In Fukuoka’s scenic Sakurazaka neighborhood, a sloping residential street leads up to Kaigeido, a gallery conceived by Kengo Kuma disciple Shuhei Kamiya and opened in 2023. Inside is the home base of Nakamura Ningyo — the Hakata ningyō doll-making outfit composed of father and son duo Shinkyo and Hiromine Nakamura.
This fusion between the tradition of the company founded in 1917 and the minimalist marvel of the gallery is strikingly clear the moment you step inside. Shinkyo greets me, ready to guide me through both the gallery and the adjacent workshop. Born in 1957, he is the third-generation master of Nakamura Ningyo who has brought his family’s brand into the modern era.
As we exchange business cards, Shinkyo explains that the name of the gallery is drawn from an old kanji that represents a combination of a person and an oni (demon).
“It represents the ability to work like a demon, almost superhumanly,” says Shinkyo, 67, while pointing out that “ningyō” literally means ”human form.” It’s a reminder, Shinkyo says, of his late father’s words: “We are created to create and to not think too highly of ourselves.”
As we walk through the gallery, dozens of exquisite clay dolls are displayed, each a testament to countless hours of perfecting molds with meticulous craftsmanship and dedication.
Originating in the Hakata region of Fukuoka Prefecture in the 17th century, Hakata ningyō are celebrated for their unglazed porcelain finish and intricate artistry. These dolls typically depict figures both from daily life as well as from folklore, the Japanese stage such as kabuki and noh actors, and the samurai tradition. Unlike other forms of Japanese ningyō that are often created for specific festivals or rituals, Hakata dolls convey a broader cultural narrative marked by a focus on realism and emotional depth.
Shinkyo once again quotes his father to explain the philosophy that underscores the spiritual dimension of the craft: “He used to tell me, ‘You're not only making things with your hands and eyes. The power lies not only within you but also in something greater.’”
The renown of Nakamura Ningyo’s dolls are undoubtedly highlighted by his audiences with two popes: in 2011, when Shinkyo was invited to the Vatican to present his work to Pope Benedict XVI, and again in 2019, when he presented a doll of Julian Nakaura — one of the so-called “26 Martyrs of Japan” (Japanese Catholics executed for their faith in 1597) — to Pope Francis during his visit to Nagasaki.
Since its establishment in 1917, Nakamura Ningyo has been a cornerstone of the Hakata doll tradition. Each generation of the Nakamura family has contributed to the evolution of the craft — from Shinkyo’s grandfather, who founded the studio, to his father, who expanded its reach. Shinkyo’s own work is marked by a deep respect for the past, yet it is also infused with a restless curiosity. Under Shinkyo’s leadership, Nakamura Ningyo has explored more contemporary themes, creating dolls that resonate with modern audiences while retaining the artistry and aesthetic principles of their forebears.
There might be no better example of that than Toho Studios' commission of a Nakamura Ningyo Godzilla doll, which was unveiled in connection with the release of the Academy Award–winning "Godzilla Minus One" last year. It’s a 55-centimeter-tall blue and gold rendition of the monster that stands in its own corner of the gallery, threateningly demanding attention.
“It’s a very limited edition, with only 10 in existence worldwide,” says Shinkyo. “The process took years, from the initial sculpture to the final kiln firing. The original Godzilla, played by a person in a suit, inspired its shape. Enthusiasts will recognize its uneven texture.”
The Godzilla project was led by Shinkyo’s son, Hiromine, 38, who represents the fourth generation of the studio’s lineage. During my visit, Hiromine is elsewhere, having just returned to Fukuoka from a work trip. His work reflects the same commitment to excellence as his predecessors but could be said to expand many of his dolls into contemporary art — dolls living in the same greater aesthetic world as sculptures by Japanese pop artists like Takashi Murakami.
Trained in both traditional techniques and modern art, Hiromine is exploring new concepts that challenge conventional notions of what a Hakata doll can be: a baseball cap and player; sneakers; a construction worker.
One of Hiromine’s most famous creations in the gallery is titled “Daimyo’s Large Komainu.” Commissioned by The Ritz-Carlton, Fukuoka and made into a life-sized version that now resides in Fukuoka’s Daimyo Garden City commercial complex, it is a reinterpretation of a traditional guardian figure, a benign yet psychedelic beast that children often play on.
As Shinkyo guides me through the workshop, where an apprentice and employee attend to various series of dolls, it becomes evident that every step, from molding the clay to painting the final details, demands a deep connection with both the material and an understanding of the cultural significance of the figures being crafted. The creation of a larger Nakamura Ningyo doll is an almost unbelievably meticulous process, often requiring 30 to 40 molds for each part and many months or even years of refinement.
“The greatest obstacle to creativity is oneself,” Shinkyo says. “But by preventing the urge to express oneself too directly, one can reach something higher.”
In a world increasingly dominated by mass production, the work of Nakamura Ningyo stands as a powerful testament to the value of tradition as a dynamic and evolving practice.
“Even as a child, I knew I would pursue this profession, and I would often sketch ideas in my mind or in the air, even while bathing, which I do to this day. My son does the same thing. It’s a fun process for me, and I always have a list of ideas to work through.”
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