Art History Ancient Techniques and Evolution of Traditional Japanese Tattoos
Horimono (彫物) is a little-known term to the rest of the tattoo world but is one of the nigh used amongst Japanese tattooists. The use of this term emphasizes a deep respect for the practice. Other poetic terms are used in Japan to refer to Japanese tattooing: wabori (和彫) "Japanese carving", shisei(刺青) "pierce blue", referring to the blue reflections that sumi ink usually takes every bit it ages, bunshin(文身), "trunk ornamentation" and many others.
However, all these terms accept a different connotation from the give-and-take Irezumi . This discussion is often used outside of Nippon and by Japanese people unfamiliar with this civilization. While irezumi is indeed linked to Japanese tattoos, its image and meaning are much more negative.
In this article, we'll encompass the beginnings of Japanese Tattooing, its history, and its development over the centuries.
- The Origins of Traditional Japanese Tattooing
- Tattooing During the Edo Period
- The Influence of Ukiyo-e Art on Japanese Tattoos
- The Popularization of Suikoden
- Who Was Getting Tattooed in Japan?
- Tattooing During the Meiji Era
- The Edo Choyukai Group
- Tattooing During the Showa Era
- The American Influence
- The Role of Horigoro and Horihide
- Why is Tattooing Associated with Yakuza?
- The Image of Japanese Tattooing in the Rest of the World
- Understanding Horimono
The Origins of Traditional Japanese Tattooing
Irezumi (入れ墨), literally "insert ink" started to become a frequently used term past the Japanese population in 1720. It was on this year, during the Edo period (1603-1868), that tattooing started to exist used for castigating purposes on the isle. Irezumi was used to mark people who had committed crimes, using symbols that would vary depending on the crime or region. These marks would range from a simple line around the forearm to a kanji (Chinese character) on the forehead.
Thus, Irezumi does not designate the traditional tattoos that we know today. Nowadays, this discussion can notwithstanding have a very negative paradigm in Nippon, depending on who you lot are talking to. According to the horishi (彫師), a master tattooist I had the chance to meet, this word nevertheless has a debasing connotation and I apace understood that it was best for me to not employ this term.
A horishi is a master tattooist who practices traditional Japanese tattooing. These professionals are craftspeople and it's generally inappropriate to think of them as artists. They tend to dislike this discussion. Simply similar to designate different styles of Japanese tattooing, at that place are words to designate people who practice this craft, including bunshinshi(文身師).
This article is dedicated to the traditional Japanese tattoos called horimono, only there are other forms: Face and forearms tattoos of the Ainu women of Hokkaido, the paw tattoos of Okinawa women, as well equally traces of tattoos dating dorsum to the Jomon era (13000-400 av. J-C.). While we won't swoop further into these types of tattoos in this article, it feels important to mention them.
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Tattoo of Kyumonryu Shishin (九紋龍史進) past the horishi, Houryu (芳柳) -
Engraving of Kyumonryu Shishin (九紋龍史進) by Utagawa Kuniyoshi (歌川 国芳) | Image from Kuniyoshiproject.com
Tattooing During the Edo Period (1603-1868)
To understand the evolution of Horimono, we need to become back to its creation during the Edo era. It's in 1720 that Japanese tattooing referred to equally irezumi is put in strength by the ruling grade. People who committed serious crimes start to go easily recognizable. It'south during this catamenia that Japanese tattooing begins to be perceived in a negative manner by the Japanese population.
The practice of tattooing in Japan also developed in other spheres of society. The courtesans of the pleasance districts would sometimes engage in the tattoo culture with some of their appreciated customers. The tattoo was usually a elementary black dot on the customers also equally on the courtesans to ink their spousal relationship. It was a fashion for these women to have loyal customers and make them come up again.
The Influence of Ukiyo-e Art on Japanese Tattoos
Tattooing kept evolving during the Edo era, either out of entreatment or to hide the punitive tattoos imposed by the rulers. Its evolution is notably due to ukiyo-east (浮世絵) art, the Japanese woodcut print, i of the virtually famous forms of traditional Japanese graphic arts. The engravings of Ukiyo-due east are filled with different themes: landscapes, kabuki actors (Japanese theaters), shunga (erotic scenes), or yokai (creatures of Japanese folklore). Some of these themes and then begin to make their appearance in Japanese tattoos at this time.
The Popularization of Suikoden in Japan
In 1827, tattooing in Nihon experienced a turning signal in its design and paradigm. Information technology was on this date that the master printmaker Utagawa Kuniyoshi (歌川 国芳) began a series of piece of work based on The Suikoden.
Suikoden (Water Margin) is a Chinese novel telling the story of 108 outlaws fighting against a corrupt government. The 36 most powerful outlaws are the main heroes of the story, while the remaining 72, less powerful, are their soldiers. This novel can be seen as the Chinese analogue of Robin Hood. When this novel arrived in Nihon, Utagawa Kuniyoshi seized it to stage its protagonists in many heroic woodblock prints.
Since the Shogunate (the military dictatorship during this period) had access to these prints, Utagawa Kuniyoshi paid attending to the details by adding Chinese influences to his prints, specially in the clothes and swords of the protagonists. Otherwise, the government would have seen these illustrations as disobedience of the printmaker confronting the rulers.
To accentuate the legendary and heroic side of these outlaws, Kuniyoshi depicted them with tattoos representing mythological creatures and religious symbols, covering huge parts of their bodies.
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Tattoo of Tanmeijiro Genshogo (短冥次郎阮小吾) past the horishi Houryu (芳柳) -
Woodblock print of Tanmeijiro Genshogo (短冥次郎阮小吾) by Utagawa Kuniyoshi (歌川 国芳) | Image from Kuniyoshiproject.com
It'south at this period that the premises of the Japanese tattooing that we know now appeared. The Japanese working class found the heroic image conveyed in the Suikoden ukiyo-e prints highly-seasoned, and many craftsmen at the time began to reproduce these tattoos on their own bodies. From Kuniyoshi, inspired past existing tattoo styles, and the Japanese craftsmen, inspired by Kuniyoshi'southward prints, emerged a new grade of tattoo manner and craftsmanship called Horimono in Japan.
Who Was Getting Tattooed in Japan?
Commonly known every bit shokunin (職人), meaning craftsperson, were among the most fervent wearers of this new tattoo armor called Horimono. Traditional Japanese tattooing was also found among the civilian firemen of that catamenia, called Shouboushi (消防士). For these trades, tattooing was a course of belonging likewise equally spiritual protection confronting flames. Indeed, fires were common in the city of Edo (former proper name of Tokyo), which was mainly made of wooden constructions. Information technology's the reason why representations related to water were mutual at the time. Couriers called hikyaku (飛脚) would cross the cities to deliver messages ofttimes dressed just in a loincloth. Tattooing thus became another way of dressing. Another group of people at this period adopted Horimono as a sign of belonging — the kyoukaku (侠客), street knights acting in organized gangs to protect the weak confronting thugs and the government; the ancestors of Yakuza . The latter as well descended from bakuto (gambling managers) and tekiya (street vendors).
The common point betwixt all these social categories is their form difference with the samurai. Samurai saw tattooing as a barbaric exercise and considered themselves also highly ranked to get tattoed. Contrary to these loftier-ranking warriors, craftsmen were non allowed to commit Seppuku (Japanese samurai'southward suicide ritual) and saw Horimono tattooing as a mode to prove their bravery. We tin see hither the notion of rebellion against the ability in place, which is too nowadays in the Suikoden.
Horimono during the Edo period was a common do, not taboo, no did anybody effort to hide information technology. During that period, tattoos were done entirely by hand using bamboo rods and needles. This technique is called tebori (手彫り) "manus etching." The only bachelor colors were sumi (墨, Japanese black ink) and vermilion pigment. During this time, the arts and crafts would continue to evolve in course and precision until the abolition of the Shogunate, and the entry into the Meiji era.
Tattooing During Meiji Era (1868-1912)
The showtime of the Meiji era put an end to Japan's isolation, following the terminate of the Sakoku (鎖国) (from 1633 to 1853), a period during which the Island was closed to the residue of the earth. As Japan started to open, the government was concerned about the prototype it was sending to other countries around the globe. In order to preserve its epitome, the country'southward authorities decided to put an cease to the practice of punitive tattooing (Irezumi) in 1870 and forbade the practice of Horimono in 1872, for fear of sending a barbaric prototype to Westerners. This ban forced Japanese tattooing to go underground. Even every bit the civilization became marginalized, it did non disappear, and the culture of Horimono among the passionate Japanese remained intact. Equally soon equally this law was passed, the horishi were forced to hibernate from the government with false business signs to go on to do their profession in peace.
During this period, Horimono became a rare sight and hidden under the kimono. Ironically, on the other side of the globe, foreigners started to take interest in this new civilization of Japanese tattooing, especially sailors. The popularity of Horimono somewhen reached the British royalty, when Prince George, who would become King George V, gets a dragon and tiger tattooed by a horishi during his stay in Japan in 1881.
The Edo Choyukai Grouping
It was during this period, more than 140 years ago, that a significant group for Japanese tattoo culture was formed: the Kanda Choyukai (神田彫勇會). Kanda was the boondocks's proper name of customers who founded this group, but every bit the number of customers began to increase, the organisation took the name of Edo Choyukai (江戸彫勇会). The Edo Choyukai was an assembly of people being tattoed by Horishi Horiuno I (初代彫宇之). They kept this civilization live to a signal that this group of horimono enthusiasts yet exist today. During all these years of existence, the members of the Edo Choyukai volition be the customers of Horiuno I, then Horiuno Two, as well as Horiuno III. Every year, its member assemble at the Shinto shrine Oyama Afuri (大山阿夫利神社) on Mountain Oyama, between Mountain Fuji and Tokyo, in Kanagawa prefecture. There, Choyukai members participate in a religious ceremony in which they volition, among other things, purify themselves under a waterfall and show their tattoos to the gods, earlier praying within the shrine grounds. The priests who lead the ceremonies and live in the shrine accept been welcoming the Edo Choyukai for generations. They sympathize the spiritual essence of this craft and its importance in Japanese culture and history.
This information comes from a horishi in Tokyo with whom I had the chance to talk.
The Evolution of Tattooing in Japan During Showa Era (1926-1989)
Horimono will undergo great changes starting from the Showa era. Some will exist positive, and others will change the very image of the craft.
The American Influence on Japanese Tattoos
After World War Two, the Americans settled in Japan and dictated their rule for several years. Amid the laws that would exist passed under American force per unit area, the Japanese government was forced to lift the prohibition of tattooing in 1948. Still, the negative image of tattoos will persisted in the eyes of the Japanese population.
The Role of Horigoro and Horihide
After the war, many American soldiers with tattoos were stationed in Japan. Their presence on the island played a function in the evolution of the tattoo profession. Between the end of the 1950s and the start of the 1960s, two horishi volition participate in a revolution of Horimono.
The beginning one is Horigoro I (初代目彫五郎). He encountered an American soldier who owned an electrical tattoo machine, which led him to build his ain machines inspired past the soldier. This is how the beginning Japanese tattoo machines appeared.
The second horishi who played a very of import part in Japanese tattooing is Horihide (初代岐阜彫秀). Horihide is the first Japanese tattooist to plant a connection with an American tattooist. It was during a visit to Senso-ji (浅草寺) temple in Asakusa (浅草), where he met 3 American soldiers with tattoos on their artillery. These colorful tattoos were created with machines, not by hand. Horihide managed to get the business bill of fare of their tattoo artist living in Hawaii, who was none other than Sailor Jerry, a tattoo fable in the United States. Horihide began a letter-writing conversation with Sailor Jerry that lasted for iv years before he went to Hawaii. Sailor Jerry was interested in Japanese imagery, while Horihide was interested in getting all the colours he could to bring back to Japan. Sailor Jerry also taught Horihide how to tattoo with a auto. When he left, Sailor Jerry gave him colours and tattoo machines every bit a souvenir.
Before this meeting, Japanese tattooing was only made with sumi and vermilion pigment. Back in the 24-hour interval, this pigment was a problem. Even after boiling, treating, and removing the mercury from the mixture, it gave strong fevers for one or 2 days after being inserted into the pare.
With these new colours in hand and Horihide came back to Japan, the Japanese tattoo industry transformed. When he explained which American visitor to buy from, colours and machines spread rapidly throughout the country.
This data about Horihide comes from the book Wabori Traditional Japanese Tattoo, which gathers interviews with many horishi, including Horihide.
Why is Tattooing Associated with the Yakuza ?
Between 1960 and 1970, the image of tattooing in Nihon was stained once again. During this catamenia, the proliferation of yakuza movies stormed the Japanese cinema industry, in particular those of the Toei product company. In these films, yakuza are always depicted on-screen wearing Japanese tattoos. This phenomenon has profoundly led to the connotation we know today.
Moreover, in the years 1980-1990, the action of yakuza organizations became more and more intense. In response, the Japanese government passed an anti-gang law on March one, 1992, in order to dismantle many syndicates. The number of yakuza has drastically dropped from almost 180,000 members at its peak in the 1960s, to 28,000 members at the end of 2019.
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Tattoo of Kaosho Rochishin (花和尚魯知深) past the horishi Houryu (芳柳) -
Tattoo of Oni (鬼) and Namakubi (生首) by the horishi Houryu (芳柳)
Information technology'south at this period that the population starts to forbid access of their business to yakuza, especially onsen hot spring businesses. For fear of alluring the wrath of the mafia, the onsen owners simply forbade the entrance to tattooed people. Information technology's important to know that access to sento (銭湯, public bathroom) has never and withal does not forbid tattoos since not all Japanese homes accept a bath and the sento was considered a public necessity.
From and then on, challenges proceed to grow outset for tattooed people in Nihon. Tattooed persons were forbidden to enter onsen or open bank accounts, and became impossible to detect a job. This stigma also affects women, so much and so that some tattoo artists refuse to tattoo them for fear of the complications that could ascend in their lives, and women with traditional Japanese tattoos on their bodies are all the rarer. From this betoken on, simply the Japanese passionate almost this tattoo civilization and the members of the syndicate carry on the Horimono tradition. However, thirty years later, the tradition persists, and the number of practicing horishi doesn't seem to be fading, nor the number of customers. At each visit to a sento, it is possible to meet Japanese people proudly wearing their tattoos. The message of the Suikoden heroes is however present. In spite of demonization by the authorities and a rather negative public opinion towards Horimono, the culture persists and seems to go forward.
The Image of Japanese Tattooing in the Rest of the World
Contrary to what happened within Japan in the 1990s, Horimono became more than and more pop in the tattoo globe around the globe. It'southward in the years 2000-2010 that its popularity explodes. In Europe, in the United States, and in S America, many tattooists commencement to specialize in traditional Japanese tattooing. Nowadays, Horimono has never been and so popular, both amidst tattooists and clients. Japanese tattooing may have go popular in the w, just being able to admire these massive tattoos is not an piece of cake thing.
Understanding Horimono
Understanding the entirety of Horimono is a complex thing. To sympathize this craft, information technology is important to exist familiar with Japanese culture. Talking as much as possible with the Japanese people, with a horishi if yous accept the chance to meet one, studying Ukiyo-e, visiting museums, or going to temples and shrines. All of these are necessary to become a glimpse of the complexity of Horimono. Few foreigners, and fifty-fifty Japanese, are able to empathize and utilise all the rules that govern this arts and crafts. Tattooists managed to achieve this understanding through difficult work and patience. The study of Japanese tattooing is a vast subject, which can final a lifetime.
Horimono is a long and painful process, where patience, passion, and determination are key to complete ane's armour. Gaman (我慢 / がまん), or "patience" is actually another synonym used to describe a Horimono. It takes between 200 and 300 to complete a full-body tattoo, from shoulders to ankles. Even after 120 hours of tattooing, the completion of the piece of work still seems far away. The duration also depends on the tool used, a motorcar will draw the lines much faster than tebori (manus carving) just will insert colours into the skin much faster. Each tattooist works with a different way and speed. Information technology is important to consider all of these details before taking on this challenge. After all the adventures and encounters that a Horimono brought me, I tin merely be thankful to exist in Nihon and see with my own eyes what very few people accept the chance to experience in their lives.
I want to thank Houryu for sharing his cognition with me and for allowing me to use the photos of his work.
Source: https://voyapon.com/horimono-history-traditional-tattoos-japan/