(Ohara Village was renamed to Kōnan Town and is now known as Ōaza Nohara Aza Miyawaki, Kumagaya City).

[2][3] The sculptures are well known among the haniwa from the Kofun-period (250-538 CE) for their simplistic design, unique facial expressions and implied dancing gestures.

Historically, this is the hairstyle of a low-ranking person known as a peasant style (with buns on each side of the head), and because it is equipped with a tool that appears to be a sickle on the back waist,[7] it is classified as a male farmer.

[9] Nevertheless, archaeologist Shuichi Goto later gave the opinion that "there is something to love about the childish craftsmanship.”[8] Fumio Miki, also an archaeologist, wrote that “although it is unskillfully crafted, you can feel a sense of intimacy in the candid expressions.”[5] Japanese art historian Seiroku Noma argues that “at first glance, this kind of expression appears to be at a primitive stage, but it is instead a result of the bold simplification of already partially developed haniwa stylization.

This simple and bold portrayal makes it more interesting than a well-crafted haniwa.”[10] Archaeologist Shuichi Goto identified these two figures as dancing people in 1931.

Therefore, Tsukada argues that both figures should be considered to be male herders,[4] rejecting the earlier interpretation of these haniwa as dancers.