ON AUGUST 6,1854, the beautiful young Kabuki actor, Ichikawa Danjuro VIII slashed his wrists and slowly bled to death on the tatami mat floor of his inn located in Osaka. To say he was one of the most popular actors of the Kabuki stage during his brief but meteoric career would be a gross understatement. Fans adored his "rough stuff" (aragoto) performance technique (a style he inherited from his great-great-great-great grandfather Ichikawa Danjûro I), and his young lover (nimaime) roles caused excessive swooning from both his female and male admirers. Ichikawa Danjûrô was famous. He was also a commodity. His fame was easily capitalized upon, with products ranging from bean paste buns to prop-water used in his performances, all devoured by fans and priced at a premium. Even in death, his name was sure to attract a crowd.

Left: Fig.2 Takeda-ningyô depicting Toyotomi Hideyoshi, Edo Period, 19th Century, 27-3/4" High. Author's Collection. Above: Fig.3 Detail: Takeda-ningyô depicting a samurai warrior, Edo Period, 19th Century, 26-1/2" High. Eng Collection

In 1855, the mechanical doll artist Takeda Nuidonosuke (d. 1870) chose to commemorate the passing of this actor with a fantastic series of mechanized realistic doll tableaux depicting scenes of the young Danjûrô: behind the curtain of the Kabuki theater applying his makeup, performing one of his memorable roles on stage, at leisure after his performance, and his imagined journey from this earth up to the Buddhist heaven. Each doll was rendered life-size and mechanized to replicate the mesmerizing movements of this most charismatic actor. Held as part of a temple fair in Edo (present-day Tokyo), Takeda's exhibit was a resounding success, with visitors paying dearly to once more behold their beloved Danjûrô. They were not disappointed.

Takeda Nuidonosuke hailed from a long line of ningyô impresarios. Reminiscent of Danjûrô, Nuidonosuke, himself, was the 8th generation to officially carryon the Takeda family line and legacy. The Takeda mechanical puppet theaters of the late 17th and early 18th centuries established by his forbearers had been, for nearly100 years, the pride of Osaka, presenting technical marvels that wowed audiences and consistently overshadowed the newly developing world of Kabuki. Following the collapse of their theatrical empire through political scandal, several tragic and ill-timed fires, and profligate spending, the Takeda family was forced to diversify in the late 18th century. One branch re-established itself in Nagoya where they became central to the development of mechanical dolls used on festival floats. One branch remainedin Osaka where they became known for mechanized sex dolls. And another, Nuidonosuke's branch, chose to re-establish themselves in Edo where they soon became famous for their complex mechanical doll tableaux featured at shrine fairs and amusement centers, such as Asakusa Sensôji where the 1855 Danjûrô exhibit was unveiled.

Fig.4 Takeda-ningyô of Benkei at the Ataka Barrier, Edo Period, 19th Century, 16" High. Author's Collection.

Dolls created for such exhibits rarely survived for very long and what is left for us today are only journal recordings and the occasional printed advertising flyers commemorating the event, suggesting its power and appeal to the viewing public of that time. A notable exception is a grand iki-ningyo (living doll) tableau depicting two wrestlers created by Yasumoto Kamehachi I (1828-1900) for an exhibition in 1890 and purchased by the wealthy American businessmanFrederick Sterns (1831-1907). This amazing doll pair, measuring over 7 feet in height, was donated by Stearns to the Detroit Museum of Art where it was displayed from 1891 until its recent return to the Kumamoto City Museum in Japan. (Fig. 1)

Takeda and his direct descendents continued making mechanical dolls and "iki-ningyô" such as the Kamehachi's wrestlers into the opening decades of the 20th century. Operating a shop in the celebrated doll market of Asakusa nakamise, the Takeda family also sold a variety of dolls, mechanical and otherwise,for the everyday consumer. A tall lacquered wood sign indicating the presence of the Takeda shop in the Asakusa sectionof Edo is recorded as early as 1853 and was noted as still hanging in this section by Mitamura Engyo (1870-1952) in his writings on the Takeda family in the early 20th century.

Left: Fig.5 Takeda-ningyô holding a jingasa helmet, Edo Period, 19th Century, 15" High. Author's Collection. Below, left to right: Fig.6 Detail of Takeda-ningyô with blue foot and upturned toe, Edo Period, 19th Century, 22" High. Ayervais Collection. Photograph: Lynton Gardiner. Fig.7 Detail: Face of Fig.5 with exagerated features, Edo Period, 19th Century, 18" High. Fig.8 Detail: Takeda-ningyô depicting Ishikawa Goemon with kumadori-style makeup, Edo Period, 19th Century, 15" High. Lapin Collection.

The Takeda family legacy, however, does survive today through the contorted and twisted dolls depicting Kabuki actors and nagauta dance performers which bear this illustrious family's name: takeda-ningyô. Exceedingly popular to theatergoers in the opening decades of the 19th century, these dolls, mounted on black lacquered stands, are singular and distinctive, exuding an energy and theatrical power rarely found in a doll form. (Fig. 2) For the collector of Japanese dolls, takeda-ningyo represent the opportunity to plunge intoa fascinating world, one filled with tales of love and betrayal, heroic deeds and dejected suicides, samurai and noblemen, fair maids and evil demons. (Fig 3) Their compelling back stories add to the beauty and mystery exuded by these dynamic dolls. (Fig. 4)

Though known to collectors for decades, many myths have circulated around these dolls creating confusion and misperceptions regarding their origins and purpose. And, while easy to identify once a few of the core characteristics are noted, many collectors still struggle in determining what constitutes a true "takeda-ningyô." The most pervasive myth is that they were originally souvenir dolls from the Takeda mechanical doll theater in Osaka. While takeda-ningyô, by and large, date only to the early - to mid-19th century, the last Takeda theater closed in 1767,making their purported use as a performance souvenir doll problematic. Secondly, the themes and characters depicted can be, with few exceptions, linked to specific Kabuki dramas and dance interludes, which differ dramatically from the trick-oriented performances that dominated the Takeda theater repertoire (Fig. 4). Instead of being connected with the famous Osaka theaters of the Takeda family, takeda-ningyô can be seen to represent a vibrant and successful line of actor dolls manufactured and sold for the Kabuki-loving audiences of 19th century Edo, where the Takeda family was newly based.

Fig.9 Takeda-ningyô of Shiokumi, Edo Period, late 18th Century. 16" High. Hannig Collection.	Fig.10 Takeda-ningyô of Oto Hime standing on a turtle, Edo Period, 19th Century, 20-1/2" High. Rosen Collection.
Fig.11 Takeda-ningyô of Dôjôji, Edo Period, 19th Century, 18" High. Author's Collection.	Fig.12 Detail of textiles, Edo Period, 19th Century. Author's Collection.

The persistent misidentification of takeda-ningyô is somewhat perplexing and the observations below can serve as a form of checklist for those interested in correctly identifying these dolls. The male figures are most commonly depicted with one foot placed upon a prop, frequently a tree stump, bridge stanchion, or other stage device. (Fig. 5) Curiously, these feet are often painted blue, with the large toe extended upward. (Fig. 6) This latter aspect is derived from both Buddhist orthodox sculpture and aragoto Kabuki conventions where the upraised toe symbolizes power and dominance over evil. The bodies of these dolls are generally depicted twisted dramatically to the left or the right, with the figure staring straight at the viewer. This contorted position, combined with an elevated back arm works together to form a powerful sense of movement and asymmetry. The gofun (shell white) covered faces of these dolls are also more modeled than the classic stoicism expressed in the faces of the more familiar Girl's Day hina-ningyô. With down-turned mouths, deeply furrowed brows, and a blue tint around the chin, suggesting long days gone without shaving, the visages of these dolls combine a sense of intense focus and barely-contained energy that elevate them beyond other ningyô. (Fig.7) In yet another nod to Kabuki conventions, the eyes of these figures are sometimes crossed in a gesture known as a mie designed to convey consuming emotions at a pivotal moment kindred to an epiphany. Some faces even are depicted with the lined kumadori makeup associated with Kabuki, underscoring this theatrical connection. (Fig.8)

Although male figures tend to dominate the genre, figures such as the Salt Maiden, Shiokumi; the undersea dragon princess, Oto Hime; and the spurned maiden in Dôjôji were also quite popular and many excellent examples can stillbe found. (Fig. 9, 10, 11). Female figures such as these are drawn mostly from Kabuki dance interludes known as nagauta. They exude a more quiet grace. Their bodies are elegantly positioned to emphasize long and graceful lines. Their faces tend to be more reserved and classical, with narrow painted eyes and calm expressions with none of the aggression and fearsomeness of their male counterparts.

Top left: Fig.14a Detail Dragon image on embroidered sleeves, Takeda-ningyô, Edo Period, 19th Century, 26" High. Rosen Collection. Middle: Fig.14 Takeda-ningyô carrying banner, Edo Period, 19th Century, 26" High. Rosen Collection. Bottom Left: Fig.13 embroidered sleeves of under kimono, Takeda-ningyô, Edo Period, 19th Century, 20" High. Private Collection.

The textiles employed in these figures, both male and female, show a preference for black velvet (birôdo) trim, rich brocade overcoats, and red silk undercoats. (Fig.12) In a nod to chic heroic Kabuki style and fashion, the outer sleeves are usually depicted thrown back, revealing the under coat with densely embroidered sleeves. The embroidery itself is alternately both generic and clue-ridden. Some of the most common designs depict the wedded rocks of Futami-gaura, dragons in whirling clouds, and elaborate floral patterns. These designs, executed in thick gold-wrapped threads, however, have no direct connection with the identities of the characters depicted, but appear to be simply ornamental. (Fig. 13, 14, 14a) Other images, however, such as a castle straddling a moat evoke the story of the pirate Watônai waiting by the bridge at Shishigejo Castle. (Fig. 15, 15a)

Left: Fig.15 Watonai On Shishigejo bridge, Edo Period, 19th Century, 25" High. Rosen Collection. Photograph: Lynton Gardiner Below: Fig.15a Detail: Embroidered sleeve image of Shishigejo Castle, Edo Period, 19th Century. Rosen Colection.

And, finally, the signature-like black lacquered bases are a very distinctive and readily identifiable feature common to all takeda-ningyô. Although many Japanese ningyô are mounted on bases, those used for takeda-ningyô are particularly tall and box like with a lozenge front aperture backed by embroidered silk cloth. Additional raised legs are sometimes present as well.

The stories associated with these dolls are endless and represent a delicious aspect to these fascinating figures: Grief stricken warriors grab a ship's anchor and plunge to their deaths in the roiling sea; women whose jealousy transform them into fierce dragons who incinerate the lover that spurned them; pirates who look to the waters flowing under a castle bridge to determine whether their plot was a success or failure; courtiers standing on an iris flanked bridge composing odes to lost loves.

Poetry. Drama. History. Such are the raw materials that lie behind the rich textiles and contorted faces of takeda-ningyô. For the collector of antique dolls in general, and Japanese ningyô in particular, takeda-ningyô represent a still little-understood and under-explored category. This immediately striking and distinctive doll form makes a wonderful addition to any collection, providing a touchstone from which to begin an exploration of an entirely new world.