Last year I wrote a blog about the main components of the Girl’s Day/ Hinamatsuri: display, delicacies, and celebrating with friends. This blog will focus more on the history of Hinamatsuri and the interpretation of symbols used in the festival.
The festival was established during the Edo Period in 1687. The highlight of the festival is the set of Hina dolls, all in ancient costumes (kimono). Many of the original dolls survive now as antiques and in museums. There have been many styles over three centuries, but the basic pyramidal style of the two main dolls persist. The Imperial Couple (Dairi-sama) dolls occupy the top step, with the Emperor at the left of the Empress. The three court ladies (Kanjo) and banquet trays occupy the second tier and the other dolls such as the five court musicians are arranged on the lower tiers. There are also peach blossoms, which are important decorations for this festival since it symbolizes a happy marriage. It also signifies feminine traits such as gentility, composure, and tranquility.
Only gradually did the doll-makers and their wealthy customers, evolve the full display with at least 15 dolls and plenty of miniature furniture. In the early 20th century it became more accepted that every little girl should have a Hinamatsuri display, and various smaller and cheaper formats were developed.
Families observe the Hinamatsuri to encourage filial piety, ancestor worship, loyalty, but above all is the love of children by Japanese parents, and their desire to please them.
In 1990, Akira Kurosawa’s film Dreams: Yume (1990) portrayed the Hina display. In the second episode, a small boy has a vision of the Hina dolls come to life and dance for him to help him through the sorrow of his family losing a peach orchard.
Happy Girl’s Day!
