Traditional Japanese Dolls and Kokeshi Crafts | Authentic Handcrafted Folk Art from Japan

 

1. Hakata doll

Hakata dolls, known in Japan as Hakata ningyo, are handmade clay figures that come from the city of Hakata in Fukuoka Prefecture. These Japanese dolls are made without glaze and are known for their soft colors, lifelike facial expressions, and smooth, flowing shapes that almost appear polished. Each one is crafted with care, showing off a quiet grace that has caught global attention for over a century. Their charm stood out at the 1900 Paris World Exposition and has continued to draw eyes at shows both in Japan and abroad ever since.

Today, Hakata dolls are seen as a perfect gift for tourists or international visitors. They’re also one of Fukuoka’s proudest traditional crafts and are officially recognized as an intangible cultural property. Many styles exist, including classic female figures, characters from traditional Japanese performing arts like Noh and Kabuki, lucky symbols, and dolls made for annual festivals. Some familiar examples include otafuku, a round-faced smiling woman, and fukusuke, a dwarf with an oversized head said to bring good fortune. The dolls have changed over time, adjusting to modern ideas of beauty while still honoring the traditions behind their original forms.

A Look Back at the History of Hakata Dolls

The roots of Hakata dolls trace back to the year 1600, shortly after the Battle of Sekigahara. That was when feudal lord Nagamasa Kuroda took control of what is now Fukuoka Prefecture. During the building of Kuroda's Fukuoka Castle, a local tile craftsman named Soshichi Masaki gave him dolls made from tile clay. These early figures are believed to be the start of the Hakata doll tradition.

As time passed, unglazed clay dolls became more common around the Hakata area, and the techniques used to make them slowly spread. The more modern form of these dolls appeared after 1818 during the Edo period. A craftsman named Kichibei Nakanoko created colorful clay figures that many believe are the direct ancestors of the current Hakata style.

The name "Hakata dolls" first gained official recognition in 1890 during the Third Domestic Industrial Exhibition in Japan, where the dolls won an award for their beauty and detail. The phrase "Hakata ningyo" was written on the certificate, and from then on, the name stuck. A decade later, the dolls earned worldwide attention when they were displayed at the 1900 Paris World Exposition, putting Hakata crafts on the global stage.

Since then, Hakata dolls have become one of the most famous forms of traditional Japanese folk art. Their designs keep evolving, but their deep cultural roots and fine craftsmanship remain at the heart of every piece.

How Hakata Dolls Are Made: Step-by-Step Craft Process

Preparing the Clay

The process starts with clay from the local area around Fukuoka. The artisan dries it out, breaks it down, and washes it to remove impurities. Then it’s kneaded by hand until it’s soft but still holds shape. In Japan, people say it should feel like the texture of an earlobe. Getting the right feel is key because the clay has to stay firm enough to mold but soft enough to shape easily.

Modeling the Original Doll

Before touching the clay, the artisan imagines every detail of the finished doll: the posture, the facial expression, the way the robe folds, how the figure should feel. Then they start shaping the first model by hand. They use spatulas and their fingertips to sculpt the head, face, hands, and feet. This step is slow and precise. It often takes months to finish. This is where the skill of the artisan really shows. Every curve and detail has to be just right because the model sets the tone for every copy made from it.

Creating the Mold

Once the original figure is done, it gets broken into smaller parts. Each part is used to make a separate mold using plaster. Dividing the model into small sections helps preserve the fine features, especially the facial expression, which is the signature of a Hakata doll. A clay wall is built around the model, and plaster is poured in. These molds are then left to dry in the shade for about three days. The smaller the sections, the more accurate the mold.

Forming the Doll’s Body

The next step is making the clay body using those plaster molds. Thin clay sheets about 30 centimeters wide and 1 centimeter thick are made. The artisan presses these sheets into the mold by hand. A watery clay mix called dobe is used as glue to hold the pieces together. When the mold is opened, the result is a hollow clay figure. The hollow shape helps the doll dry evenly and keeps the center from cracking during firing.

Firing the Clay

After the doll dries, it goes into a kiln. This first firing is called a biscuit firing. It usually happens in either an electric or gas kiln. The temperature starts low and is raised gradually to about 900 degrees Celsius, or 1650 degrees Fahrenheit. This slow firing keeps the figure from warping or cracking and makes sure it’s ready to absorb color later.

Painting and Coloring

Once the doll cools down, the artisan paints the surface with gofun, a white pigment made from crushed shells. This is brushed on several times to make a smooth base coat. Then the clothing and patterns are painted, starting with the kimono, followed by the obi belt, and then any fine decorative details. If needed, gold accents or embossed textures are added at this stage to make the figure stand out.

Finishing the Face

The face is the most important part. Only the most experienced artists handle this part of the process. They add the final touches by hand, painting the eyes, eyebrows, and red lips. This is where the spirit of the doll comes through. A small slip of the brush can change the entire mood of the figure, so this part demands total focus and a steady hand.

Final Touches and Completion

After months of careful work, the doll is finally finished. Every stage, from clay prep to the last stroke of paint, builds on the one before it. That’s why each Hakata doll feels alive, unique, and timeless. It's more than a figure. It’s a full piece of Japanese tradition shaped by craft, patience, and detail.

 

2. Iwatsuki doll

Iwatsuki dolls, known in Japanese as Iwatsuki ningyo, are handmade dolls that come from Iwatsuki Ward in Saitama Prefecture. These dolls stand out for their soft round faces, wide eyes, and smooth, pale skin. The hair looks real because it’s made from raw silk. A doll hair specialist styles each one with care, treating the hair like it belongs to a real person. The white skin comes from gofun, a mix of water, glue, and crushed calcium carbonate that gives the face a polished finish.

Iwatsuki has a long history of crafting things from paulownia wood. For generations, people here have made items like storage chests and wooden sandals called geta. The area used to be a castle town, surrounded by trees and with easy access to clean water. That water helped support the growth of local crafts, especially dollmaking. Over time, Iwatsuki became known for a wide variety of Japanese dolls, including Hina dolls for the Girls' Festival, Gotatsu dolls, and Ukiyo-e inspired figures.

The origins of Iwatsuki dolls go back to the Edo period, which lasted from 1603 to 1868. In 1634, many skilled workers traveled through Iwatsuki while heading to build the Nikko Toshogu Shrine. Some of those artisans ended up staying. Among them were dollmakers who saw that the area had everything they needed to make dolls by hand. Thanks to them, Iwatsuki slowly turned into a major hub for traditional dollmaking. Craftsmen in the area developed a new technique called tosogashira, which uses sawdust from paulownia wood to shape doll heads and bodies.

What really helped the industry grow was a custom called hina asobi, which means playing with dolls. This tradition moved from Kyoto to Edo, now modern-day Tokyo, and it took off quickly. It became so popular that in 1626, Kazuko Tokugawa, the granddaughter of military leader Ieyasu Tokugawa, even brought dolls as gifts when visiting Kyoto’s Imperial Court. With that kind of popularity, doll shops and markets exploded across Edo. The rise of doll culture in Edo was so strong, it was even captured in illustrated books showing life in the city before 1868.

Over time, these handmade dolls became tied to the annual Hina Festival, which celebrates girls every year on March 3rd. Even today, families across Japan display sets of these traditional dolls for the holiday. Many of those displays still come from the workshops of Iwatsuki, where the art of dollmaking continues. The city's deep roots in crafting, the steady supply of water, and its long tradition of working with fine materials like silk and paulownia wood helped shape it into Japan’s best-known place for dolls.

The story of Iwatsuki dolls is about more than just toys. It’s about craft, history, and the way one city turned tradition into a lasting legacy.

How Iwatsuki Dolls Are Made: The Full Production Process

Making the Head

The doll’s head starts with a clay base called toso. This clay is made by mixing finely ground paulownia sawdust with wheat starch. It gets poured into a mold and left to dry. This same material is also used to make Kimekomi ningyo, the traditional Japanese wooden dolls. The exact steps can differ depending on the type of doll, but here we’re focusing on the costumed variety.

Once the head dries, it’s fitted with ready-made eyes instead of just painting them on. After that, the face starts to take shape. A first coat of gofun is applied. Gofun is a white paste made from glue and powdered shell or calcium carbonate. Then, a sculpting method called okiage is used to form the nose and lips. Artists carve the fine details with a small knife. After that, more layers of coating are added, then polished until the surface is smooth and shiny.

Next comes the facial expression. Features like the eyebrows, eyelashes, teeth, tongue, blush, and lips are all drawn on. Once the painting is done, the doll gets its hair. The raw silk is carefully styled, and the head is finished. Some types of dolls still use painted eyes, depending on the style.

Crafting the Hands and Legs

The hands and legs are shaped the same way as the head. The same toso clay is used to form the limbs. A layer of gofun is brushed on, and small knives are used to carve the finer lines and curves. After everything is shaped, the pieces are polished smooth. Some dolls get painted fingernails, depending on their design.

Building the Body

The way the body is made depends on what kind of doll it is. For costumed dolls, the body is made from warado. Warado is a bundle of rice straw wrapped in handmade Japanese paper called washi. This bundle is secured to a base, and then a collar is attached where the neck will go. The hands and legs are then joined to the body. Each limb is supported by wire so it can be bent into a natural pose. Straw is wrapped around the wire to give it shape. After that, the doll gets dressed.

The clothing is made just like real clothes, using high-end fabrics like Nishijin brocade. To keep the outfits crisp and structured, the textiles are lined with washi paper. Once the outfit is in place, the doll’s pose is adjusted and set.

Wooden dolls are made a bit differently. Instead of straw, the body is formed from clay made with paulownia sawdust, just like the head. Any extra clay is trimmed off with a bamboo spatula. Once the base is dry, any cracks are smoothed out. Then, gofun is brushed over the surface to seal and brighten it. The glue in the gofun helps stop the surface from cracking later and also makes the fabric stand out more.

When the coating is dry, shallow grooves are carved into the body with a chisel. Then, sticky rice flour paste is kneaded and pressed into the grooves. After that, fabric is pushed into the grooves with a spatula to finish the outfit. This method helps hold the clothing in place without stitching.

Making the Accessories

Small props like ritual fans, swords, crowns, and court batons are crafted by specialists. These doll accessory makers handmake each item with fine detail.

Final Assembly

The last step is putting everything together. The head and accessories are fixed to the body. The hair and clothes are adjusted until the doll looks just right. Once everything’s in place, the doll is complete.

 

3. Kyo doll

Kyo dolls, also known as Kyo ningyo, come from Kyoto and the nearby areas in Kyoto Prefecture. These handmade Japanese dolls are the result of team effort. Each part is crafted by a different artisan. One person makes the head, another makes the hands and legs, someone else handles the hair, and others take care of the clothing and accessories. This split in the process is what makes Kyo dolls so refined. Every detail is done by someone with specific skill, which keeps the quality high and the final look elegant.

There are several types officially recognized as true Kyo dolls. These include Hina dolls, Gogatsu dolls, Gosho dolls, Ichimatsu dolls, Ukiyo dolls, and Fuzoku dolls.

Hina Dolls for the Girls' Festival

Hina dolls are the most well-known type of Kyo doll. They're also the ones made in the highest numbers. These dolls are part of the traditional Hinamatsuri, or Girls' Festival, held every year on March 3rd. Families display them on red-cloth platforms. The dolls represent the Emperor, Empress, attendants, and musicians dressed in the style of the Heian period. It’s a festival that celebrates young girls, and the dolls symbolize hope for health, growth, and happiness.

Gogatsu Dolls and the Boys' Festival

After Hina dolls, Gogatsu dolls are next in line in popularity. These are displayed on May 5th for the Boys' Festival, also known as Tango no Sekku. The designs vary. Some look like brave samurai. Others show Shoki the Plague-Queller, a figure known for fighting off evil spirits. There are also ruddy-cheeked boy dolls that reflect strength and boldness. These dolls aim to inspire courage and good fortune for boys as they grow up.

Gosho Dolls: The Gift of Tradition

Gosho dolls are chubby baby-like figures with smooth, pale skin. They go back to the Edo period, from 1603 to 1868. During that time, they were often given as gifts from the Imperial Court to feudal lords. These dolls had a special meaning and were symbols of favor and goodwill. Their rounded faces and innocent look made them highly treasured.

Ichimatsu Dolls and Kabuki History

Ichimatsu dolls are named after Ichimatsu Sanogawa, a famous kabuki actor from the Edo period. He was known for playing female roles and often wore costumes with checkered patterns. The dolls were made in his likeness, with delicate features and traditional attire. Today, they remain a classic example of Kyoto’s dollmaking culture. They’re also used as friendship dolls between countries, thanks to their lifelike appearance and detailed costumes.

Fuzoku and Ukiyo Dolls: Everyday Life in Costume

Fuzoku and Ukiyo dolls reflect daily life and fashion from past eras. They're dressed in detailed clothing that shows the styles and fabrics from long ago. Many of these outfits are made with Nishijin brocade, a luxurious fabric that’s also from Kyoto. These dolls offer a look into cultural trends, social customs, and traditional beauty.

Spiritual Roots of Japanese Dolls

Japanese dolls weren’t always about beauty or play. Long ago, they had spiritual meaning. People used them as stand-ins during hard times, like plagues or disasters. The dolls were treated as human figures or symbolic substitutes, often used in rituals to ward off harm. This idea has deep roots in Japan’s history.

From Heian Rituals to Edo Celebrations

Back in the Heian period, from 794 to 1185, dolls had ritual roles in the upper classes. But over time, the role of dolls started to change. Young girls in the court began to play with small dolls, especially during spring events. That early pastime eventually became what we now know as Hinamatsuri.

During the Edo period, when political power moved to Edo (modern-day Tokyo), the tradition of displaying Hina dolls on March 3rd took stronger hold. Over time, the dolls changed from simple toys into more formal figures arranged for display. These sitting dolls became the heart of the Girls' Festival, meant to celebrate a child’s growth and wish for a bright future.

The Boys' Festival also grew during this period. Families began setting out warrior dolls and miniature helmets. These items represented bravery and strength. In Kyoto, local artisans responded by developing more doll types. This is how Saga dolls, Kaga dolls, and newer styles of Gosho, Fuzoku, and Ichimatsu dolls came into being.

The Craft Lives On

The traditional methods used to make Kyo dolls are still passed down today. Skilled artisans continue the work, learning from masters and refining each step. Every doll is a mix of old techniques and careful craft. While styles have changed over time, the core idea stays the same: each doll reflects the beauty, culture, and spirit of Kyoto.

How Kyo Dolls Are Made

Crafting the Doll Head

It starts with carving the head. A wooden model is shaped by hand, then used to create a mold using dye made from pine or resin. Into this mold, a mix of paulownia wood dust and fresh wheat gluten glue is pressed and dried in a furnace. Once hardened, the piece is carved again to clean up the shape.

Glass eyes are set into the sockets. Then the head gets coated with gofun, a white paste made from calcium carbonate, glue, and water. Layers are added to build thickness. A cotton cloth is used to smooth out the surface and even it out.

Once dry, the lips and eyelids are cut with a small blade. The surface is polished using a rough herb that works like sandpaper. More gofun is added to get a smooth, glossy finish. Next, the eyebrows are painted on, and the lips are colored using powdered pigments used in Japanese art. The hairline is carefully drawn with light Chinese ink. The final polish is done with bleached cotton, giving the face its finished look.

Creating the Hair

The hair is made from raw silk, dyed black. It’s trimmed to the right length, then grouped into bundles. Tiny grooves are carved into the head where the hair will be placed. Each hair strand is set in with rice starch. To hide the starch, a thin paper string is pressed over the roots.

The artisan pulls the hair with one hand while combing with a boxwood comb. A hot iron is run through the strands. This is done again and again to bring out a natural shine.

Once the hair is smooth and shiny, it’s styled. The sides are pulled up in a traditional shape. Decorative pieces like combs or pins are added to complete the look.

Forming the Hands and Legs

The limbs start as blocks of paulownia wood. They’re cut to size, planed smooth, and drilled to hold wires wrapped in paper, which will form the fingers. These wires are bent into shape. The wrists are carved and smoothed by hand.

Gofun and glue are brushed on as a base coat. Then, with a small knife, the artisan cuts the finger lines into the surface. After smoothing everything out again, a final coat of gofun and glue is applied. The tips of the fingers are painted, and tiny nails are drawn on with care.

Making the Accessories

Kyo dolls are dressed with detailed miniature accessories, depending on the doll’s type. These can include items like fans, straw sandals, bows, and hats. Some dolls come with full sets of furniture: dressers, tables, chests, and even palanquins. Every accessory is handmade to match the scale and theme of the doll.

Dressing the Doll

The body is built using small bundles of rice straw wrapped in washi paper and thread. Once the shape is right, a layer of plywood is added for strength. The neck base and limbs are attached, although only the hands are added for female dolls. Wires are inserted inside to hold the pose.

Then the clothing begins. The neckband is wrapped first, using washi with printed kimono designs. For the chest area, fabrics like gold brocade or Kyoto-made textiles are added. Each piece of fabric is cut to fit and then sewn in place. The design and placement are carefully measured so the pattern flows naturally. Extra stitching helps the shape hold.

Nishijin brocade and other fine Kyoto fabrics are used throughout. Once the clothing is finished, the arms are bent and positioned.

Final Steps and Quality Check

After the head is attached and the hairstyle is fixed in place, the last details go on. Accessories are added, and everything is checked carefully. Every part of the doll is inspected to make sure the look is clean, balanced, and flawless. This last step makes sure every Kyo doll leaves the workshop in perfect shape.

 

4. Miyagi kokeshi doll

Miyagi Kokeshi dolls are handmade wooden dolls from the Miyagi region in Japan, especially around Sendai and Shiraishi. In Japanese, they’re known as Miyagi Dento Kokeshi, meaning “traditional Miyagi kokeshi.” These dolls are grouped into five styles, with Naruko and Togatta being the most recognized. In 1981, they were officially registered as a traditional Japanese craft.

At first glance, they might seem basic, just a head and a body. But that simple shape hides a lot of detail. Every doll shows off the unique design of its local area. Each region developed its own look over time. That’s because the methods and styles were only taught within families or passed from master to apprentice. No one outside that circle could make them. This kept each region’s technique distinct.

Strict rules also help preserve these traditional designs. Everything about how these dolls are made is protected, from the shape and color to how the patterns are painted. What really sets Miyagi Kokeshi apart is that a single artisan makes the whole doll from start to finish. They choose and shape the wood, paint the face and patterns, and do the final touches. That process lets the maker put their personal touch into every piece, while still sticking to the tradition.

The Oldest Roots of Kokeshi Dolls

The story of these dolls goes way back. In the Nara period, from 710 to 794 CE, Empress Shotoku ordered the creation of a million tiny wooden pagodas. These pagodas held Buddhist scrolls called Hyakumanto Darani, meant to bring peace and safety to the country. Those little wooden towers are believed to be the earliest form of what later became kokeshi dolls.

After that, in the 800s, a royal family member named Prince Koretaka introduced woodturning tools to what’s now Shiga Prefecture. Skilled woodworkers then spread throughout Japan, including to the north.

How Kokeshi Making Came to Miyagi

By the late 1500s, during the Azuchi-Momoyama period, woodworkers settled in the Tohoku region, which includes Miyagi. That’s when kokeshi doll making really took hold there. Togatta kokeshi is thought to be the oldest of the five styles. The Togatta area was known for its hot springs, and locals made wooden items like bowls and trays for visitors. These craftspeople also carved dolls for their own children using the same tools and techniques.

As people traveled to the hot springs, they started buying the dolls as souvenirs. Over time, those simple toys gained a new audience. By the middle of the Meiji period, between 1868 and 1912, they weren’t just for kids anymore. Adults began collecting them, too. That’s when the dolls became known as Miyagi Dento Kokeshi, gaining wider fame across Japan.

Why Miyagi Kokeshi Still Matter Today

These dolls aren’t just souvenirs. They’re part of Japan’s cultural heritage. Their value comes from how they’re made, their history, and the care taken to preserve each region’s identity. The way they’ve stayed rooted in tradition, while still reflecting the personal style of each maker, is what makes them stand out.

Even though they’ve been around for centuries, Miyagi kokeshi dolls still hold attention today because they blend craft, culture, and story in every piece.

How Miyagi Kokeshi Dolls Are Made

Starting with the Wood

The process starts with the wood. Most kokeshi makers use dogwood. Sometimes, they use painted maple, too. Right after the tree is cut, the bark gets removed, and the wood is left to dry for six months to a full year. Once dried, the wood is cut into fixed lengths. Then, the rough outer parts get trimmed off.

The rough shaping stage is called arabiki. This step carves the wood into two separate parts: head and body. Artisans use woodturning machines for this. The style of doll determines what kind of wheel is used. Naruko kokeshi are made with a sideways wheel. Togatta, Yajiro, and Sakunami styles use upright wheels.

Shaping the Head and Body

Next comes the shaping. Both the head and the body are carved by hand, one at a time. No sketches are used. The artisan works entirely by touch and sight, shaping the wood with planes and woodturning tools. This takes real skill and experience. They check the curves and thickness with their fingertips and keep shaping until it looks and feels right.

Once the shape is complete, the doll is smoothed with sandpaper or traditional scouring rush. The body gets painted while still on the wheel, starting from the top and bottom sections.

Head shapes change by region. Naruko has oval heads. Togatta and Yajiro heads are more square around the jaw. Sakunami dolls tend to have bigger, rounder heads. Body shapes also vary. Naruko dolls have a body that narrows slightly in the middle. Togatta dolls have tall bodies with sloping shoulders. Hijiori dolls can either flare out toward the base or also have sloped shoulders, depending on the style.

Connecting the Head and Body

Once the parts are shaped and polished, the head is attached to the body. Naruko dolls use a method where the body spins on the wheel as the head is pressed in. This creates friction. The head goes in with a loud squeak and sometimes even gives off a bit of smoke. That sound, called gatako, is a known trait of Naruko dolls.

Other styles like Togatta and Yajiro use different methods. The two techniques used are called sashikomi and hamekomi. Both involve fitting the head into the body manually, but each has its own approach depending on the maker and style.

Painting the Doll

Painting is done with traditional ink and dyes. Black is always used for the face and hair. Red and green are common for the kimono and carved patterns. Each region follows strict rules for what patterns and colors are allowed.

Naruko kokeshi kimonos often show flowers like chrysanthemum, peony, iris, or dianthus. Some also have a wheel-carved design. Togatta dolls are usually painted with plum, cherry blossoms, chrysanthemum, and peony, and their collars and wheels are painted too. Yajiro dolls often show butterflies, knots, and chrysanthemum, along with wheel-carved patterns. Even when two dolls follow the same rules, every artisan’s painting has a different feel. You can tell their individual style just by how the lines and colors come together.

Final Wax Finish

The last step is waxing. Makers use natural wax, either from plants or white beeswax. This step is crucial. It brings out the grain of the wood and gives the doll a smooth, glowing finish. The wax doesn’t just protect the surface. It also gives the doll a rich look that ties together all the steps that came before.

Every part of this process matters. From the choice of wood to the final polish, Miyagi kokeshi dolls are made with skill, care, and tradition.

 

5. Edo-kimekomi doll

Edo Kimekomi dolls are handcrafted Japanese dolls made mostly in Taito, Sumida, and Arakawa. These areas sit in the northeastern part of Tokyo. Locals call them "Edo Kimekomi ningyo." The way they’re built is part of what makes them stand out. The body, arms, and legs are made from a material called toso. It’s a mix of paulownia wood dust and wheat starch paste. The heads are shaped from dolomite clay. Hair is made using silk threads, and the outfits are stitched from silk or cotton.

One key part of making these dolls is the way the clothes are attached. Fabric isn’t sewn or layered like normal clothing. Instead, the artist carves tiny grooves into the doll and tucks pieces of fabric into those cuts. That gives the doll a clean, sculpted look without separate garments. Because of this, shaping the body of the doll is one of the most important steps. The form itself shows off the maker’s personal touch.

These dolls have narrow faces and strong, clear features. The style came from Kyoto at first, but once it reached Edo, which is now Tokyo, it started to change. The old Kyoto dolls had rounder, softer faces. Edo dolls became more defined and sharp in their appearance.

Now, you’ll see all kinds of Edo Kimekomi dolls. Some are made for Girls’ Day, some for Boys’ Day. Others reflect scenes and styles from Edo-period culture, known as ukiyo. Because toso is so light, these dolls are easy to handle and don’t lose their shape over time. They’re sturdy and long-lasting despite being so detailed.

Where Did Edo Kimekomi Dolls Come From?

The roots of Edo Kimekomi dolls go back to around 1736 to 1741. They began in Kyoto with a man named Tadashige Takahashi. He was a Shinto priest at Kamigamo Shrine. He started making dolls using leftover bits of willow wood from festival boxes. He dressed them in fabric scraps taken from old priest robes.

At first, these dolls were called by names tied to Kyoto. People called them Kamo dolls, Kamo river dolls, or willow dolls because of where they came from and what they were made of. Later, when craftspeople began selling them, the name changed. They started calling them kimekomi dolls. That word refers to the process of tucking fabric into carved lines.

Sometime between 1711 and 1715, the technique made its way from Kyoto to Edo. Local artists took the idea and gave it their own twist. That’s how the Edo version of the kimekomi doll was born.

By the second half of the Meiji period, the way these dolls were made started to change. Instead of gluing fabric onto a carved wooden shape, makers began using molds with the toso mix. That allowed for more consistent shapes and opened the door to larger production runs. Many types of kimekomi dolls were created and sold.

Even with changes over time, these dolls are still made by hand using traditional techniques. They’ve been officially recognized as a traditional Japanese craft by the Minister of Economy, Trade, and Industry. The Edo Kimekomi doll remains a strong example of Tokyo's handmade culture, blending skill, heritage, and style in a way few other crafts do.

How Edo Kimekomi Dolls Are Made

Shaping the First Clay Model

Everything starts with a clay model. The artist builds this by hand, using a rough sketch as a guide. It shows the basic design and form of the doll.

Creating the Mold

Once the clay figure is ready, it gets placed in a wooden box. Molten sulfur is poured in to form a mold. This mold is called a kama. One mold is made for the front and another for the back.

Forming the Torso Base

Oil is spread inside both mold halves to keep the mix from sticking. Each half is filled with toso, a modeling mix made from paulownia sawdust and wheat starch. Paper is packed into the center to keep the shape firm. The two sides of the mold are joined to make one full piece. Burrs are scraped off, and the piece is pulled from the mold. Once dry, the surface is checked for cracks or dents. Any flaws are fixed with fresh toso using a bamboo spatula. The shape is then filed down until smooth.

Applying Gofun to the Body

A paste called gofun is made by kneading white seashell powder with glue. This mix is spread across the torso. It helps harden the base, keeps the shape from warping, and makes the surface smooth enough for carving. It also helps the fabric colors stand out better later on.

Carving Grooves for the Fabric

Once the gofun dries, the artisan carefully carves grooves into the torso. This is where the costume fabric will be tucked in. The cuts need to be even, with clean lines, because they shape the final look of the doll.

Inserting the Costume Fabric

Using paper patterns, the artist cuts each fabric piece to fit. These fabrics are chosen with care. A sticky rice glue called kanbai-ko is spread into the carved grooves. Then, the fabric is pressed into the cuts using a tool called a prick punch.

Making the Head

The head can be made from toso, plaster, or baked clay. If toso is used, a finer mix is pressed into front and back molds. A hollow core is left in the middle to keep it light. Once dry, the head is shaped smooth and coated with a layer of gofun.

Finishing the Face Base

After that first layer dries, more gofun is applied to build up the nose and mouth. The artist uses a small knife to shape the details. A second coat is added, then a thicker final layer is smoothed over everything. After drying, any extra gofun is wiped away with a damp cloth. The artist carefully scrapes the nose and mouth to create a clear expression. Finally, a thin, glossy coat of gofun is brushed on top.

Painting the Face

The face is then painted using very fine brushes. The eyes, lips, and other features are added here. This step is often called the most important part of the whole process. It gives the doll its personality.

Cutting Grooves for the Hair

Grooves are carved into the head to hold the hair in place.

Adding the Hair

Silk threads are dyed black and combed. The tips are trimmed, then glued. Starting with the shortest pieces, the hair is fixed into the carved grooves using the same punch tool.

Final Assembly

Now the head, along with any hair ornaments, props, or hand-held items, are attached to the torso. Each piece is placed at the best angle for display.

Final Touches

The hair is brushed and styled. Small accessories are attached. Once everything is in place, the Edo Kimekomi doll is finished.

 

6. Suruga-hina doll

Suruga Hina Dolls come from Shizuoka City and nearby areas in Japan. They stand out because they’re larger than most traditional Hina dolls. That’s due to the body being made from thick rice straw, which gives it a solid, full shape. Shizuoka has long been known for growing rice, so the straw was easy to find and put to use.

These dolls are dressed in two-piece outfits. The top and bottom clothes are made separately, which makes them look more layered and refined. This method also makes it easier to produce them in larger numbers. Because of that, Suruga Hina Dolls make up around 70 percent of all Hina doll bodies made in Japan. That’s more than the famous Kyo Hina Dolls from Kyoto.

A key part of making these dolls is something called furitsuke. This is the step where the artisan carefully bends and arranges the doll’s arms into position. It’s a precise task that requires a lot of skill. You can actually tell who made a doll just by the way the arms are posed. That small detail shows the maker’s personal touch.

The Early Roots of Suruga Hina Dolls

The history of Suruga Hina Dolls traces back to two Tenjin dolls. These were based on a man named Michizane Sugawara, a nobleman and scholar who lived from 845 to 903. After he died, people worshipped him as a god named Tenjin. The first type of Tenjin doll was called neri Tenjin. It was made by blending paulownia wood sawdust with wheat starch. Once shaped, the doll was painted with a brush. The second type was made during the Edo period. This one wore fabric clothes and was unique to the Suruga region. The oldest surviving one was created in 1853.

These two dolls became the foundation for Suruga’s Hina doll tradition. During the Edo period, which ran from 1603 to 1868, craftsmen from Kyoto and Edo (now Tokyo) brought their techniques to Shizuoka. They shared the methods used in making both Kyo and Edo Hina Dolls. Local artisans in Suruga added their own methods to the mix, and that combination produced high-quality dolls.

The Growth of Doll Making in Suruga

Over time, more kinds of dolls were added to the lineup. Along with standing Tenjin dolls and the standard Hina dolls, makers started crafting Shinno dolls, which are young couple dolls, and Takasago dolls that represent an elderly couple. These were made for seasonal celebrations.

Toward the end of the Edo period, artisans began creating Dairi Hina dolls, which show the emperor and empress. Dolls for the Boys’ Festival in May also became common. Eventually, makers created complete Hina sets for displays. These included the imperial couple, three court ladies, five musicians, and others, making up the classic seven-tier arrangement with fifteen dolls in total.

The Tradition Lives On

As of 2015, families in Shizuoka still carry on the tradition. In homes with boys, it’s common to display both the emperor and empress dolls along with Tenjin dolls and Boys’ Festival figures. These displays honor the past and keep the craft alive for new generations.

How Suruga Hina Dolls Are Made: A Step-by-Step Look at the Traditional Process

Starting with the Straw Body

The process begins by building the straw body, which is what sets Suruga Hina Dolls apart from other types. Rice straw is used to make the core. It's tightly wound, then wrapped in paper, dried, and cut down to match the size of the doll. This straw base gives the doll its solid shape and traditional weight.

Shaping the Body by Hand

Once the body is dry and sized, it's carved into shape. Artisans use a knife to trim it, creating a basic human form. They cut and pare curves, especially around the chest, to make the doll feel more lifelike.

Putting the Body Together

Next, the arms are made using wood wool. This is a soft, shredded material made from cedar, cypress, or pine. The wood wool is wrapped in paper and shaped into cones. These become the doll's arms, which are then threaded through the straw torso using wire. Legs and feet are made separately and attached the same way.

Dressing the Doll in Traditional Clothing

Clothing the dolls is one of the most detailed parts. High-end fabrics like Nishijin-ori from Kyoto and Kiryu-ori from Gunma are used. These fabrics are chosen based on traditional patterns, colors, and styles seen in classic Hina Doll garments. Artisans paste paper patterns to the back of each fabric using glue. Once dried, they cut the fabric along the pattern lines. Both machine and hand sewing are used to complete the garments.

The male doll, often called tono or odairi-sama, wears a ceremonial court robe and hakama pants. The female doll, or hime, wears many layers: an unlined kimono called hitoe, followed by itsutsu-ginu, uchi-ginu, omote-ginu, kara-ginu, mo, decorative cords called hikigoshi, and hakama. The many-layered outfit is called juni-hitoe, meaning twelve-layer robe. Animal glue is still used to dress the dolls in the traditional way.

Bending the Arms for Character and Style

This step is called furitsuke, and it's one of the most skilled parts of doll-making. The arms, which start out stretched to the sides, are bent into position. The way the arms are placed gives the doll its personality. Male dolls are shaped to look strong. Female dolls are posed to appear gentle and graceful. The wires inside the arms can only be bent once, so there's no room for error. This is where each artisan's unique style really shows.

Attaching the Head and Choosing the Gaze

After the arms are arranged, the head is fixed firmly onto the doll. The direction the doll looks is very important. Some dolls look straight ahead, while others look slightly downward so that they appear to meet the eyes of anyone looking up at them on display. This choice is made for every doll in the set, not just the emperor and empress, but also the court ladies and musicians.

Adding Final Touches and Accessories

In the last step, the dolls are given their accessories. The male doll gets a crown, a thin decorative piece called ei on the back of the crown, a hair container called koji, and a hairpin called kogai. He also holds a ceremonial item called shaku, carries a sword called kazatachi, and wears a sword belt called hirao.

The female doll is dressed with a hairpin called saishi to hold her noblewoman's hairstyle, a hairband known as hitai-gushi, and a folding fan called hiogi. This fan often shows old court rituals and customs.

Once every item is in place, the Suruga Hina Doll is finished. Every piece, every detail, and every pose reflects years of practice and deep cultural tradition.

 

7. Edo-sekku doll

Edo Sekku Ningyo are handmade dolls from Tokyo and parts of Saitama. They come from 12 wards in the city and four nearby towns. These are not your average toys. They include Ichimatsu dolls used for play, Gosho dolls made for the palace, and Fuzoku dolls dressed in period clothing. Some are displayed with miniature armor. You’ll usually see them during the Doll's Festival in March and the Boy's Festival in May.

Back in the late Edo Period, between 1603 and 1868, there was a well-known market in Nihonbashi Jikkendana that sold Hina dolls and warrior dolls in armor. That area became one of the busiest doll hubs in Edo, now called Tokyo. At the time, common families had started to earn enough to throw big celebrations for their children. The annual boys’ and girls’ festivals were a chance to pray for a child’s health and good future. These dolls played a key role in those events.

Originally, people would place Edo Sekku dolls outside their homes. But over time, that changed. They brought the dolls indoors, so the designs became smaller and easier to manage. Still, they kept all the fine detail and charm. Edo-style dolls have a lifelike look. The faces, hands, and clothes all feel real. The armor that comes with some of the dolls is so well-crafted that it could pass for actual battle gear.

The makers use real materials like silk thread, leather, paper, wood, steel, and copper. Everything is put together by hand, using the same methods that craftsmen followed hundreds of years ago. That’s why the armor and dolls still hold the same elegance and quiet strength that samurai culture stood for.

Where These Dolls Come From

Doll-making in Edo began early in the Edo Period, around 1603, when artists from Kyoto brought their skills to what is now Tokyo. Kyoto was already known for its own doll traditions. At first, the dolls made in Edo copied Kyoto styles. That changed during the Horeki Era, between 1751 and 1763. Around that time, Edo started to form its own identity in doll making.

In 1761, during the rule of the tenth shogun, Tokugawa Ieharu, a doll maker from Kyoto came to Edo and opened a workshop. He created a new type of Hina doll called the Jirozaemon-bina. These dolls had soft, round faces and looked more natural and friendly. Unlike the earlier Kyoho-bina dolls, which were made between 1716 and 1736 and were large, rich-looking, and expensive, the Jirozaemon-bina felt more relatable. They were made with everyday people in mind, not just the wealthy.

In fact, Kyoho dolls were seen as so fancy that the government discouraged them. Jirozaemon dolls, on the other hand, became popular fast. They fit the taste and budget of regular folks, and their friendly appearance made them feel like part of the family. This simpler, warmer style laid the foundation for what we now know as Edo Sekku Ningyo.

Today, you can still see that influence. The dolls are still made with the same attention to detail. They still use real materials. And they still reflect that old Edo charm that blends tradition with realism. Whether they’re on display for a festival or kept as family keepsakes, Edo Sekku Ningyo continue to carry meaning, history, and the spirit of a time long past.

How Edo Sekku Ningyo Dolls Are Made

Shaping the Head

The head is usually made from a soft clay called toso. It's a mix of wheat starch paste and sawdust from paulownia wood. That paste is pressed into a mold that’s split into two parts: front for the face, and back for the skull. Some heads are carved straight from wood instead. Others are made with dolomite clay that's fired like porcelain, which is a more traditional method used for Hina dolls. Before the clay goes in, the mold is brushed with oil so it doesn't stick. The center stays hollow. Once it dries fully, the surface is filed down to create the base shape.

Applying Whitewash

Once the head is dry, it gets a base coat. Then it’s covered in gofun, which is a white paste made from crushed seashells. That first layer shapes the nose and mouth, using small knives to carve out fine details. After that, a thicker coat of gofun is applied. Once it dries, any extra is wiped off with a damp cloth. Then comes the carving stage. This is when the actual expression is shaped into the face. Next, another layer of gofun is applied with a brush. This happens about ten times to get the right smooth finish.

Painting the Face

If the doll is going to have glass eyes, small cuts are made to fit them in. The eyebrows and hairline are painted using very thin brushes with Japanese ink. The lips are painted red to finish the face.

Attaching the Hair

Tiny grooves are cut into the head to hold the hair in place. Silk thread, dyed black, is trimmed and glued down. A prick punch tool helps press it into the grooves securely.

Building the Body

The same toso clay used for the head is mixed with wheat starch paste. This blend goes into molds for the front and back of the body. Once both sides are filled, the molds are pressed together to form the full shape. The front mold is taken off first, and any extra bits are scraped away. Then the back mold is carefully removed.

Finishing the Body with Gofun

Once the body is shaped, it's coated in more gofun. This time, the white powder is mixed with glue made from animal skin or bones. That mix hardens the surface and keeps the body from warping. The gofun is brushed on slowly and evenly. After it dries, small cuts are made where the clothes will be tucked in later.

Each step takes patience. Every part is shaped by hand. The materials are natural, and the tools are simple, but the results are detailed and precise. This is what keeps the Edo Sekku Ningyo tradition alive.

 

8. Suruga doll accessories

Suruga Hinagu, also known as Hina doll accessories, come from Shizuoka Prefecture in Japan. You’ll mainly find them made in Shizuoka City, Kakegawa, and Yaizu. These aren’t cheap-looking pieces. Each chest, box, or mirror stand is built like real, full-sized furniture. The same woodworking methods used for actual home furniture go into crafting each miniature.

The people who make Suruga Hinagu are trained in long-standing local skills. These include fine joinery, woodturning, lacquer coating, gold and silver lacquer design, and metalwork. All of this comes together in these small, detailed pieces. Each craft process tied to Suruga Hinagu has developed into its own specialty in the area. You’ve got Suruga Sashimono for joinery, Shizuoka Hikimono for turned wood, Suruga Shikki for lacquerware, and Suruga Maki-e for decorative lacquer painting.

The art of making these doll accessories is said to have grown out of Suruga Maki-e. That’s why most of the pieces are covered with delicate designs of flowers, birds, scenery, and flowing vine patterns. These patterns aren't printed or painted by machine. They’re all hand-done, layer by layer. Just like the dolls themselves, these miniature accessories have been part of Japanese tradition for centuries.

One reason Suruga Hinagu became so well known is that the work was broken up into steps. One person would make the wooden base, another would add lacquer, another would do the Maki-e design, and so on. This system allowed more items to be made at once without cutting corners. Every piece is still handmade, just with shared labor. That approach helped the Suruga makers take up a major share of the doll accessory market in Japan.

Back in the Muromachi Period, from 1392 to 1573, families in Suruga gave young girls papier-mâché hina dolls. Later, during the Tokugawa Shogunate, when the second and third shoguns, Hidetada and Iemitsu, were in power, things changed. They brought in top craftsmen from all over Japan to build major shrines like Kunozan Toshogu and Sengen Shrine in Suruga. Many of those craftsmen stayed after the projects ended. They passed down their skills locally, which pushed the area forward in every kind of craft.

Suruga also had a good climate for this kind of work. It’s warm and humid, which works well when you’re dealing with delicate lacquer finishes. Plus, it sat right between Kyoto and Edo, which were Japan’s biggest cities at the time. That made it easier to build a solid trade route and get the goods out to more people.

By the time Japan reached the Taisho Period, from 1912 to 1926, the makers in Suruga were getting organized. They formed wholesale groups to work more closely together. That made the industry stronger and more united. They also partnered with wholesalers in Tokyo to spread sales across the country. That move gave Suruga Hinagu more reach and kept the tradition going strong.

How Suruga Doll Accessories Are Made

Preparing the Wooden Base

The process starts with building the base from wood, but no nails are used. Instead, the parts are joined using a traditional method called joinery. This technique is so precise that even a difference of one hundredth of a millimeter can ruin the fit. It's a delicate job.

For rounded pieces, the wood is roughly shaped first, then mounted on a lathe. As it spins, a craftsman uses a blade to carve it into its final shape. This step needs a steady hand and sharp attention to detail.

Lacquering the Surface

Once the base is ready, it gets smoothed out with sandpaper. Then the lacquering begins. There are three layers: an undercoat, a middle coat, and a top coat. Each coat is brushed on, left to dry, then sanded down before the next one is added. This layering is what gives the surface its shine and smooth feel.

To sand it down, they often use blocks made from burned tung tree, also called the Japanese wood-oil tree. These blocks are soft enough not to damage the surface but still do the job right.

Traditional urushi lacquer is still used, but there's a newer option too: cashew lacquer. It has a milder smell and causes fewer skin problems, which makes it safer for items children may touch, like doll accessories.

Applying Maki-e Decoration

Next comes the decoration. This step is done by a maki-e artist. The designs aren’t painted on directly. Instead, the artist paints or stamps the patterns using fresh lacquer, which acts like glue. Then, gold or silver powder is sprinkled over the sticky areas.

These patterns often show flowers, birds, mountains, water, or arabesque shapes. The designs are applied by hand, so the artist’s skill really shows here. After the powder sets, the surface is polished with sheepskin to bring out the shine.

Crafting the Metal Fittings

The small metal parts, like drawer handles and corner fittings, are made from copper or copper alloy. Each piece is cut to size, then heated using charcoal. Once it cools, it’s polished smooth.

The shape of each fitting is marked out on Japanese paper and then traced onto the metal. Craftsmen use a chisel to carve the design into the surface. This step takes a lot of control and a deep knowledge of metalwork.

Final Assembly and Finish

In the last step, all the pieces come together. The finisher adds the metal fittings and any decorative threads. These are attached using glue or small rivets. Even though the parts are tiny, the makers rely on traditional handwork to get everything right.

That attention to detail and respect for old techniques is what makes each piece of Suruga Hinagu special. Every step is done with care by people who know their craft, and it shows in the final result.

 

9. Edo Oshi-e Pictures on Embossed Fabric

Edo Oshi-e is a handmade craft that started in Tokyo during the late Edo period, between 1603 and 1867. It first took off around Nihombashi and Asakusa. Today, artists still make these pieces in Tokyo’s Sumida, Koto, and Katsushika wards, as well as in nearby Saitama and Kanagawa.

Each Oshi-e is made by sticking pieces of fabric onto cardboard or thick paper. Then, cotton is wrapped in cloth to form raised shapes. These soft, padded parts are assembled to build a detailed, three-dimensional image. The fabric is often silk. For Edo Oshi-e, artists use Japanese painting techniques to draw faces and expressions on these raised forms, copying the look and feel of Ukiyo-e, the famous woodblock-style art from the same era. It’s not just faces, though. People also make landscapes, animals, and flowers using the same method. When crafting kabuki actors, the artist needs a deep understanding of kimono styles, hair arrangements, and how to mix traditional colors.

Today, Edo Oshi-e shows up in a lot of places. You’ll see it used for battledores, portrait displays, wall art, folding screen panels, and fans. It’s become a decorative tradition, still appreciated for its texture and color.

The Edo period was a time when merchants were thriving. As their wealth grew, so did the demand for visual art. This was the setting where Edo Oshi-e flourished. It became especially popular as decoration for battledores, the wooden paddles used in a New Year’s game called hanetsuki.

Before kabuki took over, these paddles usually had lucky designs like pine trees, bamboo, plum blossoms, or the seven gods of good fortune. But when kabuki became trendy between 1688 and 1704, things changed. People started painting kabuki actors on the paddles. Between 1804 and 1830, artists began making battledores with raised fabric portraits of these actors using the oshi-e method. These versions exploded in popularity.

As kabuki gained a strong following and oshi-e techniques improved, these actor battledores sold like crazy. By the end of each year, you could tell which actor was the most popular based on how many of their battledores had been bought. Through this, Edo Oshi-e became a well-known, widely loved art form in Japan.

How Edo Oshi-e Art Is Made

The process of making Edo Oshi-e is detailed and hands-on. Every step matters. Each piece is built layer by layer using fabric, cotton, cardboard, and old-school painting methods.

Step One: Making the Pattern

First, the artist draws a rough sketch of the image. This sketch becomes the base for the paper pattern. Each shape is cut out carefully, with extra space added wherever parts will overlap later on.

Step Two: Cutting the Cardboard

Next, the artist traces each part of the pattern onto sturdy cardboard. This cardboard forms the base of the finished work. Every shape is then cut out one by one to match the pattern.

Step Three: Wrapping with Fabric

Cotton is added on top of each cardboard piece. Then, each one is tightly wrapped in silk or cotton fabric. This is what gives the raised, soft look that Oshi-e is known for.

Step Four: Putting It Together

Each fabric-covered piece gets a protective sheet of Japanese paper. Once all parts are ready, they’re assembled like a puzzle to form the full picture.

Step Five: Painting the Face

If the artwork includes a face, that part gets special attention. First, the surface is treated with a mix of alum and glue. This makes it smooth and ready for color. Then a thin layer of whitewash is applied. After that, pigments are used to add detail and expression.

Step Six: Painting the Kimono

The kimono designs are painted with a mix of glue, whitewash, and colored pigments. These materials help the paint stick to the fabric and give it a soft, natural finish.

The process changes slightly depending on what’s being made. Battledores and framed pictures, for example, are not put together the same way. The way cotton is placed and how the pieces are assembled depends on the final design and purpose of the artwork.