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The years 2020–2022 engraved our existence with epidemiological and political monstrosities that will not be forgotten for quite some time. The COVID-19 pandemic dragged us to contemplating the possibilities of a plague that, rather than being confined to the global south’s ‘invisible’ territories of diseases, heavily affected the global north and with the prospect of wiping out a large number of the world’s population in a similar manner to that of the 1918 influenza epidemic. Governments were caught between choices to either privilege lives or economies and eugenics reared its head as a spectre from the historical past. A benign marine monster, the Amabie, a prophetic yōkai from Japanese folklore, became popular, initially in Japan and, rather rapidly on a global scale, assumed a prominent position, becoming an icon for the COVID-19 pandemic. I interrogate how people resorted to this chimeric creature from marine and historical depths to deal with existential uncertainty and abnormal lives, rendering it a chronotope that connects times and spaces. Such aquapelagic creatures frame the ambiguity of a world where political, environmental and health disasters merge.

The years 2020–2022 engraved our existence with epidemiological and political monstrosities that will not be forgotten for quite some time. The COVID-19 pandemic dragged us to contemplating the possibilities of a plague that, rather than being confined to the global south’s ‘invisible’ territories of diseases, heavily affected the global north and with the prospect of wiping out a large number of the world’s population in a similar manner to that of the 1918 influenza epidemic. Governments were caught between choices to either privilege lives or economies and eugenics reared its head as a spectre from the historical past. A benign marine monster, the Amabie, a prophetic yōkai from Japanese folklore, became popular, initially in Japan and, rather rapidly on a global scale, assumed a prominent position, becoming an icon for the COVID-19 pandemic. I interrogate how people resorted to this chimeric creature from marine and historical depths to deal with existential uncertainty and abnormal lives, rendering it a chronotope that connects times and spaces. Such aquapelagic creatures frame the ambiguity of a world where political, environmental and health disasters merge.

The years 2020–2022 engraved our existence with epidemiological and political monstrosities that will not be forgotten for quite some time. The COVID-19 pandemic dragged us to contemplating the possibilities of a plague that, rather than being confined to the global south’s ‘invisible’ territories of diseases, heavily affected the global north and with the prospect of wiping out a large number of the world’s population in a similar manner to that of the 1918 influenza epidemic. Governments were caught between choices to either privilege lives or economies and eugenics reared its head as a spectre from the historical past. A benign marine monster, the Amabie, a prophetic yōkai from Japanese folklore, became popular, initially in Japan and, rather rapidly on a global scale, assumed a prominent position, becoming an icon for the COVID-19 pandemic. I interrogate how people resorted to this chimeric creature from marine and historical depths to deal with existential uncertainty and abnormal lives, rendering it a chronotope that connects times and spaces. Such aquapelagic creatures frame the ambiguity of a world where political, environmental and health disasters merge.

The years 2020–2022 engraved our existence with epidemiological and political monstrosities that will not be forgotten for quite some time. The COVID-19 pandemic dragged us to contemplating the possibilities of a plague that, rather than being confined to the global south’s ‘invisible’ territories of diseases, heavily affected the global north and with the prospect of wiping out a large number of the world’s population in a similar manner to that of the 1918 influenza epidemic. Governments were caught between choices to either privilege lives or economies and eugenics reared its head as a spectre from the historical past. A benign marine monster, the Amabie, a prophetic yōkai from Japanese folklore, became popular, initially in Japan and, rather rapidly on a global scale, assumed a prominent position, becoming an icon for the COVID-19 pandemic. I interrogate how people resorted to this chimeric creature from marine and historical depths to deal with existential uncertainty and abnormal lives, rendering it a chronotope that connects times and spaces. Such aquapelagic creatures frame the ambiguity of a world where political, environmental and health disasters merge.

The years 2020-2022 engraved our existence with epidemiological and political monstrosities that will not be forgotten for quite some time. The COVID-19 pandemic dragged us to contemplating the possibilities of a plague that, rather than being confined to the global south's 'invisible' territories of diseases, heavily affected the global north and with the prospect of wiping out a large number of the world's population in a similar manner to that of the 1918 influenza epidemic. Governments were caught between choices to either privilege lives or economies and eugenics reared its head as a spectre from the historical past. A benign marine monster, the Amabie, a prophetic yokai from Japanese folklore, became popular, initially in Japan and, rather rapidly on a global scale, assumed a prominent position, becoming an icon for the COVID-19 pandemic. I interrogate how people resorted to this chimeric creature from marine and historical depths to deal with existential uncertainty and abnormal lives, rendering it a chronotope that connects times and spaces. Such aquapelagic creatures frame the ambiguity of a world where political, environmental and health disasters merge.

The years 2020–2022 engraved our existence with epidemiological and political monstrosities that will not be forgotten for quite some time. The COVID-19 pandemic dragged us to contemplating the possibilities of a plague that, rather than being confined to the global south’s ‘invisible’ territories of diseases, heavily affected the global north and with the prospect of wiping out a large number of the world’s population in a similar manner to that of the 1918 influenza epidemic. Governments were caught between choices to either privilege lives or economies and eugenics reared its head as a spectre from the historical past. A benign marine monster, the Amabie, a prophetic yōkai from Japanese folklore, became popular, initially in Japan and, rather rapidly on a global scale, assumed a prominent position, becoming an icon for the COVID-19 pandemic. I interrogate how people resorted to this chimeric creature from marine and historical depths to deal with existential uncertainty and abnormal lives, rendering it a chronotope that connects times and spaces. Such aquapelagic creatures frame the ambiguity of a world where political, environmental and health disasters merge.

The purpose of this article is to approach the collection of traditional Japanese dolls (ningyō) and other toys at the Museu del Joguet in Cataluña (Figueras), studying their characteristics and typologies as well as the figure of their collector, Josep Maria Joan i Rosa. We consider that this is an example of the presence of these Japanese pieces in our country, as well as the relationship that certain figures, collectors in this case, have established over time with Japan. As outcomes and contributions we want to establish a historical framework that tells us about the arrival of these dolls in our country and the interest aroused by them, which has led to various collections such as the Museu del Joguet. In this regard, we want to include an analysis of the present collection, focusing on the different Japanese objects belonging to the definition of ningyō and other toys that make it up. In this way we intend to carry out a study of the collection and thus highlight it in the context of collections of Japanese dolls and toys in Spain, always taking into account a much more general framework that speaks to us of collecting pieces of Japanese art in our country., El fin del presente artículo es acercarnos a la colección de muñecas tradicionales japonesas (ningyō) y otros juguetes en el Museu del Joguet de Cataluña (Figueras), estudiando sus características y tipologías así como la figura de su coleccionista, Josep Maria Joan i Rosa. Consideramos que este es un ejemplo de la presencia de estas piezas de origen nipón en nuestro país, así como la relación que determinadas figuras, coleccionistas en este caso, han establecido a lo largo del tiempo con Japón. Como resultados y aportaciones queremos establecer un marco histórico que nos hable de la llegada de estas muñecas a nuestro país y el interés suscitado por las mismas, que ha dado lugar a diversas colecciones como puede ser el caso del Museu del Joguet. A este respecto, queremos incluir un análisis de la presente colección, deteniéndonos en los distintos objetos japoneses pertenecientes a la definición de ningyō y otros juguetes que la conforman. De esta manera, como resultados, pretendemos elaborar un estudio de la misma y así ponerla de relieve en el contexto de las colecciones de muñecas y juguetes japoneses en España, siempre teniendo en cuenta un marco mucho más general que nos habla del coleccionismo de piezas de arte japonés en nuestro país

Among the many elements that characterize Japan, we cannot fail to mention the doll industry. It was in the Edo period (1603 / 1615-1868) when it reached its peak, this is when the typologies of traditional dolls or ningyō we know today were developed. Most of these pieces fulfill a propitiatory function of good omen, being used as protective amulets against evil spirits, as well as toys, souvenirs or role models. It should be noted that this type of production was maintained during the Meiji (1868-1912) and Taishō (1912-1926) periods until today. Obviously, as time went on, the materials and manufacturing methods have changed in such a way that we can point out the use of vinyl, resin and other plastics, in addition to the use of molds or even 3D printers. Although, these new dolls are still interpretations of traditional models, adapted to the moment of current Neojaponism, which returns the view to manifestations such as manga and anime to inspire their aesthetic form. In addition, we should mention the incorporation of technological elements, resulting in examples such as the Smart Doll of Danny Choo among many others. Through this article we want to point out the points of union between tradition and modernity, based on a concrete example such as Smart Doll, a typology that highlights the incorporation of innovation and technology without losing sight of the past., Entre los muchos elementos que caracterizan al País del Sol Naciente, no podemos dejar de mencionar la industria muñequera. Fue en el período Edo (1603/1615-1868) cuando esta alcanzó su mayor auge, cuando se desarrollaron las tipologías de muñecas tradicionales o ningyō  que conocemos a día de hoy. La mayoría de estas piezas cumplen una función propiciatoria de buen augurio, siendo utilizadas como amuletos protectores contra los malos espíritus, así como juguetes, souvenirs o modelos de conducta. Cabe destacar que este tipo de producción se mantuvo durante las eras Meiji (1868-1912) y Taishō  (1912-1926) llegando hasta la actualidad. Evidentemente, con el paso del tiempo, los materiales y métodos de fabricación han cambiado de tal modo que podemos señalar el uso de vinilo, resina y otros plásticos, además del empleo de moldes o incluso impresoras 3D. Si bien, estas nuevas muñecas no dejan de ser interpretaciones de modelos tradicionales, adaptadas al momento de Neojaponismo actual, que vuelve la vista a manifestaciones como el manga y el anime para inspirar su forma estética. A esto, además, podemos sumarle la incorporación de elementos tecnológicos, dando como resultado ejemplos como las Smart Doll de Danny Choo entre otras muchas firmas. Mediante este artículo queremos señalar los puntos de unión entre la tradición y modernidad, basándonos en un ejemplo concreto como son las Smart Doll, una tipología que pone de relieve la incorporación de innovación y tecnología sin perder de vista el pasado.

The moments of encounter between Japan and Spain have been many, as well as the objects which witnessed these exchanges. Exchanges that in 2018 celebrated their 150 anniversary. Among these objects we can find traditional Japanese dolls that were exported to Spain from the Meiji (1868-1912) and Taishō (1912-1926) eras , and that now, form part of the deposits of different public and private collections in Spain. The objective of this article is to trace the history of the presence of this type of pieces in our country through the news that the illustrated magazines and the Spanish press give us throughout these 150 years of relationships referring to some diplomatic exchanges, the history and origins of these dolls, and some articles about exhibitions since the sources mentioned above inform us that traditional Japanese dolls have been the subject of a lot of exhibitions from the mid-nineteenth century to the present day and have been objects of study in articles and researches. On the other hand, we also include some exchanges, most of them diplomatic, although we will include other equally interesting examples. As a cornerstone, we define the Friendship Dolls case and the exchange between Japan and United States to, later, write about other examples that took place in Spain, like Prince Chichibu’s wedding or the establishment of a sister city agreement between Pamplona and Yamaguchi. These are some examples where Japanese Dolls have been present., Muchos han sido los momentos de encuentro entre Japón y España, así como los objetos testigo de estas relaciones que este 2018 cumplen 150 años. Entre tales objetos, se encuentran las muñecas tradicionales niponas que fueron exportadas a España ya desde los períodos Meiji (1868-1912) y Taishō (1912-1926) y que hoy forman parte de los fondos de distintas colecciones públicas y privadas de nuestro país. Dejando aparte su coleccionismo, es objetivo de este articulo esbozar la historia de la presencia de estas de piezas en nuestro país a través de las noticias que nos brindan las revista ilustradas y la prensa española a lo largo estos 150 años de relaciones, tratando aspectos como intercambios, notas de prensa acerca de la historia y procedencia de estas piezas y textos que aluden a exposiciones; ya que las fuentes mencionadas nos informan de que las muñecas niponas han sido recurrentes en muestras desde mediados del siglo XIX hasta la actualidad, así como objeto de interés y estudio por parte de artículos y reportajes. Por otro lado, y en relación con esta presencia, incluimos también algunos intercambios, la mayoría de ellos pertenecientes a una vertiente diplomática, aunque citaremos otros ejemplos anecdóticos e igualmente interesantes. Como piedra angular, definimos el caso de las Friendship Dolls y el intercambio que tuvo lugar entre Japón y Estados Unidos para hablar de casos mucho más cercanos que van desde la boda del príncipe Chichibu hasta el hermanamiento de Pamplona con Yamaguchi, todo ello con estas piezas presentes.