Nesting Dolls

The folk element which is seen in the artistry of the nesting doll allows not only to raise life's eternal issues, but to realize contemporary life in its everyday and busy form.

Nesting doll are a huge artistic event which requires comprehension. It is both sculpture and painting, both the image and soul of Russia, at once instantly recognizable, while still maintaining a mysteriously charming allure. Our online store has over 1000 different styles of nesting dolls, ranging from the most traditional, to the latest political, entertainment, and sports figures.

History of Nesting Dolls

Known by many names --nesting dolls, matryoshka dolls, babushka dolls, nested dolls, stacking dolls-- Russian Nesting Dolls have captured the attention of children, adults, doll enthusiasts, and art collectors across the globe. From their introduction to the world at the Paris World Exhibition in 1900, to the modern day, the almost deceptively simple concept of a set of smaller dolls nestled within larger dolls has endured not only as a popular children's toy, or a collectible decoration, but as an icon synonymous with Russian culture.

Though the nesting doll of today is a uniquely Russian construct its origins date back to China at the turn of the first millennium. The Chinese crafted nesting boxes, or sets of multiple containers which featured a large box with several smaller boxes of diminishing size inside. Used for both storage and display these boxes date back to the Song Dynasty in 1000 AD; roughly 800 later the Chinese would apply the recursive theme of the boxes to dolls, giving birth to the world's first nesting doll.

The first Chinese nesting dolls were similar to the dolls popular today. The largest doll would open up to reveal a smaller set of dolls, but unlike the Russian variety, the smallest of the set would hold a single grain of rice inside. The idea would soon emigrate to Japan where the concept would be applied to the Shichi-Fukujin, or the Seven Lucky Gods. In Japan sets of wooden dolls were made into the image of Fukurojuro, the Japanese god of happiness, and longevity, and would open up in a nested fashion to reveal the six other Lucky Gods. Legend has it that the first of such dolls was crafted by a Russian monk. One can speculate that this monk may have been inspired by the tale of a golden statue depicting the sky god Jumala worshiped by ancient settlers in the foothills of Russia's Ural Mountains. Myths claim the statue opened up to reveal smaller golden idols. Regardless of whether this monk or this statue have ever existed, the Japanese doll soon caught the eye of the wife of a man named Savva Mamontov.

Savva Mamontov was a wealthy Russian patron of the arts who surrounded himself with artists enthused by the idea of creating and reviving traditional Russian folk art. The idea of a national identity, and preserving the history of Russian culture appealed to Mamontov who founded a Children's Education Workshop in Moscow. The workshop was opened with the intent to create children's dolls highlighting traditional themes of Russian cultures. At the workshop, after hearing from Mamotov's wife of the Japanese Doll, Sergei Maliutin a member of Mamontov's circle of artists was inspired. The idea of nested objects was not necessarily new to Russia, the Chinese boxes had made their way into the country long ago, and the first Faberge Egg crafted in 1885 featured the nested theme of a hen inside of a yolk inside of a enameled gold egg, but Sergie Malytunin's new idea would take this concept and turn it into a symbol, a symbol not just of ingenuity like the Chinese boxes, or a symbol wealth like Fabrege's Eggs, but a symbol of Russia itself.

Malytunin sketched his idea for the doll and enlisted the help of accomplished lather V, Zveydochin to craft the dolls. The first set was made of linden wood, and painted in subtle earth tones by Maliutin himself, the dolls were dubbed, "Matryoshka." The popular female name of the time Matryona, which was derived from the Latin root "mater," or mother, was the inspiration for the dolls title. It was a fitting name for a round motherly figure wearing a sarafijin and an apron from which other dolls emerged. Inside the largest doll were a set of 7 others, six girls and a boy all carrying symbols of Russian peasantry such as scythes, hens, or bowls. The female dolls all wore babushkas, or kerchiefs on their head, and the smallest doll was a baby wearing a diaper. The dolls were all decorated in a way which formed themes still found on many Nesting dolls today. This set of pioneering matryoshki are still on display at the Museum of Toys in Zagorsk.