Design Dictionary

Kokeshi Design Dictionary

Form, color, pattern, face — a reference organizing the four vocabularies of kokeshi design to read the character of each of the 12 lineages.

Form (Proportion)

Head-to-body ratio, shoulder width, inset head or carved-in-one-piece construction.

Head-to-body ratio

The proportion of head size to body length is the most concise indicator of regional origin and an artisan's hand.

Naruko and Togatta have large heads and a dignified upright stance.
Tsuchiyu and Nakanosawa have small heads and long bodies — an elegant proportion.
Yajiro has an extremely large head, with characteristic lathe-turned lines like a beret.

Head construction (inset / carved-in-one)

Whether the head is turned separately and inserted into the body ('inset') or carved from a single block ('carved-in-one').

Naruko uses an inset head; turning it produces a distinctive squeak.
Most Togatta, Tsuchiyu, and Yajiro dolls also use inset heads.
Kijiyama and Nanbu traditionally use carved-in-one construction. Zao has both inset and carved-in-one examples.

Body silhouette

Straight body, waisted body, flared hem — the contour line defines the expression.

Naruko has a slightly constricted 'drum body' (kodō).
Togatta has a thick straight body with a stable feel.
Tsuchiyu is slender with a slight flare toward the hem.
Yamagata styles are squat and rustic.

Three-way split in crown painting — the mizuhiki-te lineage tree

Ancestor type：Mizuhiki-te (decorative forelock)（Forelock ornament of Gosho dolls）

One tradition holds that Tsuchiyu, Naruko, and Togatta diverged from a common ancestor in the Gosho doll forelock ornament 'mizuhiki-te' (see Kokeshi Wiki and related sources). Reading lineage through crown design is a widely used entry point for kokeshi identification.

Naruko一次

Mizuhiki knot / kaku-kami

Retains the form of a mizuhiki knot. Hair tufts (kaku-kami) hang at both temples.

Togatta一次

Tegara (topknot ornament)

Developed into a large, radial red topknot ornament with a purple dot at the center.

Tsuchiyu一次

Janome + kase

Forelock becomes concentric circles (janome). 'Kase' ornaments at both temples.

Yajiro通説

Beret ring

Concentric lathe lines in red, green, and purple on the crown. A derived form.

Zao通説

Black hair + janome + tegara

Tsuchiyu-type crown overlaid with tegara — lavish multicolor.

Tsugaru一次

Okappa + red center part

A distinct regional expression, separate from the mizuhiki-te lineage.

Nanbu (Kinakina)一次

Unpainted

No painting. A white-wood pacifier doll with a wobbly head.

Identification axes

Observing structure, crown, face, and body in order narrows down the lineage.

①

Structure — head-to-body joint

Construction differences govern sound, weight, and tactile feel.

Inset (hame-komi)Naruko · TsuchiyuHead squeaks when turned (Naruko = kyu / Tsuchiyu = kii-kii)
Slip-inTogatta · Yajiro and others
Carved-in-one (single block)Kijiyama · Nanbu · Tsugaru (partial)Jizo type · Taishi type · Kinakina

②

Crown and forelock — primary axis

The three-way split from mizuhiki-te (Naruko = knot / Togatta = tegara / Tsuchiyu = janome) is the core of identification.

Mizuhiki knot / kaku-kamiNaruko
Large tegara ringTogatta · Hijiori
Janome + kaseTsuchiyu
Beret ringYajiro
Okappa + red center partTsugaru
UnpaintedNanbu

③

Face — eye and nose painting

Primary sources are scarce, but useful as a supplementary identification aid.

Single strokeKijiyama (Kutaro)Upper lid only
Two strokesNaruko · TogattaUpper and lower lines
Dot eyes (sleeping)Tsuchiyu (Asanosuke line)
Whale eyes / sanpakuTsugaru (early period)
Split noseYamagata (Kurakichi line identification point)

④

Body form

Silhouette reflects the artisan's hand and the diameter of the lathe.

Slender straight bodyTsuchiyu · Yamagata (original) · Sakunami
Waisted bodyTsugaru · Yamagata (post-Tsunematsu) · Zao
Shoulder ridgeNaruko · old Sakunami
Carved-in-one (seated)Kijiyama · Nanbu

Pattern guide

Body motifs fall broadly into floral / lathe / geometric-kasuri / pictorial / unpainted.

A. Floral motifs (grass-and-flower patterns)

Chrysanthemum, plum, cherry, peony — the stars that adorn the kokeshi body.

Kiku-magaki (chrysanthemum fence)

一次

Sakunami · Yamagata

Diagonal chrysanthemum plus fence (hedge). Prototype of scattered cherry.

Layered chrysanthemum

一次

Yajiro · Togatta · Naruko

Petals stacked concentrically, radiating outward.

Scattered cherry (sakura-kuzushi)

通説

Togatta

Cherry scattered diagonally (chrysanthemum read as cherry). Derived from Sakunami.

Sideways plum · dango plum

一次

Kijiyama

Plum painted inside the bib.

Iris pattern

一次

Togatta (body reverse) and others

Tall iris-like flower. Wards off evil spirits.

Peony

通説

Zao · Kaminoyama

Large flower. Lavish coloring.

Nadeshiko · maple

未確認

Multiple lineages

Nadeshiko (notched petals) and maple.

B. Lathe patterns

Multicolor horizontal bands using rotation — the process itself becomes the pattern.

Lathe color bands

通説

Yajiro · Yamagata · Nanbu

Multicolor horizontal bands using rotation.

Wood-grain pattern

通説

Kijiyama · Tsuchiyu (Jisuke line)

Concentric ellipses imitating tree rings.

C. Geometric · kasuri · bib

Kimono motifs transferred to the body.

Well-frame · kasuri

一次

Kijiyama (inside bib) · Yamagata

Well-frame (#) geometric pattern.

Bib (yodare-kake)

一次

Kijiyama

Floral motifs inside a kimono-style bib.

Collar · Y-collar

一次

Yajiro · Kijiyama

Kimono collar. Kijiyama uses a Y-shape.

D. Pictorial motifs (figurative subjects)

Tsugaru's domain — regional painting transferred directly to the body.

Nebuta painting

一次

Tsugaru

Bold line drawing in warrior-painting style.

Daruma

一次

Tsugaru

Daruma painted on the body.

Ainu motifs (karakusa · warabite)

一次

Tsugaru

Swirling karakusa = warabite (fern frond).

E. Unpainted

Not painting is itself a design choice.

Kinakina

一次

Nanbu

Unpainted white wood. Head moves freely.

Quick identification table

Lineage	Crown tell	Body pattern tell	Structure · body form
Tsuchiyu	Janome + kase at both temples	Lathe lines primary	Slender straight body / inset (kii-kii)
Naruko	Mizuhiki knot ornament / kaku-kami	Layered chrysanthemum · wood grain	Shoulder ridge / inset (kyu)
Togatta	Large radial tegara	Layered chrysanthemum · scattered cherry + iris on body reverse	Thick straight body · large head
Yajiro	Beret-like lathe rings	Multicolor lathe bands · layered chrysanthemum	Straight body
Zao	Black hair + janome + tegara	Kiku-magaki-style chrysanthemum · peony (lavish multicolor)	Straight body / waisted
Yamagata	Modest forelock · split nose	Many small chrysanthemums + bib + lathe lines	White straight body to waisted
Sakunami	Rustic forelock (oldest layer)	Kiku-magaki	Slender straight body / old type has shoulder ridge
Hijiori	Tegara	Togatta-style + lathe lines	Naruko-like thick straight body (Naruko + Togatta)
Kijiyama	Okappa · Y-collar	Bib + sideways plum / dango plum · well-frame kasuri	Carved-in-one (single block)
Nanbu	Unpainted is the origin	No pattern / lathe lines	Head moves freely (Kinakina)
Tsugaru	Okappa + red center part · whale eyes	Nebuta · Daruma · Ainu motifs	Thick body · standing-child style
Nakanosawa	Tsuchiyu type (large head)	Large eyes · bold rustic coloring	Tsuchiyu sub-line (not independent)

Identification flow

1.No face and the head wobbles freely?→ Nanbu (Kinakina)
2.Nebuta, Daruma, or Ainu motifs on the body?→ Tsugaru
3.Bib + Y-collar on the body (carved-in-one)?→ Kijiyama
4.Head squeaks when turned (inset)? Mizuhiki knot + layered chrysanthemum or janome + kase + lathe lines→ Naruko / Tsuchiyu
5.Large radial tegara? Tegara alone + layered chrysanthemum/scattered cherry or lavish multicolor or Naruko-like thick body + Togatta coloring→ Togatta / Zao / Hijiori
6.Concentric lathe rings on the crown (beret ring)?→ Yajiro
7.Kiku-magaki body · slender white straight body (no lathe lines)?→ Sakunami (pure)
8.Waisted + many small chrysanthemums + bib + split nose?→ Yamagata

Form characteristics by region and lineage

NARUKO

Naruko style

The classic inset head that squeaks when turned.

FaceThin, long 'mizuhikime' eyes, small ochobo mouth, red tegara topknot.

FormDrum body — slightly constricted at center, lathe lines at top and bottom.

PatternLayered chrysanthemum is the signature. Petals stacked in concentric circles, radiating outward.

Palette

RedPetals · topknot · tegara

SumiHair · eyes · outline

YellowLathe line accent

Representative artisans

大沼又五郎、大沼岩太郎、桜井昭寛、岡崎斉吉

Learn more in the Encyclopedia →Trace the genealogy →

TOUGATTA

Togatta style

A dignified head, radial forelock, and strict plum basin.

FaceLarge double-eyelid eyes, radial forelock, large red topknot.

FormThick straight body with a stable feel.

PatternLayered plum, layered chrysanthemum, peony. Strictly symmetrical composition.

Palette

RedPetals · topknot

SumiHair · outline

GreenLeaves · accent

Representative artisans

佐藤周治郎、佐藤吉郎平、佐藤文吉、佐藤丑蔵

Learn more in the Encyclopedia →Trace the genealogy →

YAJIRO

Yajiro style

Thick multiple lathe lines like a beret.

FaceRound, large dot eyes with childlike charm.

FormExtremely large head with thick yellow, red, and green lathe lines on the crown.

PatternPeony, chrysanthemum, tasuki pattern. Body also built from band-like lathe lines.

Palette

YellowBeret · bands

RedCrown lines · flowers

GreenLeaves · bands

Representative artisans

小林倉吉、小林吉三郎、新山久治郎

Learn more in the Encyclopedia →Trace the genealogy →

SAKUNAMI

Sakunami style

Slender crab body with radial red pattern on the crown.

FaceThin, narrow eyes and a small face.

FormExtremely slender 'crab body' — diameter easy for a child to grip.

PatternLayered chrysanthemum · crab chrysanthemum. A single chrysanthemum at center of body.

Palette

RedChrysanthemum · radial pattern

SumiHair · eyes

Representative artisans

平賀謙蔵、岩松直助

Learn more in the Encyclopedia →Trace the genealogy →

ZAO

Zao style

Lathe-line decoration with yellow as the lead color.

FaceSmall eyes, modest expression.

FormStraight body. Thick yellow-based lathe lines across the entire body.

PatternLathe lines are the primary decoration. Floral motifs are secondary.

Palette

YellowBody lathe lines

RedFlowers · accent

SumiOutline

Representative artisans

岡崎善作、梅木修一

Learn more in the Encyclopedia →Trace the genealogy →

YAMAGATA

Yamagata style

Squat rustic body with soft cherry and wisteria coloring.

FaceSmall, rustic features.

FormStocky, squat body.

PatternCherry, wisteria, nadeshiko. Drawn with soft curves.

Palette

RedPetals

PurpleWisteria

SumiOutline

Representative artisans

小林清次郎、海谷七三郎

Learn more in the Encyclopedia →Trace the genealogy →

HIJIORI

Hijiori style

An eclectic blend of Naruko and Togatta.

FaceDouble-eyelid, relatively large eyes. Expression midway between Naruko and Togatta.

FormSlightly thick straight body.

PatternLayered chrysanthemum and plum. Naruko and Togatta motifs mixed.

Palette

RedChrysanthemum · plum

SumiOutline

YellowAccent

Representative artisans

佐藤重三郎、鈴木幸太郎

Learn more in the Encyclopedia →Trace the genealogy →

KIJIYAMA

Kijiyama style

Mountain kokeshi with green and bib motifs.

FaceThin, straight slanted eyes; green pupils appear in some examples.

FormCarved-in-one. Slightly slender straight body.

PatternBib motifs, maple, cherry. Heavy use of green is characteristic.

Palette

GreenLeaves · pupils

RedBib · flowers

SumiOutline

Representative artisans

小椋久太郎、小椋泰一郎

Learn more in the Encyclopedia →Trace the genealogy →

NANBU

Nanbu style

Unpainted Kinakina (plain wood) as the prototype.

FaceOriginal form is unpainted. Later painted types also exist.

FormCarved-in-one slender body. 'Kinakina' with head swinging like a pendulum.

PatternMinimal painting. A lineage that cherishes the wood itself.

Palette

White woodBase wood

SumiLater-period painting

Representative artisans

煤孫茂吉、松田清次郎

Learn more in the Encyclopedia →Trace the genealogy →

TSUGARU

Tsugaru style

Lavish coloring with Daruma and Nebuta-style motifs.

FaceNarrow, determined eyes.

FormSlightly thick straight body. Strong colors reminiscent of Nebuta.

PatternDaruma, peony, Ainu-style motifs. Vivid multicolor palette.

Palette

RedDaruma · flowers

GreenLeaves

BlueAccent

Representative artisans

盛秀太郎、長谷川辰雄

Learn more in the Encyclopedia →Trace the genealogy →

TSUCHIYU

Tsuchiyu style

Janome on the crown, crescent sleeping eyes.

FaceCrescent 'nemurime' eyes, tiny dot mouth. Gentle, introspective expression.

FormSlender with a slight flare toward the hem.

PatternJanome, kase, kiku-kuzushi. Concentric circles on the crown are the signature.

Palette

RedJanome · chrysanthemum

SumiHair · eyes

YellowKase accent

Representative artisans

佐久間浅之助、阿部治助、西山徳二、佐藤佐志馬

Learn more in the Encyclopedia →Trace the genealogy →

NAKANOSAWA

Nakanosawa style

Wide-eyed 'tako-bozu' with a distinctive form.

FaceWide-open eyes, round head. A unique expression derived from Tsuchiyu.

FormSlender like Tsuchiyu, but head nearly spherical.

PatternInherits Tsuchiyu kase and kiku-kuzushi while developing independently.

Palette

RedFlowers · bands

SumiEyes · hair

Representative artisans

岩本善吉、岩本芳蔵

Learn more in the Encyclopedia →Trace the genealogy →

Kokeshi glossary

Tegara, mizuhiki-te, lineage names, and other terms used when reading kokeshi design.

Lineage: A traditional school of kokeshi classified by production area and style.
Craftsman: An artisan who hand-turns wood and paints kokeshi dolls.
Master–Apprentice: The relationship between master and disciple through which technique and style pass across generations.
Lathe: A turning machine for shaping wood into rounded forms; foot-powered types are traditional.
Painting: The process of applying facial features and patterns to kokeshi with a brush.
Wax Finish: A finishing technique applying wax for sheen and protection.
Tegara: The collective name for patterns and motifs painted on a kokeshi's body.
Rokkuro: A traditional spiral-groove pattern carved into the body.
Insert Neck: A technique making head and body separately and joining them at the neck.
Kiji (Wood Base): The turned wooden body that forms the base of a kokeshi before painting.
Hitoribiki (Single Turning): Turning the entire doll from head to base as one piece by a single artisan.
Futaribiki (Two-Person Turning): An older technique where two artisans cooperate to turn the wood; sometimes head and body are made separately.
Lineage Classification: The eleven traditional kokeshi lineages such as Naruko, Tōgatta, and Tsuchiyu.
Yata (Shop Name): The trade name or workshop name used by an artisan.
Type Revival: Recreating and inheriting the style of past master artisans in the present day.
Disciple: A successor who learns technique from a master; many enter from outside the family.
Adopted Son-in-Law: A system adopting a daughter's husband to inherit the family line and craft.
Deko (Rotating Doll): A kokeshi with a rotating neck mechanism; Yashichi deko of Tsuchiyu is a representative example.
Mingei (Folk Craft): The Japanese folk-craft movement advocated by Yanagi Sōri and others; kokeshi is among its subjects.
Traditional Craftsman: A holder of traditional craft skills certified by the Japanese government.
National Kokeshi Festival: A nationwide event for kokeshi skill competitions and cultural exchange.
Bunjin Kokeshi: Creative kokeshi incorporating literati tastes such as calligraphy and haiku.
Creative Kokeshi: Kokeshi with free expression not bound to traditional lineage types.
Kimekomi (Wood Grain): A technique highlighting beautiful wood grain with minimal painting.

※ Form vocabulary for each lineage is an overview; individual expression varies by artisan and era. For specific artist research, see the Encyclopedia and Genealogy pages.