Hinamatsuri Guide: How to Arrange a Traditional Japanese Doll Display

This is the second part of our Hinamatsuri series, where we dive deeper into the Hinakazari (雛飾り), the beautifully tiered display that brings this festival to life.
If you missed our first article, where we explored the history and significance of Hinamatsuri, you can check it out here: What Is Hinamatsuri?

The Dolls of the Hinakazari Display

The Hina-tiered display represents the wedding of the Male Hina Doll (男雛, Obina) and the Female Hina Doll (女雛, Mebina), both elegantly dressed in Heian-period courtly attire. This tradition of doll arranging dates back to the Edo period and has evolved over time, yet its core elements remain intact, keeping the elegant charm of Japan’s aristocratic past alive.

A full seven-tier Hinakazari display in a traditional Japanese house in Maibara, Shiga, Japan.

Whether you're setting up a full seven-tiered display (七段飾り, Shichidan Kazari) or opting for a more compact version, this guide will help you understand the role of each doll and accessory, ensuring an authentic and visually harmonious arrangement.

Basic dolls and elements.

The dolls are arranged on a scarlet felt mat (緋毛氈, Himōsen), along with miniature accessories that replicate traditional tools, known as Hina tools (雛道具, ひなどうぐ, Hina Dōgu). 
While the traditional seven-tiered display (七段飾り, Shichidan Kazari) remains the standard, its large size can be impractical for many households. Consequently, more compact alternatives, such as the three-tiered Sandan Kazari (三段飾り) and the five-tiered Godan Kazari (五段飾り), have gained popularity in Japan, providing a more practical and space-efficient way to celebrate.
Additionally, the single-tier arrangement known as Shinnō Kazari (親王飾り) is growing in popularity and being seen more frequently.

Preparation of the Hinakazari frame and scarlet felt mat (緋毛氈, Himōsen)

Before diving into the details of the Hinakazari (雛飾り) display, let’s take a quick look at the dolls traditionally included in a full fifteen-person set (決まりもの十五人揃い, Kimarimono Jūgonin Soroi).

 

Arranged from top to bottom, the tiers feature:

1.    Imperial Dolls (内裏雛, Dairibina) – The Emperor (Obina, 男雛) and Empress (Mebina, 女雛), dressed in elegant Heian-era court attire.
2.    Court Ladies (官女, Kanjo) – Two attendants serving the Empress.
3.    Five Court Musicians (五人囃子, Gonin Bayashi) – Entertainers with traditional instruments.
4.    Two Attendants (随身, Zuijin) – Loyal protectors of the court.
5.    Three Servants or Guards (仕丁, Shichō) – Helpers or palace guards (Eji, 衛士), completing the retinue.
6.    Bride’s Dowry Set (嫁入道具揃, Yomeiri Dōgu Zoroi) – Miniature household items symbolizing a well-prepared bride.
7.    Bridal Procession Tools (御輿入れ道具, Okoshiire Dōgu) – Items used in a noblewoman’s wedding procession.

Variations in Display Size

•    Three-tiered display: Imperial Dolls, Court Ladies, and Bride’s Dowry Set.
•    Five-tiered display: Imperial Dolls, Court Ladies, Five Court Musicians, Attendants, and Bridal Procession Tools.
•    Single Display: Only the Emperor and Empress.

Notably, the number of tiers (three, five, or seven) are all odd numbers, as odd numbers are considered auspicious for celebratory occasions.

A three-tier Hinakazari display in a Japanese Hotel in Kansai region.

 

Arranging the Hinakazari Display

Here’s how to arrange a full Hinakazari display with all fifteen dolls across seven tiers, creating a stunning and traditional setup for Hinamatsuri.

Top Tier: Imperial Dolls (内裏雛, Dairibina)

The Imperial Hina Dolls consist of a pair of the Male Hina Doll (男雛, Obina) and the Female Hina Doll (女雛, Mebina), which are considered to represent the Emperor and Empress.

Placement
In Japan, tradition dictates that the left side is superior to the right. 
Historically, the Emperor, represented by the Male Hina Doll, was placed on the left side (the viewer’s right), while the Empress, represented by the Female Hina Doll, was placed on the right side. This arrangement is still followed in the Kansai region.

However, due to Western influence on the Imperial Household after the Meiji period, the standing positions of the Emperor and Empress were reversed.
Following the enthronement ceremony of Emperor Shōwa in 1928, the doll industry association in Tokyo adjusted the placement of the Male and Female Hina Dolls accordingly.
As a result, in the Kantō region, the Male Hina Doll is placed on the right side, and the Female Hina Doll on the left side.

 Left: Male Hina Doll (男雛, Obina) taken out from the storage box during the preparation of Hinakazari.
Right: Female Hina Doll (女雛, Mebina), on display in the top tier of the Hinakazari.

Appearance
- The Male Hina Doll wears an elegant Ikkan Sokutai (衣冠束帯), the formal court attire of an aristocrat.
On his head, he wears a Suiōkan (垂纓冠), a traditional Japanese hat with a hanging tail. However, if the doll represents the Emperor, he wears a similar hat called Ritsuiōkan (立纓冠), but with an erect tail, a style reserved exclusively for the Emperor. 

In his right hand, he holds a shaku (笏), a flat wooden or ivory baton symbolizing authority, while at his left side, he carries a tachi (太刀), a long sword that completes his regal ensemble.

- The Female Hina Doll is dressed in a jūnihitoe (十二単), a stunning twelve-layered ceremonial kimono, and gracefully holds an hiōgi (檜扇), a traditional wooden folding fan, elegantly opened in her hands. 
Her hairstyle varies between the osuberakashi (大垂髪), where the hair is tied back and left to flow down, or the sagari-gami (古典下げ髪), also known as warige (割毛), a classic pigtail style. 
The sagari-gami, which dates back to the Heian period, was a signature look for Female Hina Dolls during the Edo and Meiji periods. 

However, because it requires a high level of craftsmanship, this hairstyle is reserved for only the most meticulously crafted dolls.

Doll Accessories
Behind the Imperial Hina Dolls, you'll find a gold folding screen (金屏風, Kinbyōbu), adding a touch of elegance to the display. On either side, delicate paper lanterns (雪洞, Bonbori) cast a soft glow. Right between the two dolls sits a three-tiered offering stand (三方飾り, Sanbō Kazari), carefully holding a heishi (瓶子) filled with peach blossoms, symbolizing good fortune and the arrival of spring.

Second Tier: Court Ladies (官女, Kanjo)

Refers to the female attendants serving in the imperial court. They emerged in the late Edo period. Usually, the minimum number is three, and they are called "Three Court Ladies" (三人官女, Sannin Kanjo).

Placement
When there are three dolls, they are positioned as follows:
•    "The doll on the left (from the viewer’s perspective) has its left hand extended with fingers straight."
•    "The doll on the right (from the viewer’s perspective) has its left hand bent as if grasping an object."

Appearance
From right to left (from the viewer’s perspective), the dolls hold:
1.    Long-handled sake server (長柄調子, Nagae no Choshi)
2.    Three-legged stand tray (三方, Sanbo)
3.    Lidded sake server (加銚子, Kuae Choshi) / Handled sake ewer (提子, Hisage)

These small accessories represent a wedding ceremony for the Emperor and Empress Dolls. One of the three, often the central figure, is portrayed as older, symbolizing a married woman. She can be identified by traditional markers of marriage, such as shaved eyebrows and blackened teeth.

Regarding the attire of the dolls on the left and right:
•    They commonly wear "a white undergarment kimono (小袖, Kosode) or a long-sleeved kimono (振袖, Furisode) with a scarlet pleated skirt (長袴, Nagabakama)."

Detail of the second tier with the court lady holding a long-handled sake server (長柄調子, Nagae no Choshi).

Doll Accessories
If tall pedestal trays (高坏, Takatsuki) are included, they are placed between the Court Ladies and hold seasonal Japanese sweets such as sakura mochi (桜餅) or kusa mochi (草餅）

Third Tier: Five Court Musicians (五人囃子, Gonin Bayashi)

The Five Court Musicians are a distinct group of five performers, consisting of four rhythm musicians (四拍子, Shibyōshi) from Noh music and one additional chanted narrative singer (地謡, Jiyō).
Unlike the court ladies (Kanjo) and imperial guards (Zuijin), who follow Kyoto-style traditions, the Five Court Musicians were introduced in Edo during the Tenmei era (天明, Tenmei).

In Hina doll displays, which are carefully crafted to reflect courtly traditions, these musicians represent the ceremonial Noh performances once favored by the samurai class. Their presence highlights the historical significance of Noh as a refined and formal art form within the world of traditional Japanese music.

Placement
Similar to Noh performances, the musicians are positioned in the following order from right to left:
1.    Chanter (謡, Utai) – holds a folding fan.
2.    Flute Player (笛, Fue)
3.    Small Hand Drum Player (小鼓, Kotsuzumi)
4.    Large Hand Drum Player (大鼓, Ōtsuzumi)
5.    Stick Drum Player (太鼓, Taiko)

Appearance
The Five Court Musicians are usually portrayed as young boys, which is reflected in their youthful faces and unbound, boyish hairstyles. 

While traditional Noh musicians and chanted narrative singers typically wear black crested garments or formal divided skirts (裃, Kamishimo), Hina doll versions of the musicians may be dressed in either Kamishimo or simpler court robes (素襖, Suō), often paired with samurai-style headgear (侍烏帽子, Samuraieboshi).
Sometimes, their outfits feature varied colors and patterns for added visual interest.

Detail of the third tier with musicians 

In a full 15-piece Hina doll set, the Five Court Musicians are placed prominently at the center. As a general industry standard, their costumes are crafted with high-quality materials, second only to the lavish attire of the main imperial dolls (内裏雛, Dairibina).

Fourth Tier: The Attendants (随身, Zuijin)

At this level, we have the Zuijin, who act as guards for nobility.
Interestingly, the attire of hina dolls representing Zuijin is far more elaborate than what actual Zuijin would have worn. In fact, these figures are thought to be modeled more closely after higher-ranking officials, specifically, the Lieutenant General of the Left Imperial Guard (Sakon no Chūjō, 左近衛中将) and the Major General of the Right Imperial Guard (Ukon no Shōshō, 右近衛少将).

Placement
In traditional Japanese court hierarchy, the Minister of the Left (左大臣, Sadaijin) holds a higher rank than the Minister of the Right (右大臣, Udaijin), following the cultural convention that places the left above the right. However, from the viewer’s perspective, this can feel counterintuitive because when looking at a display or illustration, the Minister of the Left actually appears on the right, while the Minister of the Right appears on the left. 

To make this distinction clearer, the Minister of the Left is typically depicted as an older, more experienced figure, while the Minister of the Right is shown as a younger man.

Appearance
Their attire includes a Japanese style crown on the head, a bow in the left hand, and arrows in the right hand, with a quiver (胡簶, yanagui) worn on the back. 
The Minister of the Right typically has a white complexion, whereas the Minister of the Left often has a tinted complexion.

Detail of the fourth tier featuring Sadaijin (左大臣, the older one) and Udaijin (右大臣, the one with a white complexion).

Doll Accessories
Traditionally, a diamond-shaped rice cake called hishimochi (菱餅) and a pedestal tray (掛盤, kakebansen,) are placed between the Zuijin figures. 
The hishimochi is made up of three stacked layers; red on top, followed by white, and green at the bottom, with each color symbolizing, in order peach blossoms, snow, and fresh greenery. This colorful treat is still sold in Japan during the Hinamatsuri season.

An alternative doll arrangement swaps out the hishimochi for a wooden stair between the Zuijin figures, with the rice cakes placed on a lower tier instead. This variation adds a different visual balance to the display while keeping the traditional elements intact.

Fifth Tier: Servants or Guards (仕丁, Shichō / 衛士, Eji)

Under the Ritsuryō system, Shichō referred to the mandatory labor that adult male commoners were required to perform, often involving various public works and services. Meanwhile, Eji were soldiers assigned to the Emonfu (Guard Office) and the Left and Right Eji Offices, playing a role in maintaining security.

When it comes to Hina dolls, these figures represent male attendants at the imperial court, responsible for handling a range of miscellaneous tasks, essentially the behind-the-scenes support staff of court life.

Dolls
They are usually displayed in a set of three, and based on their facial expressions, they are collectively called "San'nin Jōgo" (三人上戸):
•    "Angry Jōgo" (怒り上戸)
•    "Crying Jōgo" (泣き上戸)
•    "Laughing Jōgo" (笑い上戸)

Detail of the fifth tier featuring the San'nin Jōgo" (三人上戸).

Placement
The San'nin Jōgo are arranged from left to right (from the viewer’s perspective) in the order of angry, crying, and laughing.

There are two placement methods:
1.    Positioning the dolls so that the sleeves with colors face outward on both sides.
2.    Arranging them based on their raised outer hands, ensuring symmetry.

Appearance
In the Kantō region, the dolls are often depicted as attendants assisting with outings.

From left to right (from the viewer’s perspective), they hold:
•    Dai-gasa (台笠, ceremonial umbrella stand)
•    Kutsudai (沓台, footwear stand)
•    Rittō-gasa (立傘, standing umbrella)

Among these:
•    Dai-gasa and Kutsudai are used by the Odairi-sama (男雛, Emperor doll).
•    Rittō-gasa is used by the Ohina-sama (女雛, Empress doll).
Since Dai-gasa and Kutsudai are placed on the left, this aligns with the Kantō custom of positioning the Emperor doll on the left (from the viewer’s perspective).

Accessories
On either side of the San'nin Jōgo, you'll find two symbolic trees:
•    To the left (from the viewer’s perspective, right side of the dolls): Sakura (桜, cherry blossom)
•    To the right (from the viewer’s perspective, left side of the dolls): Tachibana (橘, mandarin orange tree)

These trees are inspired by the Sakon no Sakura (左近の桜, Left Imperial Cherry Blossom) and Ukon no Tachibana (右近の橘, Right Imperial Mandarin Orange Tree), which stand in the Shishinden (紫宸殿, Hall of Purple Radiance).

That said, while this is a commonly followed tradition, there’s plenty of room for variation.
Different regional and local styles often introduce unique arrangements, not just on the fifth tier, but across multiple levels of the Hinakazari display.

Sixth Tier: Bride’s Trousseau Set (嫁入道具揃, Yomeiri Dōgu Zoroi)

On the sixth tier, you'll find items that resemble those traditionally included in the wedding trousseau of high-ranking samurai families, as well as furnishings commonly used in the homes of daimyo-status samurai.
Together, these are known as the "Bride’s Trousseau Set" (嫁入道具揃, Yomeiri Dōgu Zoroi).

This set typically includes a chest of drawers (箪笥, Tansu), a long chest (長持, Nagamochi), a dressing table (鏡台, Kyōdai), a sewing box (針箱, Haribako), an embroidered bag for formal attire (表刺袋, Uwazashi Bukuro), a brazier (火鉢, Hibachi), and tea utensils (茶道具, Chadōgu). In some cases, the embroidered bag is omitted and replaced with a document case (挟箱, Hasamibako).
These items weren’t just practical; they symbolized a bride’s refinement and readiness to manage a household, reflecting the values and traditions of samurai culture.

Six tier featuring from the left: chest of drawers (箪笥, Tansu), dressing table (鏡台, Kyōdai), brazier (火鉢, Hibachi)

Seventh Tier: Bridal Procession Equipment (御輿入れ道具, Okoshiire Dōgu)

The seventh tier, known as "Bridal Procession Equipment" (御輿入れ道具, Okoshiire Dougu), represents the grand wedding procession of a feudal lord’s princess (大名の姫君の御輿入れ, Daimyō no Himegimi no Okoshiire).

At the heart of this display is a beautifully stacked food box (Jūbako, 重箱), symbolizing the luxurious feasts prepared for the occasion. On one side, you'll find a palanquin (Okago, 御駕籠), the elegant transport traditionally used for noblewomen, and on the other, an ox-drawn carriage (Goshoguruma, 御所車), reminiscent of the Heian period's aristocratic travel.

Ox-drawn carriage (Goshoguruma, 御所車) is still in the storage box, waiting to be placed on display.

Adding to the regal aesthetic, two standing umbrellas (Tachigasa, 立傘) are positioned beside the palanquin, enhancing the sense of ceremony. 

While there’s no strict rule for the placement of the palanquin and carriage, the standard arrangement typically places the palanquin on the left when viewed from the front. This careful positioning helps recreate the sense of prestige and tradition that defined noble bridal processions in feudal Japan.

Conclusion
Setting up a Hinakazari display is more than just arranging dolls, it's about preserving a centuries-old tradition, celebrating Hinamatsuri with elegance and meaning. 
Whether you opt for a full seven-tier arrangement or a compact version, each piece tells a story of nobility, beauty, and history.

Want to create your own Hinamatsuri display? Let us know in the comments how you’re celebrating this year! 🎎🌸