Kazahari I Dogu, Aomori Prefecture

Details

 She sits in a posture of perpetual prayer. This replica is based on a particularly evocative Dogu figure from the Late Jomon period (1500BC-1000BC), and she is part of the classification of Gassho-dogu, or praying dogu. Something about this serine figure seems to inspire quiet reflection and reverence.

She stands out among other Dogu figures for several reasons, including where and how she was found. Lying on the floor of a pit dwelling, she was discovered on her side as if curled up asleep, but this is not thought to have been her original location. During reconstruction of the house, it was suggested she was given an auspicious position on top of the internal wall facing the entrance, as though her role was to greet those entering the dwelling.

During her long wait for discovery, she must have fallen from her place on the wall onto the floor, causing her to break, a common feature in Dogu figures. In most cases, clay figures were broken, buried or discarded after rituals, but very occasionally, they were repaired, as is the case with this Dogu. Traces of natural asphalt on the cracked left leg suggest that the figure was once careful repaired by its Jomon owner. She must have meant a great deal to her owner to have received this treatment.

Further treatment of this Dogu makes her stand out; traces of pigment indicate that the figure was painted all over in red.  With this replica we have chosen to recreate her unpainted as she appears today. 

The detailed depiction of female genitalia could be interpreted as representing an interest in birth and fertility, and the maks suggests she is dressed for a special occasion. But what does she mean to you?

We made this fascinating figure as part of our work with the new Circle of Stones Exhibition that is now on show at the Stonehenge visitors centre. The exhibition is set in the prehistoric British landscape and allows visitors to enjoy some exquisite objects from Prehistoric Japan. It is the bringing together of two influential Prehistoric cultures in one space.

Limited Edition* 
 Period

 Late Jomon period (1500BC-1000BC)

Materials

Smoke fired Terracotta

Dimensions

Approx. - Height 200mm, width 90 mm, 100 mm depth

General History

The roots of ceramic culture reach deep into Japan's ancient past, with the first ceramic vessels being hand formed by skilled hands around 14,000 years ago at the start of the Jomon period. This ancient cultural blossoming saw the creation of thousands and thousands of mind-blowingly beautiful objects in the form of Flame Pots and Dogu figures. It continued until sometime over 2000 years ago when the advent of rice agriculture and metalworking heralded the beginning of a new phase in Japan's history. 

What are Dogu figures? 

The written characters that make up the Japanese word Dogu mean "earth" and "spirit" or "Soil" and "Doll", depending upon who you ask, and they make up a fascinating collection of ancient ceramic figures that are most famous for representing the human form. More specifically, they are thought to predominantly represent female figures, although there are a few examples of Dogu being made in the form of animals and even plants.   

What is so appealing about Dogu is that they represent a state of self-awareness within the ancient people that crafted them and this sense of self appeals to our modern sense of self. People love to connect and relate with other people.  

What were Dogu used for? 

The question of use may well be the most compelling of all the questions relating to Dogu figures and one to which it is unlikely we will ever have a clear answer. What we know about Dogu is that they have been found in large numbers and often in fragmented states that suggest they had been deliberately broken.  

Archaeologists have found Dogu figures in houses, burials and middens from dates that span the vast expanse of the Jomon period; the number of Dogu figures recorded to date is 18,000.  

What was life like in the Jomon era? 

Jomon enthusiasts widely believe that the Jomon period was a time of abundance when people lived in harmony with nature, hunted and gathered food from the rich forests that made up their home. With all their needs attended to, it is said that they lived in unanimity with one another. In fact, Japan is thought to have enjoyed an unusually high population density during this period, seeing population numbers that were exceptional for a culture that had not yet seen the advent of agriculture. 

What is the Circle of Stones Exhibition at Stonehenge? 

The replicas we have handcrafted for this collection were made as part of our work for the Circles of Stone: Stonehenge and Prehistoric Japan exhibition. The new exhibition celebrates the culture of Prehistoric Japan through a stunning collection of objects from some of Japan's most exciting prehistoric sites. The display will walk you through the story of Japanese settlements, their incredible stone circles and the beauty of the middle and late Jomon craftsmanship. A period of time that was roughly the same time as the building of Stonehenge, two separate cultures leaving an indelible mark on this world. 

Many thanks to Susan Greaney and Simon Kaner for their help in facilitating our visit to see the flame pots at the British Museum and for providing us with additional information throughout the project. 

 Production

Completely hand-built from clays similar to that used by the original potters, this vessel has been fired in a wood fire to emulate the original's surface colouration. When there is evidence of potters' tool use, I have replicated such tools using stone, wood, shell, bone, and antler, based on information gained from marks on original artefacts.

Firing

We have fired this figure to emulate the ancient firing conditions. The original pot was fired in an open wood fire, in close contact with the fuel, a process that leaves its mark on the clay as variations in the surface colour. However, the low temperatures achieved in open firings also result in relatively weak ceramics, so this figure has been fired to a somewhat higher temperature to strengthen it, in a unique firing process that allows me to achieve an authentic appearance to the pot.

 Postage

We send all items using a second-class postal service; if you wish to have an item sent first-class, please contact us for a quote. Many Thanks

* Limit Edition items we make in very small numbers each year for public sale.  The numbers made per year will generally be five or fewer.