Collection: CRAFTED - Voices of the Creators vol.5

Beginning 400 Years Ago,
and Eventually Becoming a Beloved Souvenir

Located just outside Fushimi Inari Taisha Shrine(*), Tanka naturally has many fox figurines closely associated with the shrine. But Fushimi Ningyo are far more diverse than foxes alone.

Their designs range from lucky charms that invite good fortune, such as the twelve zodiac animals and maneki-neko beckoning cats, to figurines inspired by the trends of each era, as well as pieces carrying moral lessons or words of wisdom. Including the smallest varieties, there are said to be as many as 2,000 different types.

The shop is filled from wall to wall with Fushimi Ningyo, including antique pieces that are not for sale. And yet, what is on display is only a small part of the whole world of Fushimi Ningyo. The depth and variety of this craft are truly fascinating.

"Fushimi Ningyo began as figurines made from the earth of Mount Inari, believed to carry the blessings of Fushimi Inari Taisha Shrine. Pilgrims would take some of the sacred soil home and scatter it in their fields, praying for abundant harvests. Over time, people in the area began shaping the soil into clay figurines, which eventually became popular souvenirs for visitors."

Each figurine is formed in a mold, bisque-fired, and then carefully hand-painted. Without a glaze, Fushimi Ningyo retain a simple, warm, and rustic charm.

"At their heart, Fushimi Ningyo were always souvenirs," Onishi explains. "When people hear the words 'traditional crafts,' they often imagine something expensive. But many of our pieces start at around ¥3,000. Visitors are often surprised by how affordable they are, and keeping them accessible has always been important. After all, when there were more than 50 workshops, there was plenty of competition."

That competition encouraged artisans to create ever more appealing designs to attract customers—a legacy that can still be seen today in the remarkable variety and playful creativity of Fushimi Ningyo.

"Today, every step of the process is carried out here in our workshop," says Onishi. "In the past, however, production was divided among specialists. There were artisans who carved the molds, others who carefully prepared the clay, and others who tended the wood-fired kilns. Each workshop had its own character because every craftsperson brought their own expertise."

"Tanka has inherited many molds from workshops that have since closed, so we now have an even greater variety than before. But I believe there must once have been many sculptors who created the original models. Even when they worked on the same subject, their artistic styles were completely different."

Just as countless ukiyo-e artists developed their own distinctive styles, Fushimi Ningyo also flourished through the creativity of many individual sculptors. Their unique interpretations of shared themes gave rise to the remarkable richness and diversity that define Fushimi Ningyo today.

"Out of roughly 2,000 molds, we make around 50 standard designs every year," says Onishi. "In addition, we produce the zodiac animal for the coming year, along with designs that we decide to revive based on our own interests or changing tastes. Altogether, we probably make around 150 different kinds each year. There are still many molds I've never had the chance to use myself."

 That means each visit to Tanka may offer the chance to discover something rare, as the selection changes from year to year.

 The colors of each figurine are based on surviving examples, old photographs, and the knowledge passed down orally from Onishi's father. The use of vivid primary colors has also remained unchanged for generations.

 "Even the noses of the cows and horses have always been painted blue. Most people imagine they should be black or brown, so it might seem unusual at first. But if you look closely at a real animal, you'll notice that the nose actually has a bluish tint. Artisans of the past captured that subtle nuance and expressed it through design. I think that's an incredible sense of color."

 Nostalgic yet surprisingly modern, the artistic sensibility of Fushimi Ningyo continues to feel fresh, even today.

Preserving Handcraft Through the Changing Times

Two types of molds are used to shape Fushimi Ningyo: traditional clay molds and plaster molds. The clay molds are the older of the two, while the plaster molds were introduced after the Meiji period. Today, both continue to play an important role in the workshop.

"Clay molds hardly wear out, even after years of use," says Onishi. "I'd say they can last almost indefinitely. Plaster molds, on the other hand, gradually wear down over time, but they're easier to work with. Each has its own advantages."

A clay mold consists of two separate halves—front and back. Clay is pressed into each half, and while it is still soft, the pieces are carefully removed from the molds and joined together.

"If the clay dries too much, it becomes difficult to remove from the mold," Onishi explains. "So we take it out while it's still pliable. Then we join the front and back halves, adding fresh clay along the seam and blending them together until they become one piece."

The seam requires particular care, as it is the area most likely to crack during drying. Ensuring a seamless finish is one of the most delicate parts of the process.

Plaster molds, on the other hand, require far less work.

"With a plaster mold, the figurine comes out fully formed as soon as it's removed from the mold," Onishi explains. "All that's left is to trim away the thin seam left by the mold, making the finishing process much more efficient. Another advantage is that plaster absorbs moisture from the clay very quickly."

"Clay molds, on the other hand, vary from one another. After being used once or twice, they become saturated with moisture and stop absorbing water effectively, so they need to be left to dry before they can be used again."

"For larger-scale production, plaster molds are by far the better option. Designs that became especially popular were often reproduced as plaster molds based on the original clay molds. Conversely, if a design exists only as a clay mold, it usually means the clay mold alone has always been sufficient."

"People often feel that traditional handcrafts should always rely on the oldest tools and techniques, so I sometimes hesitate to explain this. But there's a practical reason why both types of molds have continued to be used."

Once the figurines have been shaped and thoroughly dried, they are bisque-fired in the large electric kiln. This completes the workshop's spring and summer production. Autumn and winter are then devoted entirely to painting—a rhythm that has been followed year after year.

"During the hot, humid months, nikawa (*), which we use to help fix the pigments, tends to spoil," Onishi explains. "Even before it actually goes bad, the paint doesn't adhere as well, which can lead to peeling later on. I can't say whether every Fushimi Ningyo workshop followed the same schedule, but this seasonal cycle is a very practical way of working."

Twice a year, the workshop is completely reorganized to match the next stage of production. All of the tools are replaced at once, allowing each process to be carried out efficiently without the need for separate workspaces.

Like molding and firing, painting is a task shared by everyone in the workshop. There is, however, one exception: painting the faces. That responsibility has traditionally been entrusted only to the head of the family. Today, Onishi and his father, the previous generation's master, carry on that role together.

"I believe the face is the most important part," Onishi says. "I don't know how closely people notice it, but to me, it matters enormously. Even now, I still feel nervous every time I paint one."

"That's why I never paint faces during interviews like this. I prefer to do it when the workshop is quiet. People often say, 'You're breathing life into them,' but I'm not breathing anything into them," he laughs. "If I really were putting my life into every figurine, I'd be out of life after about twenty of them."

"What I aim for is mu—a state of emptiness. I try to clear my mind completely and paint without distractions."

Perhaps it is precisely because each figurine is created with such an unclouded mind that it is able to receive the hopes, wishes, and feelings of the person who eventually brings it home.

Finding Your Favorite Figurine,
and the Stories They Carry

Fushimi Ningyo can be enjoyed throughout the year, whether displayed as zodiac animals, Hina dolls for Girls' Day, or figurines celebrating Boys' Day and other seasonal traditions.

In Kyoto, another long-standing custom lives on: placing a Hotei figurine on the household shrine. Every year, on the first Horse Day (Hatsu-uma) of February, many families purchase a new one.

"Even today, many people visit us after paying their respects at Fushimi Inari Taisha on Hatsu-uma(*)," says Onishi. "Each year they choose a Hotei figurine slightly larger than the one they bought the year before and place it on their household shrine, praying for the well-being of their family and prosperity for future generations."

Curious to learn about one of Onishi's personal favorites, we asked him which Fushimi Ningyo he would most recommend. His answer was immediate: Choroken.

"Choroken were performers who joined Kyoto's festivals, going from house to house to offer celebratory performances in exchange for small gifts or donations. They're somewhat like a lion dance, but I usually describe them as Kyoto's version of a mascot costume—a full-body character," Onishi says with a smile. "I once saw news about an attempt to revive the tradition somewhere, but as far as I know, it hasn't continued."

Fushimi Ningyo preserve scenes from customs and traditions that have long since disappeared. Choroken are one such example. Their playful, humorous appearance is part of their charm, and they come in many delightful variations, including Saru Choro (Monkey Choroken), Uma Choro (Horse Choroken), and Ofuku Choro, each cherished as an auspicious figurine.

"Recently, Shōki has become especially popular—particularly among international visitors," Onishi says. "According to an American tour guide, when they explain that Shōki figures have traditionally been placed on rooftops in Kyoto to protect homes, people become fascinated by them. I also hear that in eastern Japan, Shōki is displayed for Children's Day."

"Of course, it's not easy to put one on your roof today," he adds with a laugh, "but I'd be delighted if people enjoyed displaying one inside their home instead."

"Whenever I tell stories like these, people start looking for a meaning behind every figurine. But not all of them have a deeper story. The little boy holding a puppy, for example, was simply designed because it's adorable. Some figurines have religious or symbolic significance, while others exist simply because they're charming to look at. Many are delightfully stylized, too. That incredible variety is what makes Fushimi Ningyo so appealing."

"I hope everyone finds the figurines that speak to them and enjoys them in their own way."

Part of the joy of Fushimi Ningyo lies in choosing the one that speaks to you. As you take your time admiring it, you may suddenly notice something unexpected: the back is unpainted. It's not an oversight—it's another tradition that has been passed down through the generations.

"I've always been told that it represents having no 'front' or 'back' with our customers—that is, being open and sincere," Onishi says. "Personally, I sometimes wonder if an artisan came up with that explanation after deciding not to paint the back," he laughs. "But we've continued the tradition just the same."

"That said, some figurines are painted all the way around. Animals, for example, don't have such an obvious front, and most of the zodiac figurines are fully painted as well. Even people who have collected Fushimi Ningyo for years are sometimes surprised when they discover that."

A tradition of craftsmanship with nothing to hide has continued for centuries, and continues to win people's hearts today. Whether you're drawn to a figurine for its auspicious meaning, its delightful charm, or simply because it catches your eye, the more you learn about Fushimi Ningyo, the more irresistible they become.

[Upcoming Events]

July 8, 2026 (Wed) ~ Limited quantities of select products, including colorful tiger figurines, will be available for purchase at "Kyoko-no-mi" in Porta, Kyoto Station Underground Mall.

Pre-orders for the following year's zodiac animal will begin on September 1st. Products are scheduled to arrive at the Kyoto Museum of Traditional Crafts Shop and MOCAD ONLINE SHOP around late November.

Additionally, items are currently available for purchase at the Kyoto Museum of Traditional Crafts Shop.