Door of Hope Wood Dolls
Door of Hope refers to the mission operating in Shanghai China from 1901 to approximately 1947. The dolls, made by the mission
refugees, reflect the influence of two major changes in Chinese culture, the intentions of the missionaries spreading Christianity to a non-
Christian world, and the skill of children and young women of the time.
Chinese Culture in 1900s
Imperialism
Imperial China has been described in Western literature primarily from the late 19th and early 20th century when Western missionaries
and businessmen were active in what had been a very closed country. Similar to the inherent biases found in American literature written
at the time of American western expansion regarding the Native Americans, the picture of Imperial China painted by Europeans was
written from a decidedly European and Christian orientation with little understanding of the rich history that formed the society in the first
place. Consequently many modern day judgments are subject to scrutiny. This topic is beyond the scope if this article, however,
several cultural practices of the time influenced the ultimate production of Door of Hope dolls.
During the late 1800s and the early 1900s Christian missionaries and businessmen from around the world were vying to “save” the
Chinese people or open the market depending on one’s perspective. The result was a rapid urbanization of the once rural area around
Shanghai. Regardless of location, rapid urbanization brings its own issues including poverty and prostitution. Many attempts were made
to limit the slave trade and prostitution either because they offended the morals of the missionaries or because they were bad for the
image of China the businessmen portrayed to their clients. Either way, many attempts were made with little success.
One such attempt resulted in the Door of Hope Mission in Shanghai in 1901. A second Mission was founded in Canton as well. The
Cantonese Mission made clay dolls that were not exported as the wood dolls of the Shanghai mission were.
Overthrow of Imperialism and establishment of the Republic in 1911
After the revolution in 1911, businessmen attempting to improve the image of China as a progressive, not backward society formed the
Chinese Anti-Kidnapping Society. By this time in Europe and America, women were beginning to gain rights, including the right to vote.
The Chinese lack of rights for women was therefore viewed as unenlightened and backward. European and American cultures changed
the rules. If businesses in China wanted to play with the European and American ball, they would have to, at least, appear to change
the rules as well. As such, the thousand-year-old practice of binding girl’s feet was outlawed and the male queue was outlawed.
Chinese Culture after the Japanese Occupation and WWII
Under Communist rule the Door of Hope Mission relocated to Japan, ending the making of the dolls as it focused on practical garment
construction.
Door of Hope Christian Mission in China
In 1900, Shanghai was a busy cosmopolitan city going through the same growing pains of any large urban area: growth and wealth
contrasting with death and poverty. This “Paris of the East” was filled with multinational people with multinational mores. Art and music
thrived, as did the sex trade. As with American cities with a large influx of non-native populations, neighborhoods self-segregated,
providing support to the culture that inhabited the area. Thus the International Settlement and French Settlement resembled the classic
European community with churches and schools and businesses and shops. Religion was Christian based stemming from the
upbringing of those who lived in the settlement. Women carried on a very independent life within the safe confines of the settlement.
Men were occupied with business: financial, during the day within the settlement, and risky (risqué?) in the evening, outside the
settlement.
The native Chinese neighborhoods resembled Chinese areas in other parts of the country. Average family income was significantly less
than in the international settlements. Family mores and culture were based upon the Buddhist faith.
Before 1900, the primary source of family income was agriculture in the rural areas of China. The Taiping Revolt of 1860, as wars
commonly do, shifted the population. As seen in the history of the urbanization of both Europe and America, the promise of fortune and
work in the city lured the members of the agricultural society to the bright city lights. And, as is so often the case, promise and reality
were far apart.
While Shanghai developed into an international business community, native residents of the area developed a thriving business of their
own. Prostitution was rampant in many areas but especially in Shanghai. While rural girls were often kidnapped, poor families also sold
young girls to the brothels to support remaining members of the family. Boys were also kidnapped into the sex trade but little is known
about homosexual prostitution. However, the Door of Hope did provide refuge for girls and boys who sought to escape the sex trade.
Prostitution in Shanghai then was no different then anywhere else in the world. As with any business, it thrived because there was a
demand. There were few laws regarding the practice and even less interest by local authorities to enforce the laws unless there was a
disturbance. The sex trade was euphemistically called the “world of flowers”.
In 1900, European women in Shanghai, by definition, were unique. A single European woman in Shanghai organizing a few others to
participate in a new business to “rescue the outcasts of Chinese society” was – a fact. Miss Cornelia Bonnell established the Door of
Hope Mission. She organized support both financial, from around the world (especially America, England, Australia, and South Africa)
and political, from the Chinese legal system. While a few girls escaped to the mission on their own, it was the courts placement of girls
convicted of prostitution that provided a consistent stream of residents. Ultimately, the Mission expanded with the help of local
businesses and churches as well as foreign donations and missionaries. Local philanthropists withdrew support in 1909 when the
missionaries insisted on marrying girls off to Christians. It was one thing to clean up the brothels and quite another to belittle and ignore
the prevailing basis of belief.
Nor did all of the placed residents accept the “rescue” provided by the Door of Hope. The mission required adherence to a strict routine
including training in Christian religion. The goal was to teach self respect and provide a sense of control. The reality was that sewing
alone did not provide adequate means to achieve independence in society and the forced training in religion was not palatable to all.
Some saw their rescue as a prison, and as with any prison, sought to escape. The consistency of this discrepancy in goal and reality,
as well as intent of the rescuers and perspective of the rescuees, across time and culture, is a problem societies and public policy have
wrestled with for centuries.
The critical factor in any business is cash flow. That was as true in 1900 China as it is today. The mission depended on its donations
but also produced its own goods. Garments were largely hand made, as industrialization of the industry had not reached China.
Sewing and embroidery has traditionally, at least until the 1970s, been a critical part of the training of young girls in many cultures. This
was a skill most European women, including the missionaries, knew well. It was natural then that a skill taught in the home, sewing,
would be turned into a cash flow item. Clothing, trousseaux and dolls all required fine skill with a needle and thread.
Skill of the Chinese as Expressed in the Dolls
The Dolls
Door of Hope Dolls Imported to America
There are three primary sources of the dolls in America. One occurred when the missionaries brought the dolls to America themselves.
These were usually brought to the country for family and exhibition at fundraisers.
The other two sources of the dolls in America were Elsie Clark Krug and Kimport Imports in Independence, Missouri. Funk reports that
in 1914 only ten different dolls were usually produced though Sicard notes that her collection of 21 dolls were from the estate of Mrs.
Ludlow who used them in a talk in 1910. Over the course of the next twenty years, the 25 characters known to Krug and Kimport
evolved. Kimport spent months finding dolls to import and first listed Door of Hope dolls in 1937. Kimport Imports lists 15 dolls available
in its 1941 catalog including:
1. bride, old style (referring to the bride in red with the hat but no veil)
2. groom
3. modern bride (referring to the bride with the long dress and flowers in the hair) first time listed in the catalog
4. young gentleman
5. amah and baby the amah is referred to as the nursemaid
6. amah
7. little boy (6” now referred to as the small boy)
8. little girl (6” now referred to as the small girl)
9. farmer (the only adult marked as 12”) referred to as Chang
10. mourner
11. widow
12. Buddhist priest
13. grandfather referred to as the old philosopher
14. grandmaother referred to as the old philosopher
15. Manchu lady
In the catalogs of 1938-1941, all of the adults are marked as 11” with prices ranging from $4.45 for a small child to $9.95 for the bride
with veil. While Kimport sold dolls in 1938-41, they were, according to their records, unable to import any more after June of 1939.
Given that the mission was burned in 1937 during the Japanese occupation, that is consistent. In a letter on Door of Hope letterhead
dated 1947, Clara Nelson stated that the mission has resumed making a few dolls however had difficulty obtaining materials and
controlling costs. While she offers to make and ship dolls to Kimport, Kimport never received any after 1939.
Elsie Clark Krug was the editor of Doll Collector Magazine at the time. She traveled around the world in the late thirties stopping in
Shanghai. At that time, she “bought what they had” and ordered more. In a letter dated 1958, she writes to doll collectors about the
Door of Hope Dolls:
In 1939 the Door of Hope planned to put up a new building. But war had already started in China, the Communists against the central
government and also Japan against China. Difficulties multiplied. A letter dated June 22, 1939 says tersely, “I am so sorry not to be
able to complete your order.”
A letter dated March 9, 1940 says: “Postage has gone to be four times the original price and (export) duty likewise, while silk materials
are almost unprocurable.
A letter of Aug.21, 1946 foreshadows the end: “It seems impossible to get the heads; and then the matter of clothes. In Shanghai...
prices are prohibitive—With us in Shanghai it is four times as expensive to live and of course materials, wages, etc. have gone up
accordingly… To get the particular kind of wood and the price make it almost impossible… So you see how difficult it is for us.”
Dating the dolls
Initially there was one primary carver but apprentices also worked on the doll heads producing inherent variations. Dolls were produced
for thirty-five years so there were later carvers with later styles producing variations in the dolls. Most likely scrap wood was used for
the small heads, tiny arms, legs and feet resulting in variations among species of pear wood used to make the heads. Some dolls do not
have the wood arms. Sicard postulates that given the running of the operation and often shortage or parts, this lack of arms is indicative
of nothing—simply a shortage or parts not a time in the manufacture of the dolls. Many girls, with many teachers, over many years,
were taught to sew with the dolls, so variation in skill must be expected. Fabrics were donated so variation in color and pattern is to be
expected. Size of the doll is sometimes used to distinguish early from late. In available original records, adults were between 11” and
12” (with children in proportion) with no distinction as to time of manufacture. Early writers such as Sicard clearly define “Modern” in the
name of the Modern Bride as referring to her post-imperialism garb found after 1911, not referring to date of manufacture. Because of
all these variations, there is little way to definitively date a given doll as records of goods and receipts were probably burned with the
mission during the occupation by the Japanese in 1937.
Variations abound but few hard rules exist to exactly date a given doll. Changes in the Chinese political and social arenas give
approximate dates. In 1911, two laws changed in reaction to previous Imperial policies. Women’s feet were no longer to be routinely
bound. Men could no longer wear the queue.
According to Wikipedia, “Footbinding… was a custom practised on young females for approximately one thousand years in China,
beginning in the 10th century and ending in the early 20th century. In Chinese foot binding, young girls' feet, usually at age 6 but often
earlier, were wrapped in tight bandages so that they could not grow and develop normally; they would, instead, break and become
highly deformed, not growing past 4-6 inches (10-15 cm). As the girl reached adulthood, her feet would remain small and dysfunctional,
prone to infection, paralysis, and muscular atrophy. This was initially a common practice only in the wealthiest parts of China,
particularly in areas around northern China. However, by the late Qing Dynasty, foot binding had become popular among people of all
social classes except the poorest, who needed able-bodied women to work the fields.” It would be correct to say that a doll depicting a
wealthy woman with bound feet was made prior to 1911, while those of wealthy women without bound feet were made after 1911.
Bound feet were more common for wealthy women but were not limited to wealthy women. Consequently, some dolls depicting servants
may be found with bound feet and would have been made prior to 1911 when binding was legal, while some dolls depicting servants
without bound feet could have been made prior to or after 1911. There is no way to tell for sure.
Once the queue was outlawed, male dolls were often made with the queue attached to the hat. The painting of the hair on the male
dolls changed from the round circle to a more traditional Western painting style for hair. When looking at a doll’s hair then, it would be
correct to say that a male doll with the queue attached was probably made prior to or about 1911, while a male doll with a part wearing a
hat with a queue was probably made about 1911. A male doll with the part and sideburns is probably made sometime after 1911.
Further differentiation by time is not possible by male hairstyle. Hence it is more accurate to say that a doll has a Manchu hairstyle or a
Western hairstyle then to refer to the styles a early or late.
Girls frequently wear braids even today, consequently it is impossible to say with certainty that a girl with braids had to be made before
1911. The bobbed hair for girls, and women as well, was not popular until the 1930s. So a doll with a bobbed haircut was probably
made towards the 20s and 30s, but well after 1911. There is no reliable way to determine by hairstyle if a female doll was made
between 1911 and the 1930s.
Some hair was carved. This occurred due to the station represented ie the Manchu woman’s headdress or the farmer’s braid. Some
was raised as in the earlier (1911 era) groom and the later girls with comb marks in their bobs. Some hair carving includes ornaments
such as the child’s barrettes , carved earrings or flowers. Very little can be used in the carving to date the doll, but it clearly enhances
the characterization.
Style of clothing in the Chinese culture is consistent across time. Rich and poor wore the same style with differences in colors.
However, the Bride’s costume is the exception to this. Her costume ranges from a complexly embroidered gown with hat and veil, to a
somewhat less complex embroidery with hat and no veil to a simple long garment with flowers in her hair. The elaborate bridal gowns
with hats and veils are characteristic of Imperial class China. While the Imperial rule was overthrown in 1911 and replaced by the
Republic, the dolls were made to represent particular classes. As such a doll made after 1911 to represent an Imperial Bride would still
have been made with the hat and veil. Another note, the brides of Imperial China in the North wore one piece dress while the brides of
Imperial China in the South wore two piece dress. Differences in style of bride in red are related to location of the bride, not time of
manufacture. Again, this costume is not a reliable indicator of when the doll was made but simply of whom the doll represents.
Any doll in America purchased either through Kimports or Elsie Krug by definition was made “later” as neither even knew about the dolls
until the mid 1930s. Missionaries would have brought “early” made dolls home as they had access to the dolls on their travels earlier in
the century.
There is no reliable way to say when a doll was made, only that the doll depicts a Chinese person of a particular time.
The Wood
The carving is reputed to have come from the Ningbo region of China. This region is noted for its many species of fine pear wood and
talented carvers. Pear wood is a hard wood, difficult to carve, yet yielding beautiful pieces. The wood varies in color from a deeper
yellow in the outer rings to a creamy yellow at the center. The Ningbo area of China produces many wood products including furniture
and dolls.
There are then variations in facial tone due to the part of the wood used to carve the head. The closer to the center of the branch, the
lighter the complexion. Caution must be noted here as some dolls have picked up oils and pollutants from being handled. An
examination of the neck of the doll will usually reveal a truer tone as that part of the wood is generally protected by the clothing.
There is some controversy over the type of wood. Sicard reports the Donna Cristensen of the Center for Wood Anatomy and Research,
at the United States Forest Products Laboratory, issued a report to the author stating, in part, “Confirming our telephone conversation,
the wood samples from both dolls have been identified as Euonymus. The exact species cannot be determined since we have nothing
in our files on those native to China.” However, it may be relevant to note that both pear and euonymus are of the same plant kingdom,
division and class. The word for the woods in Chinese is very similar possibly causing confusion in translation. They are of different
orders but both are indigenous to the forest of China, in particular the Ningbo region.
It is very likely that the doll heads were carved of scrap wood. Since there are many trees of the same genus growing wild in the Ningbo
area of China, it is likely that there are slightly different species of “pear” woods in the heads.
Number of dolls
The dolls were entirely hand made, taking as much as a month to complete one doll. They were produced from 1902 until the burning
of the mission in 1937 during the Japanese occupation. Estimates of the number of dolls actually made range from less than 20,000 as
many as 50,000. Lynn Murray estimates 18,900 dolls were made if 45 girls made one doll per month for 35 years. That would be a
maximum number as it is unlikely that there were a maximum number of workers working at maximum production for the maximum
number of years!
However many dolls were produced, they were not kept in China. These dolls were not play dolls and certainly not for Chinese children
who did not traditionally play with dolls. These small artworks were ambassadors made for export to the missionaries for raising funds
to support the mission. Of the limited number of these hand fashioned pieces, some were sent to South Africa, some to Australia, some
to England and some to America.
The Clothes
Clothes make the man not only in the West but also in the East. The clothes depict the doll’s place in Chinese society. There are 25
main characters, two special order characters and one unique set known.
Main characters
Bride: There are at least four brides found. One is very traditional with the long veil, one has the head piece but no veil, one has a
different style cut to her dress and the modern bride. The traditional brides wear red-a color symbolizing joy. The head pieces are often
decorated with tiny mirrors to ward off evil.
Groom: The groom is dressed in traditional dark silk satin with the mandarin, or mark, of his family rank. He may wear a tan conical hat
with the red string and bead or he may wear a silk satin hat with feather, bead and red tassel. The example here, has the queue
attached to the hat instead of the head suggesting he was made about the time the queue was outlawed.
Modern Bride "Modern" refers to her dress as being post imperial style as opposed to the imperial court style of previous brides. It is
pink satin with floral embroidery. She wears flowers in her hair as opposed to a hat or veil.
Elder Man or Philosopher: Generally dark silk full length robe over trousers with a waist length jacket. He often has a simple dark hat.
His countenance is carved with wrinkles and his hair is streaked as if gray.
Elder Woman or Philosopher: Generally dark silk fingertip jacket over black silk skirt and trousers. Her hat is generally not beaded
though is otherwise similar to the young lady. Hair is drawn back into a simple bun with gold hair clip. Bangs may be pulled (as was
done for married women in some parts of China) or present. Her countenance is carved with wrinkles and hair is streaked as if gray.
Young Man: Generally silk full length robe over trousers with a waist length jacket Fabrics are usually of lighter colors than the elderly
couple.
Young Woman: Generally silk fingertip length robe over trousers. Fabrics are usually of lighter colors than the elderly couple. Hat is a
band covering the ears, usually beaded. Hair is drawn back into a simple bun with gold hair clip. Bangs may be pulled (as was done for
married women in some parts of China) or present.
Young Woman in long silk dress: Generally has a bobbed hairstyle with a simple long silk robe or pao.
Table Boy or table servant: Young man with a pale blue cotton robe and a dark sleeveless vest. Often has a simple hat. May have hair
painted with the circle and attached queue or the parted hairstyle common after 1911.
Amah or servant: wears a white or light blue tunic over light blue pants. May come with a white or blue apron that attaches to the frog
closure at her neck. May have a simple hat similar to the elderly woman. Hair is drawn back into a simple bun with gold hair clip.
Bangs may be pulled (as was done for married women in some parts of China) or present.
Amah and Baby or Nursemaid or Cantonese Amah: As above but also wears a baby carrier tied diagonally across the front. The carrier
may or may not be embroidered. Hair is drawn back into a simple bun with gold hair clip. Bangs may be pulled (as was done for
married women in some parts of China) or present. The baby is costumed with a little hat with “tiger ears” to grow up strong and
fearless. The baby's legs are spread to mold to the back of the Amah. The baby may or may not have shoes. If there are shoes, they
have “kitten ears’ so the baby may walk as quietly as a kitten.
Baby in Bunting: The baby is costumed with a little hat with “tiger ears” to keep away evil. There is an embroidered collar, The baby is
wrapped in a, usually red, silk blanket tied with cord. The baby's legs are straight.
Kindergarten Child: The child is costumed with a little hat with “tiger ears” to grow up strong and fearless. There is an embroidered
collar. The shoes have “kitten ears’ so the baby may walk as quietly as a kitten. This child's legs are straight. The apron has a pocket
in front Note the writing on this child's robe. It means older child in Chinese.
Small Boy in Silk: 6 inch child with either hairstyle of the young adult male. Generally silk full length robe over trousers with a waist
length jacket He may have a simple silk hat.
Small Girl in Silk: 6 inch child dressed fingertip length robe with trousers. Hair has a carved braid with an added queue. She often has
a band type hat with “fringe” of silk thread to represent hair.
Boy in Silk: as above for the 6 inch child but is sized between 7-9 inches.
Girl in Silk: as above for the 6 inch child but is sized between 7-9 inches.
School Boy in Cotton: Sized between 7-9 inches, the boy is carved as the boy in silk but wears cotton tunic and pants of blue with a
dark sleeveless vest similar to the table boy
School Girl in Cotton: Sized between 7-9 inches, the girl is carved similar to the girl in silk but wears a cotton fingertip length top or
jacket and trousers. The girl’s hair may be carved in a braid with a hair braid added. The hair may also be carved in a braided bun
with flower or double buns.
Manchu Woman: wears a simple pink long silk gown with no embroidery. Her headdress is T shaped and may or may not have tassels.
Her feet are carved as bound feet.
Rice Farmer: wears a blue cotton tunic with bamboo rain cape and skirt. He has carved hands with a hole to hold implements. He has
carved bare feet for working in the fields. His trousers are calf length for the same reason. His head has a carved braid encircling it.
The braid circled the head to keep the queue out of the way while working.
Policeman: wears a blue serge wool uniform and a conical shaped tan hat. He has a medal badge or insignia. The policeman is
generally slightly taller as the policemen in China came from outside Shanghai and tended to be taller.
Mourner: wears a natural sackcloth outer robe tied with a straw rope. He has an unbleached robe underneath. He wears a tall had with
three vertical braided straw bands and cotton balls dangling from it to catch his tears. He carries a stick to ward off evil.
Widow: wears the same sackcloth as the mourner but it is fingertip length. She also wears the unbleached robe underneath. Her hat
however is shaped as a hood.
Priest: wears blue cotton garments under a saffron robe, often tied instead of using frogs. He has a bald head with three columns of for
rows of indentations representing the scars from burned cones.
Special orders
Two special orders are known. They are the nurse and the Buddhist nun. Very few have been documented.
Nurse: wears a white or light blue tunic over light blue pants. The tunic has a pin or insignia similar to the policeman. May come with a
white apron that attached to the frog closure at her neck. May have a simple hat similar to the elderly woman. Hair is drawn back into a
simple bun with gold hair clip. Bangs may be pulled (as was done for married women in some parts of China) or present.
Buddhist Nun: is a child of about 9-12 years with a unique hairstyle. The nuns shaved their heads but left a small ring of fringe. This
nun is dressed in the traditional red color of a Tibetan nun.
Unique set
The Delaware Historical Society has a pair of Korean adults from the Door of Hope Mission.
Bibliography
Annual Report. Door of Hope Mission 1939.
Brochure. Kimport Dolls. Pages from 1939 and 1941.
Coleman, Dorothy, and Evelyn. McKim Studios and Kimport in the 1930s. Doll Reader. June/July 1992. pp 98-101.
Forrest, Carol. http://www.bandcantiques.com
Funk, Shirlee. The Door of Hope: “Model Dolls” from Tsi-Liang-Soo. Ningyo Journal, Winter 1999-2000. pp 10-14.
Funk, Shirlee. Opening the Door of Hope. Ningyo Journal, pp 14-15.
Krug, Elsie. Correspondence dated January February 1958.
Lalli, Mary. Dolls with a Mission. Doll Reader. Feb 1996. pp 54-57.
Merrill, Madeline. Door of Hope Dolls. Avail from author
Murray, Lynn. From the World of Flowers through the Door of Hope. Antique Doll Collector. May 2007. pp20-25, 48-53.
Nelson, Clara. Correspondence dated August 1947.
Sefton, Joyce. Shanghai Treasures Door of Hope Dolls. Doll Reader. Feb 1996, pp 66-70.
Sicard, Mary Eveline. The Door of Hope 100 Years of History, Part I. Antique Doll Collector, Nov/Dec 1997 V1 #1 pp3, 40-47.
Sicard, Mary Eveline. The Door of Hope 100 Years of History, Part II. Antique Doll Collector, pp. 32-39.
Sicard, Mary Eveline. Identifying Door of Hope Dolls. In Doll Collectors Manual. Doll Collectors of America, 1983. pp 147-158.
Wikipedia search for Chinese wood, pear and euonomous.
Recommend additional readings on Chinese Culture to truly understand the dolls and the little hands who created them.
