Tattooing for spiritual and decorative purposes in Japan is thought to extend back to at least the Jōmon or paleolithic period (approximately 10000 BC). Some scholars have suggested that the distinctive cord-marked patterns observed on the faces and bodies of figures dated to that period represent tattoos, but this claim is by no means unanimous. There are similarities, however, between such markings and the tattoo traditions observed in other contemporaneous cultures.
In the following Yayoi period (C. 300BC – 300 AD) tattoo designs were observed and remarked upon by Chinese visitors. Such designs were thought to have spiritual significance as well as functioning as a status symbol.
Starting in the Kofun period (300-600 AD) tattoos began to assume negative connotations. Instead of being used for ritual or status purposes, tattooed marks began to be placed on criminals as a punishment (this was mirrored in ancient Rome, where slaves were known to have been tattooed with mottos such as "I am a slave who has run away from his master").
As the power of the common people and working classes of Japan grew in the latter half of the Edo period (circa 18th century) horimono, or traditional Japanese tattoos, began to flourish as art form. Using images from traditional water colour paintings, woodcuts and picture books of the time as designs, the ultimate reward for the patience and endurance of pain would be a tattoo of immense beauty. To experience and enjoy Japanese horimono tattoos it is important to understand their history and background, and it is also important to continue to preserve the traditions behind them.
The origins of traditional Japanese tattoos can be traced back to the latter years of the Edo period in Japanese history.
In 1603, the then ruler of Japan, Tokugawa Ieyasu, centralised his shogunate government in Edo, what is now Tokyo. In the 200 years following this, the established feudal system began to stagnate, and in opposition to the martial upper classes, the common people of Edo began to develop their own separate, unique culture for themselves.
Rejecting the centuries-old strict ethics and morality of the Confucian beliefs of the samurai and taking up themes based on duty, ninjo (human experiences and feeling), fashion and comedy the townspeople of Edo increasingly began to enjoy novels, drama, comic tanka songs and theatre. Books such as kokusenyagassen by Chikamatsu Monzaemon, Honchohsuikohden and Satomihakkenden by Takisawa Bakin and many other publications, along with picture books and artwork all combined to develop into a system that became a massive outlet of cultural expression for the ordinary people of Edo.
In this way the society of Edo progressed, and the pride and mentality of the ordinary people, manifested in such ways as dategokoro (foppish male fashion) and shokunin-kishitsu (the pride and way of thinking of the Edo working classes) of the tobishoku, or blue-collar workers, grew amongst such townspeople as labourers, manufacturers, hikeshi or firemen (in 18th century Edo urban fires were commonplace, and a major cause of mortality, as well as an ample source of tales of heroism) and petty crooks known as gaen. Some of these predominantly working class people of Edo, in imitating the heroes of the folk story Suikohden, as popularised at the time by the famous woodblock artist Kuniyoshi (Suikohden was a legend originating in China, where outlaws who, in defying the local corrupt authorities became folk heroes as protectors of the common people; an oriental equivalent of Robin Hood) began to ritualistically and painfully tattoo themselves with designs based on folklore, such as dragons, giant snakes and Chinese lions, and also with religious figures such as the Bhudda, Fudomyo (the God of Fire), Fujin and Raijin (the Gods of Wind and Lightning) and Kannon (the Goddess of Mercy) using sharp needles to insert pressed charcoal ink under their skin.
The people who carried out such tattooing tended to be ukiyoe woodblock artists, who simply exchanged their wood-carving blades for long, sharp needles. As time progressed however, some of these artists specialised in tattooing and came to devote all their time to tattooing only, and thus became tattooists. This long process has come to produce what is known as the uniquely-Japanese traditional art form, horimono.
There are written records indicating that in Edo as early as 1830 there were formal gatherings of tattoo enthusiasts.
Although nowadays tattoo conventions are common both in Japan and in the West, the fact that in Edo such conventions were taking place over 150 years ago is an indicator of the long and rich history of traditional Japanese tattoos.
The tattoos of the Edo, Meiji and Shohwa eras are described in the classic 1936 work, Bunshin Hyakushi, or One Hundred Tattoo Figures and Stories, by Tamabayashi Haruo.
In the book, the life and works of some of the famous tattooists of the Edo period are described, such as Karakusagonta (from Asakusa), Darumakin and Iso (Yanaka), Charibun (Asakusa), Horitsun (Kameido), Ichimatsu (Asakusa), Kane (Yottsuya) and Horiichi (Osaka). However there is no photographic record of their works and designs, and so one must go by their considerable word-of-mouth reputation.
Horiuno was born Kamei Unosuke in Kanda, Edo in 1843. At this time, tattoos were undergoing a surge in popularity amongst the people of Edo.
Horiuno became a tattooist at the age of 20, but travelled extensively throughout Japan, such as to Osaka, Kyoto and Shizuoka, and only really began working full-time from the age of 40. However, he continued his business well into his 70s and much of his work can still be seen today. Many of his customers were workers in the local construction and manufacturing industries, and in 1912, some of these locals of the Kanda area formed the Kanda Choyu-kai, literally "Tattoo Friends Society of Kanda", and 10 years later, extended membership to those outside the Kanda area, to form the Edo Choyu-kai.
The members of this group, who consisted mostly of labourers such as construction workers, carpenters and plasterers, would meet every year at places such as Ojinanushi-no-taki and Marukotamagawaen, taking part in mass outdoor banquets, or in festivals such as the Asakusa Sanja-matsuri, showing off their extensive and intricate body tattoos with pride.
Horiuno was well known throughout Japan and also overseas, and was said to be Japan's most talented tattooist. However, at that time a wealth of equally-skillful tattooists, such as Horiiwa, Horikane, Kyuta and Nekokichi could be found throughout Japan
Japanese tattoo designs also come in different sizes. Some are meant for small tattoos on the wrist or ankle while others are intended for larger applications on the back or upper arm. Wherever you want your Japanese tattoo on your body, make sure that your chosen design works in that size. With a little research, you can make sure that your Japanese tattoo looks awesome for years to come.
Japanese sleeve tattoos with its rich and intricate details combined with bright colors are very popular among tat enthusiasts. It is becoming a mainstream and are not only getting attention from the males but with females as well. Being very exquisite and decorative, tattooing this theme can take a lot of time, even multiple session thus it can be expensive. However, the idea of sporting an aesthetically pleasing tattoo art on your arm can be rewarding making it so much worth in the finish.
The most common designs for Japanese sleeve tattoo are those that are part of their history and culture such as koi fish, cherry blossoms, samurai, dragon and geisha. Their symbolism and art go way beyond tattoo designs because they hold deep significance in the Japanese psyche. They are the symbols that have been part of Japanese folklore that has lead their prominence in art and culture. They generally represent strength and bravery to go through trials to accomplish one's purpose in life. The kind of message that five wants to convey in his Japanese tattoos.
The dragon has long been an important symbol in Japanese mythology. The Japanese dragon is a fascinating creature with the head of a camel, eyes of a hare, horns of a deer, scales of a carp, paws of a tiger, & claws of an eagle. Additionally, Japanese dragons also commonly have long whiskers as well as a jewel under its chin.
Japanese tattoo designs are catching on sizable time. They have always been around & there's always been artists that specialize in generating authentic Japanese tattoo designs here in the west however, it's typically been more a fringe movement & had fewer devotees. However, this will alter in fact it already has. Right now it is a micro trend of sorts with some short spikes of growth but it is going to catch on large over the next year. This will include Japanese cherry blossom tattoos, koi fish, Geisha & Samurai as well as dragon designs. Most of these will be used on the popular locations on the body.
This bird, which is represented in many different cultures, can also be found in abundance of the backs of tattoo aficionados. Why on the back, I am not too sure, but it seems like the proper place for such an exuberant, mythical creature!The phoenix of Egyptian mythology speaks of an ancient bird that cry was so soulful and beautiful that it could captivate humans in a purely magical way. The creature is said to have lived in the desert for 500 years before it would consume itself in a blaze of fire.
All colors contained the hidden virtues. Red stands for a long life and good luck; yellow is for protection against evil; black is for self-cultivation; blue is for knowledge; white is for peace and purity.Many people tend to do what I feel I have done, as far as the Chinese culture is concerned. Lost in our own mutt-like heritages, we grasp for the beauty and intense values that revolve around both the language and the life that is its ancient culture. In the unending search to belong to something greater (that is, if religion is not much of an option that you are interested in), the Chinese proverbs and drops of wisdom that encompass many of the mythical creatures (phoenix, dragons, etc.)
This Japanese tattoo features a beautifully colored phoenix as the designs main component. The phoenix is of symbolic importance to the Japanese, and is a much revered symbol, usually associated with various celestial elements, such as the stars and sun. The Japanese tattoo designs usually like to entwine the phoenix with the dragon, as you can see on many of their tattoos. This also symbolizes yin and yang for the Japanese, mixing the male and female symbols in an interlocking pattern. Now, this Japanese tattoo doesn’t mingle these two elements but I think that if the artist had it would have been an even more spectacular design. I would have included the dragon locked into fierce combat with this mythical bird. That would have been really cool. But, one component that this Japanese tattoo did incorporate was the cherry blossom. From the symbolism of these two elements, I interpret this tattoo to mean one who has fallen but has since risen from the ashes of their own defeat. A nice sentiment for a nice tattoo and one that’s representative of most Japanese tattoos.
Japanese tattoos can provide a design that fits into just about any body’s personal style. This is to create, in effect a delicate balancing of power with beauty. Usually you see Japanese tattoos with very familiar elements. You might seen various depictions of dragons, carp and even cherry blossoms. And these elements can be fit together in a many different and complex ways. Another popular themes among Japanese tattoos are depictions of great or epic battles. Take this Japanese tattoo as an example. It’s a beautifully inked design and one that is very complex. It appears to show a great battle or struggle and it may have taken it’s roots directly from ancient Japanese fables. This Japanese tattoo goes to show you just how complex and breath taking these designs can be. I especially like the dragon that is nestled in between the two warriors. But, I can’t seem to figure out what the dragon is trying to do. Is it decided the outcome of the battle or simply waiting to see who is the victor. Perhaps the dragon in this Japanese tattoo is waiting to gobble up either warrior. Maybe it’s something that only the bearer or the artist knows the answer to.
