Since its founding in 1919 (Taisho 8), Mataro Ningyō has continued to craft Kimekomi dolls in Ueno, a town of artisans. Its roots lie in Kamo dolls, originating about 290 years ago at Kamigamo Shrine in Kyoto.
Originally carved from wood, the first-generation Mataro Kanabayashi established the current method of creating molds from clay prototypes, driven by the desire to “deliver beautiful dolls of the same quality to more people.”
Currently, Mataro Ningyō is recognized by Kamigamo Shrine as the only legitimate successor and carefully protects these traditional techniques. The dolls available are not limited to dignified Hina dolls and Boy's May festival dolls. Recently, the company has also been producing smaller sizes tailored to modern housing conditions and new types of dolls in collaboration with popular characters. Furthermore, Mataro Ningyō is actively working to spread the charm of dolls in ways that suit the current era, such as exhibiting at trade shows in France as well as in Japan.
Originally carved from wood, the first-generation Mataro Kanabayashi established the current method of creating molds from clay prototypes, driven by the desire to “deliver beautiful dolls of the same quality to more people.”
Currently, Mataro Ningyō is recognized by Kamigamo Shrine as the only legitimate successor and carefully protects these traditional techniques. The dolls available are not limited to dignified Hina dolls and Boy's May festival dolls. Recently, the company has also been producing smaller sizes tailored to modern housing conditions and new types of dolls in collaboration with popular characters. Furthermore, Mataro Ningyō is actively working to spread the charm of dolls in ways that suit the current era, such as exhibiting at trade shows in France as well as in Japan.
Philosophy & Vision
What we cherish most at Mataro Ningyō is the beauty of miyabi (courtly elegance) seen in Heian period court culture.
We aim not for flashiness, but for a dignified appearance reminiscent of the world of “The Tale of Genji.” However, we are not simply continuing to make old things as they are.
Precisely because opportunities to display dolls at home are decreasing in this era, we want to convey the original meaning: “Dolls are charms that protect babies.”
That is why we are making improvements to fit modern life, such as creating products in compact sizes that are easy to display even in apartments and adopting woodgrain stands that match Western-style rooms.
A family’s wish for their child’s happiness remains unchanged throughout the ages. We will continue to offer dolls that resonate with those warm feelings.
We aim not for flashiness, but for a dignified appearance reminiscent of the world of “The Tale of Genji.” However, we are not simply continuing to make old things as they are.
Precisely because opportunities to display dolls at home are decreasing in this era, we want to convey the original meaning: “Dolls are charms that protect babies.”
That is why we are making improvements to fit modern life, such as creating products in compact sizes that are easy to display even in apartments and adopting woodgrain stands that match Western-style rooms.
A family’s wish for their child’s happiness remains unchanged throughout the ages. We will continue to offer dolls that resonate with those warm feelings.
Creator's Commitment
A major commitment at Mataro Ningyō is using natural materials that have not changed for over 100 years.
For the base, we use a material called Tōso," a mixture of paulownia sawdust and glue.
While easy-to-handle resin products are increasing recently, we at Mataro Ningyō insist on using traditional materials. This is because the process of artisans carving and shaping each piece by hand gives the dolls a unique depth.
The face, which is the “life” of the doll, is also hand-painted by artisans. On a face painted with gofun (pigment made from seashells), eyes and noses are drawn one by one using a fine brush. Also, the Kimekomi process of tucking the fabric of the costume into the grooves of the base with a spatula is all performed by the sensation of skilled fingertips. The dolls, created by the combined efforts of many artisans over several months, possess a softness and gentle warmth that machines can never replicate.
For the base, we use a material called Tōso," a mixture of paulownia sawdust and glue.
While easy-to-handle resin products are increasing recently, we at Mataro Ningyō insist on using traditional materials. This is because the process of artisans carving and shaping each piece by hand gives the dolls a unique depth.
The face, which is the “life” of the doll, is also hand-painted by artisans. On a face painted with gofun (pigment made from seashells), eyes and noses are drawn one by one using a fine brush. Also, the Kimekomi process of tucking the fabric of the costume into the grooves of the base with a spatula is all performed by the sensation of skilled fingertips. The dolls, created by the combined efforts of many artisans over several months, possess a softness and gentle warmth that machines can never replicate.
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