When is a doll art? For the Japanese doll maker Hirata Gōyō II (Tsuneo, 1903-1981), that moment of transcendence comes when the artisan first comes to view themselves as an artist, and the doll being made no longer conforms to a simple repetition of type and technique. In his quest for what he referred to as “junsui bijutsu” (pure art), Gōyō once famously stated: “Creativity must be the focus. Technique is secondary. The purpose or reason behind the work comes first, and then the technique to accomplish it. What is important is the intent revealed in the work.” Gōyō was a pioneer leading a country of craftsmen into the limitless world of “pure art,” in the guise of a doll.
Gōyō’s own father, Tsunejirō (Gōyō I, 1878-1924) was a master doll maker whose works followed time-honored traditions, utilizing skills he himself learned from earlier makers. When the younger Gōyō was given the opportunity to participate in the important Friendship Doll exchange of 1927, he jumped at the chance and ultimately created five dolls for the project, each of which was declared a “revelation.” The fame his success brought him allowed him to forge ahead with his dream of creating works that allowed the Japanese themselves to view ningyō (dolls) as an art form, on an equal footing with painting, sculpture, and other traditional fine art forms.
This exhibition, the first of its type outside of Japan, explores the evolution of traditional Japanese dolls into Gōyō’s larger vision, that of sōsaku-ningyō or “art dolls.” Using examples drawn from the Barry Art Museum collection and selected borrowings from a private Collection we trace the contours of this transition through the specific lens of the ichimatsu-style doll. Displaying works of master craftsmen in the field, we can trace the transformation of ichimatsu from craft to art, and the stimulus given to the entire genre through Gōyō’s singularly creative vision.
On View: February 10-July 31, 2022
Curated by Alan Pate, Japanese doll (ningyō) Researcher and Expert
Japan is famed the world over for its doll-making mastery. This applies to centuries-old styles that form the focus of important festivals and rites. Reigning supreme over the creation of Japanese dolls is Hirata Goyo II (1903-1981) whose pioneering works transformed not only the outward look and scope of Japanese dolls but how the Japanese themselves viewed this age-old craft. Following his success in the remarkable Japanese Friendship Doll exchange of 1927, Goyo embarked on a mission to revolutionize Japanese dolls, elevating them from admired craft to fine artworks. Goyo was honored by the Japanese government in 1955 as the first doll artist to be named a Living National Treasure. Please join us by registering here
May’s U-Nite is inspired by our newest companion exhibition, Hirata Gōyō: The Birth of the Japanese Art Doll, curated by Alan Scott Pate. The evening’s events will include cultural enrichment activities, Japanese refreshments & guided exhibition tours. FREE & Open to the Public! Registration is encouraged, but not required.