Hina dolls - Hina dolls

Japanese: 雛人形 - ひなにんぎょう

A doll displayed at the Girls' Festival. A festival doll. The name "hina doll" was created in the Edo period. In the Heian period, there was a game of "hina" that could be considered its predecessor. "Hina" is an archaic word meaning small and cute, and in aristocratic society, a pair of small paper dolls, one male and one female, was used to play house, which was called "hina play." The dolls are thought to be standing paper dolls, and they were used in houses that imitated the lifestyle of aristocrats, with tableware and other furnishings. As the Tale of Genji (Suetsumuhana) says, "They all played with hina dolls together," this was a game played with by girls in aristocratic families, and had no connection to the festival in March.

Separately, from the Heian period, there was a belief that offerings (food and drink) to the gods at the change of seasons and praying for the well-being of the body, which was called sekku. On Jōshi (the first day of the snake) in March, there was an event in which people would cleanse their bodies with dolls (hitogata) made of paper and plants, which were then cast into the water to send them off to the gods. In areas such as Tottori, the custom of "nagashi-bina," in which dolls are cast into the river after the sekku in March, remains to this day. These religious dolls were also one of the sources that gave birth to Hina dolls.

This doll play and the belief in the dolls as magical tools fused together, gradually forming the framework of Hina dolls. In the Edo period, when the country was at peace and the seasonal festival in March became popular, Hina play became popular and transitioned into Hinamatsuri, which became an annual event held on March 3rd. As this became more and more popular, the dolls also developed, and various works were displayed, and they came to be called Hina.

[Ryosuke Saito]

Hinamatsuri

Until the mid-Edo period, it was called Hina-asobi, which meant playing with the gods. It was thought of as a festival to welcome and worship the gods, pray for the growth of girls, and ward off misfortune. Hinadan is thought to have become popular around the Genroku period (1688-1704). Until then, Hinadan was not widely used, and most of the dolls were just paper dolls and Dairi-bina dolls arranged on a carpet, with few furnishings, retaining the vestiges of ancient Hina-asobi. The term Hinamatsuri was born in the mid-Edo period, and the popularity of Hinamatsuri led to an increase in the number of Hina dolls and furnishings. As a result, it became the Hinadan style, and in the Horeki and Meiwa periods (1751-1772), two- or three-tiered dolls appeared, followed by four- or five-tiered dolls in the An'ei period (1772-1781). Furthermore, at the end of the Edo period, seven or eight tiers were also seen. At first, Hina Matsuri had nothing to do with the birth of girls, but from the mid-Edo period, it became an event to celebrate the first festival of girls, and the gift-giving of Hina dolls became popular. Among the upper classes, it became fashionable to have a person known as a Hina messenger give gifts of Hina dolls, portable containers, and barrels on a hanging stand. Furthermore, a custom arose of bringing Hina dolls when a daughter married into another family, and holding a Hina Matsuri on the first festival of the year after her marriage. At the end of the Edo period, the style of the tiered display also took shape, with the Emperor and Empress dolls placed on the top tier of the Hina tier, and the associated dolls on the tiers below. Hina dolls are the general term for the dolls displayed on these tiers. This Hina Matsuri is a uniquely Japanese doll-playing event that spread nationwide after the Meiji period, and is actively held in homes, schools, kindergartens, and other places, becoming a national event.

[Ryosuke Saito]

Differences in decoration

In the Kyoto and Osaka regions, a palace (ozushi) is placed on the upper tier and the Emperor and Empress dolls are placed inside it, while on the left and right sides of the lower floor are displayed paper dolls, attendants, court ladies, guards, cherry blossoms, tachibana (mandarin oranges), and other purification objects such as paper dog dolls and crawling dolls, as well as naked dolls and costumed dolls, and on the lower tier are lined up furniture, furnishings modeled after kitchen utensils, candlesticks, hishimochi (diamond-shaped rice cakes), and chosokuzen (butterfly-footed trays) topped with sake. In Edo, palaces were not used, and instead, folding screens were erected on the top tier, and the Emperor and Empress dolls were displayed in front, and on the lower tier, paper dolls, inuhariko dolls, crawling dolls, five musicians (dolls playing songs, a flute, a small drum, a large drum, and a taiko drum), Tenjin, Kintoki, sacred horses, dolls in costumes and toys that were popular at the time were displayed, and diamond-shaped rice cakes, white sake, and food were offered, and lanterns were erected on the left and right sides of the tier and peach blossoms were placed on them (Peach Festival). At that time, only the Emperor and Empress dolls, paper dolls, diamond-shaped rice cakes, and white sake were set up as standard, and the rest was not fixed, and the way of displaying them varied. From the end of the Edo period onwards, Edo adopted the Kyoto style of court ladies and attendants, and added the five musicians to these, which became the standard dolls. The furnishings were in aristocratic style, and various items typical of Edo samurai and townspeople were used, and gradually the current format of a set of 15 people was established.

[Ryosuke Saito]

kinds

There are paper dolls, dolls dressed in cloth, and clay dolls that serve as substitutes. In the early Edo period, handmade paper dolls were first displayed for Hinamatsuri. These retained the image of the "Hina" period, and were also called "standing dolls" because they were paper dolls standing up. Eventually, doll markets began to be held in the three major cities of Kyoto, Osaka, and Edo, and in addition to paper dolls, commercialized sitting dolls made of cloth appeared. These were called Dairi-bina, and the male dolls wore formal attire and court robes, while the female dolls wore twelve-layered kimono (hitoe), and were named after the Emperor and Empress of the Imperial Court. Paper standing dolls were also called Shin-bina. The first male dolls displayed in the Edo period had their sleeves spread out, and the female dolls had their sleeves folded in front, which was derived from the Amagatsu and Hajiko dolls that were used to ward off evil spirits, and in the early Edo period, dolls that reflected the customs of the Muromachi period were seen. The male doll wears a eboshi hat, kosode (shoulder sleeves), and hakama (trousers), while the female doll wears a kosode with a thin sash, and is wrapped in a noshi style paper. Later, when the Dairibina (Dairibina) became popular, the paper dolls became accessories, and then took their place in the Dairibina (Dairibina), which were displayed standing up on the Hina tier. The Dairibina that appeared after the Tachibina (Standing Hina) include the Kan'eibina (Kyohobina), Kyohobina (Jirozaemonbina), Yusokubina (Yusokubina), and Kokinbina (Kokinbina), all of which are artistically excellent.

As the Hinamatsuri became more popular, more elaborate dolls appeared, and the Edo Shogunate often issued bans on their production due to their extravagance. One of the characteristics of the dolls was that they were large, which was subject to restrictions, but as a reaction to this, super-small dolls called Keshibina, which were about 3 centimeters in size, appeared. Along with the elegant Jirozaemonbina dolls from Kyoto, the realistic Kokinbina dolls made in Edo were popular. Modern Hina dolls are modeled after these Kokinbina dolls. In addition, there are dolls and seasonal dolls made of clay and paper mache all over the country, which still exist as local toys today. Among them are unusual dolls such as Itobina from Kagoshima. The name comes from the fact that a bamboo skewer is used instead of a head, colored paper is wrapped around the part that would serve as the face, and hemp thread is hung from the tip of the bamboo skewer in a long hairstyle. Items other than dolls are used to represent a pair of dolls, one male and one female, and they are called Mitatebina when stationery such as brushes or kagami mochi are made into male and female dolls. These unusual dolls have been appearing since the Taisho period to attract customers at department store doll sales. Currently, the dolls that are called unusual dolls include those that deal with current topics, the zodiac animal of the year, and cartoons depicting the state of society. Markets where dolls were bought and sold have been around since the early Edo period, and were called hina markets. Nowadays, most department store events, including hina markets, sales of hagoita (battledolls) and May dolls, are events that attract customers.

[Ryosuke Saito]

"Japanese Dolls and Toys" by Fuenori Nishizawa (1975, Iwasaki Bijutsusha)

[Reference] | Hinamatsuri

How to decorate Hina dolls
The diagram shows the standard way of displaying Hina dolls (seven-tiered display). From the left, 1st tier: Dairi-bina (Dairi-bina), male and female dolls; 2nd tier: Three court ladies, choshi (ka-choshi), sanpo (the only one of the three court ladies who has no eyebrows and has blackened teeth, representing an older or married person), and nagae (long-handled choshi); 3rd tier: Five musicians, taiko drum, o-tsuzumi drum, ko-tsuzumi drum, flute, and chant; 4th tier: Udaijin (the Minister of the Right) (young person), Sadaijin (the Minister of the Left) (old man in black); 5th tier: Eji (guard), hat, shoe stand, and umbrella. [Display of each tier] 2nd tier: (1) Round rice cakes, 4th tier, (2) Meal, (3) Diamond rice cakes, 6th tier, (4) Chest, (5) Scissors box (top), Nagamochi (bottom), (6) Dressing table, (7) Needle box, (8) Brazier, (9) Costume bag, (10) Stand, 7th tier <11> Palanquin, <12> Tiered box, <13> Imperial carriage *Hina decorations vary greatly from region to region, with the most common differences listed below. Dairibina: The positions of the male and female dolls are reversed. The Dairibina are called Shinnobina. Sanninkanjo: instead of "stand, sit, stand" they become "sit, stand, sit." The items belonging to the lady in the middle become the Shimadai. Eji: They are servants (holding a rake, dustpan, and broom) also known as "three drunkards" with expressions of crying, anger, and laughter. In addition to the above, the way they are displayed, their names, and the items they carry may also differ depending on the region. © Aoki Takashi ">

How to decorate Hina dolls

Hina Dolls
In the Edo period, playing with dolls became common and evolved into the Doll Festival, which was established as an annual event on March 3rd. As it became more and more popular, dolls also developed, and costumed dolls appeared for the Imperial Court dolls. Most of them are seated dolls made of cloth. The name "hina dolls" was created in the Edo period. "Twelve Months of Yayoi" by Utagawa Kunisada (Toyokuni III), 1852 (Kaei 5), National Diet Library

Hina Dolls

Hinamatsuri
It is also called "Peach Festival." The March Festival event in the early Edo period, which involved Hina dolls, is thought to have become established as Hinamatsuri after the Kanbun era (1661-1673). Initially held at the Imperial Court and the Shogunate, Hinamatsuri spread from cities to rural areas, and became common after the Meiji era. Yoshu Shuen's painting "Chiyoda no Ooku: Hina Haiken" (A View of the Dolls), triptych, 1896 (Meiji 29), National Diet Library .

Hinamatsuri

Floating Dolls
Tottori Prefecture's Nagashibina Festival ©Tottori Prefecture ">

Floating Dolls

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

雛祭に飾る人形。節供人形。雛人形という名称は江戸時代になって生まれたもの。平安時代にはその前身ともいうべき「ひいな」の遊びがあった。「ひいな」は、小さくかわいい意味の古語で、貴族社会では男女一対の小さな紙人形を用いてままごと遊びなどが行われ、それを「ひいな遊び」といった。人形は立った姿の紙雛風のものと推定されるが、これを中心に、貴族の暮らしをまねた館や、食器などの調度をそろえて遊んだ。『源氏物語』（末摘花(すえつむはな)）に、「もろともひいなあそびし給ふ」などとあるように、貴族家庭の少女の人形遊びであり、3月の節供とはまだ関係はなかった。

　それと別に、平安時代のころから、季節の変わり目には神に供御(くご)（飲食物）を供えて身体の安泰を祈る信仰があり、それを節供といった。3月は上巳(じょうし)（最初の巳(み)の日）に、紙や植物でつくった人形(ひとがた)（形代(かたしろ)）で身体をなでて汚れを祓(はら)い、それを水に流して神送りする行事があった。鳥取地方などでは、3月の節供が済むと、雛を川へ流し捨てる「流し雛」の習俗が現在も残っている。この信仰的な人形(ひとがた)も、雛人形を生み出す源流の一つとなった。

　こうした人形遊びと、呪術(じゅじゅつ)用具としての雛形人形(ひとがた)の信仰とが互いに融(と)け合い、しだいに雛人形への骨格を形成した。江戸時代に入り、太平の世相を迎え、3月の節供が盛んになると、雛遊びが一般化して雛祭に移行し、年中行事として3月3日に定着した。それが広く流行するにつれて人形も発達し、さまざまな作品が飾られるようになって雛とよばれた。

［斎藤良輔］

雛祭

江戸中期ころまで雛遊びとよばれ、これは神遊びの意であった。神を迎えて祀(まつ)り、女児の成長を願い、災厄を祓(はら)う祭りと考えられていた。雛段が普及してきたのは元禄(げんろく)年間（1688～1704）ころからとみられる。それまでは雛段はあまり一般化されず、毛氈(もうせん)などの上に紙雛と内裏(だいり)雛だけを並べたものがほとんどで、調度類も数少なく古代の雛遊びのおもかげをとどめていた。江戸中期から雛祭ということばが生まれ、雛祭の流行から雛人形類、調度が増加してきた。それにつれて雛段様式となり、宝暦(ほうれき)・明和(めいわ)年間（1751～1772）に2、3段となり、続いて安永(あんえい)年間（1772～1781）のころ4、5段のものが現れた。さらに幕末には7、8段のものもみられた。雛祭は最初女子の誕生と関係なかったが、江戸中期から女子の初節供を祝う行事となって、雛人形の贈答が盛んになり、上流階級では雛の使いといって、吊(つ)り台に雛人形や行器(ほかい)、樽(たる)などをのせて贈り物をすることも流行した。さらに、娘が他家に嫁ぐ際にも雛を持参し、嫁入り後の初節供に雛祭を行う風習も生まれた。江戸末期には段飾りも様式を整えてきて、雛段の最上段に内裏雛を置き、階下の段に付随する諸人形を飾った。雛人形はこの雛段に飾る人形の総称である。この雛祭行事は日本独特の人形遊び行事で、明治以後全国的に普及して、各家庭や学校、幼稚園などでも盛んに行われ、国民的行事となっている。

［斎藤良輔］

飾り方の相違

京坂地方では、上段に御殿（御厨子(おずし)）を置いてこれに内裏雛を入れ、階下の左右に紙雛、随身(ずいじん)、官女、衛士(えじ)、桜、橘(たちばな)、そのほか犬張り子、這子(ほうこ)などの祓い物や裸人形、衣装人形などを飾り、下段には家具、台所道具に模した調度類、燭台(しょくだい)、菱餅(ひしもち)、白酒をのせた蝶足膳(ちょうそくぜん)などを並べた。江戸では御殿を用いず、かわりに最上段に屏風(びょうぶ)を立てて正面に内裏雛を飾り、下段に紙雛、犬張り子、這子、五人囃子(ばやし)（謡、笛、小鼓、大鼓(おおかわ)、太鼓の囃子の人形）、天神、金時、神馬、当時流行の衣装人形や玩具(がんぐ)を飾り、菱餅、白酒、料理を供え、雛段の左右に雪洞(ぼんぼり)を立てて桃の花を置いた（桃の節供）。当時は内裏雛、紙雛、菱餅、白酒などが決まりのものとされていただけで、ほかは一定せず、飾り方もまちまちであった。江戸末期以後は、江戸では京都形式の官女、随身を取り入れ、これに五人囃子を加えたものを決まりの人形とした。調度も公家(くげ)風にして、江戸の武家、町家風の諸道具を取捨し、現在の十五人揃いの形式がしだいに整えられた。

［斎藤良輔］

種類

紙雛、裂(きれ)製の衣装雛、その代用の土雛などがある。江戸初期の雛遊びには、まず手作りの紙雛を飾った。「ひいな」のころのおもかげをとどめたもので、立った姿の紙細工人形なので立雛ともよばれた。やがて京坂江戸三都に雛市が立つようになり、紙雛以外に商品化された裂製の座り雛が現れてきた。内裏雛とよばれるもので、男雛は衣冠束帯、女雛は十二単(ひとえ)で、内裏（宮中）の天皇・皇后の姿になぞらえてつくられ、この名がついた。紙の立雛は神雛ともいう。江戸時代最初に飾られた男雛は袖(そで)を広げ、女雛は袖を前に重ねた形で、厄祓い人形の天児(あまがつ)、這子に起因しており、江戸初期には室町時代の風俗を写したものがみられた。男雛が烏帽子(えぼし)に小袖、袴(はかま)、女雛は小袖に細幅の帯姿で熨斗(のし)形をしている。その後内裏雛が流行してくると、紙雛は添え物となり、その地位を内裏雛に譲り、雛段に立てかけて飾られた。立雛に続いて登場した内裏雛には、寛永(かんえい)雛、享保(きょうほう)雛、次郎左衛門雛、有職(ゆうそく)雛、古今(こきん)雛など美術的にも優れたものがある。

　雛祭の隆盛に伴って精巧な作品が現れ、江戸幕府はその華美に対してしばしば製作の禁令を出した。大型化されたのも特色の一つで、取締りの対象となったが、その反動として3センチメートルほどの芥子(けし)雛とよばれる超小型の作品も現れた。京都生まれの典雅な次郎左衛門雛と並び、江戸製の写実的な古今雛に人気があった。現在の雛人形はこの古今雛にかたどってつくられている。そのほか、全国各地には土、張り子製などの雛、節供人形があり、現在も郷土玩具として存続している。そのなかには鹿児島産の糸雛などの変わり雛もみられる。頭のかわりに竹の串(くし)を代用させ、顔に相当する部分には色紙を巻き、竹串の先端から麻糸を長く髪形に垂らしているのでこの名がある。人形以外の品を男女一対の雛に見立て、たとえば筆などの文房具や鏡餅などを、それぞれ男雛・女雛に仕立てたものを見立て雛とよんだ。これらの変わり雛は、大正期から百貨店の雛売り出しの客寄せに登場してきた。現在、変わり雛とよばれているものは、時の話題やその年の干支(えと)を扱ったもの、世相を漫画化したものなどがあげられる。雛人形類を売買する市(いち)は江戸初期からみられ、雛市とよんだ。現在は雛市をはじめ羽子板、五月人形の売出しなども、ほとんど百貨店の客寄せ行事となっている。

［斎藤良輔］

『西沢笛畝著『日本の人形と玩具』（1975・岩崎美術社）』

[参照項目] | 雛祭

雛人形の飾り方
図は雛人形（七段飾り）の標準的な飾り方を示す。向かって左から1段目　内裏雛　男雛、女雛2段目　三人官女　銚子（加銚子）、三方（三人官女で唯一、眉がなく、お歯黒で、年長または既婚者を表す）、長柄（長柄銚子）3段目　五人囃子　太鼓、大鼓、小鼓、笛、謡4段目　随身　右大臣（若者）、左大臣（黒衣の老人）5段目　衛士　台笠、沓台、立傘〔各段飾り〕2段目　〈1〉丸餅4段目　〈2〉御膳、〈3〉菱餅6段目　〈4〉箪笥、〈5〉鋏箱（上）、長持（下）、〈6〉鏡台、〈7〉針箱、〈8〉火鉢、〈9〉衣装袋、〈10〉台子7段目　〈11〉御駕籠、〈12〉重箱、〈13〉御所車※雛飾りは地域差が大きく、以下に代表的な差異を記す。内裏雛：男雛と女雛の位置が左右反対になる。内裏雛が親王雛とよばれる。三人官女：「立つ・座る・立つ」が「座る・立つ・座る」となる。中央の官女の持ち物が島台となる。衛士：泣き、怒り、笑いの表情をもつ三人上戸ともいわれる仕丁(熊手、塵取り、箒をもつ)となる。上記以外にも地域によって、飾り方、呼称、持ち物が異なる場合もある©青木　隆">

雛人形の飾り方

雛人形
江戸時代に入り、雛遊びが一般化して雛祭に移行、年中行事として3月3日に定着した。それが広く流行するにつれて人形も発達し、内裏雛には衣装雛が現れた。そのほとんどが裂製の座り雛である。雛人形という名称は江戸時代になって生まれたもの。歌川国貞（3世豊国）画『十二月ノ内　弥生』　1852年（嘉永5）国立国会図書館所蔵">

雛人形

雛祭
「桃の節供」ともいう。江戸時代初頭の三月節供の雛人形にかかわる行事が、寛文年間（1661～1673）以降に雛祭として定着したとみられる。当初、宮廷や幕府で行われていた雛祭は都市から農村へと波及し、一般化したのは明治時代以降である。楊洲周延画『千代田之大奥　雛拝見』　三枚続　1896年（明治29）国立国会図書館所蔵">

雛祭

流し雛

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