified and improved the original method and created the foundation for modern-day Kimekomi doll-making.

The art of creating the doll's shape has changed from that of the early days when the body was carved from a single piece of wood. Now most Kimekomi masters blend paulownia sawdust with paste, and the current use of common and inexpensive materials makes Kimekomi dolls widely available.

Kimekomi:

Kimekomi means "to tuck in" in Japanese. The cloth, usually silk brocade with traditional Japanese design, is glued and tucked into the grooves of a doll's body or spherical base. The base is made of compacted paulownia sawdust mixed with jute fiber and glue, or sometimes carved from wood, before the decorating process begins.

Crafts similar to Kimekomi have come and gone. The making of quilt balls (temari) was a popular simple craft not too long ago where fabric scraps were tucked into styrofoam balls to form designs.

Akiko Keene, new master:

Akiko Keene is the founder of the Japanese Doll-making and Crafts School, the only distributor east of the Rocky Mountains in North America for materials and supplies from the Nomura School, the Japan Doll Arts School, Tanaka Washi Company and the Marugin Doll Materials Shop. They also distribute doll kits, materials and supplies from Tokyo Kimekomi Ningyo.

Keene started the school to teach a wide range of doll-making and repair skills. She graduated from the Tokyo Ningyo School in 1966 with a teaching certificate.

She later attended the Kyoto Kimono School and received a certificate in 1977. The following year she received a koshi (associate professorship) degree in kimekomi doll-making from the Hyakakai (Japan Doll-making Teachers Association). With the power vested by the koshi, she is able to award certificates to her students.

By 1982 she had advanced to a kyoju (professor) degree in kimekomi doll-making from the Hyakakai. In 1989 she won fourth place in the prestigious Japan National Doll Masters Competition. This accomplishment earned her the envious title of gago (master professor), the highest degree given for kimekomi doll-making from the Hyakakai.

* This article was based on information and photographs obtained from these Web sites:

www.japanesedollsandcrafts.com

www.tripod.com

www.temarikai.com

www.geocities.com