Irezumi is a Japanese word that refers to the insertion of ink under the skin to leave
a permanent, usually decorative mark; a form of tattooing.
The word can be written in several ways, each with slightly different connotations.
The most common way of writing irezumi is with the Chinese characters 入れ墨 or 入墨,
literally meaning to "insert ink".
The characters 紋身 suggest "decorating the body".
剳青 is more esoteric, being written with the characters for "stay" or "remain" and
"blue" or "green", and probably refers to the appearance of the main shading ink under
the skin.
黥 is rarely used, and the characters 刺青 combine the meanings "pierce", "stab", or
"prick", and "blue" or "green", referring to the traditional Japanese method of tattooing
by hand.
History of Japanese tattoos Tattooing for spiritual and decorative purposes
in Japan is thought to extend back to at least the Jōmon or paleolithic period.
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 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 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.
Ainu tattoos The Ainu people, an indigenous people of Japan,
are known to have used tattoos for decorative and social purposes.
There is no known relation to the development of irezumi.
The process of irezumi was very painful for the tattooist as well as the "victim" as the
tattooist had to endure much screaming in pain.
Japanese tattoos in the Edo period
Until the Edo period, the role of tattoos in Japanese society fluctuated.
Tattooed marks were still used as punishment, but minor fads for decorative tattoos, some
featuring designs that would be completed only when lovers' hands were joined, also
came and went.
It was in the Edo period however, that Japanese decorative tattooing began to develop into
the advanced art form it is known as today.
The impetus for the development of the art were the development of the art of woodblock
printing and the release of the popular Chinese novel Suikoden, a tale of rebel courage and
manly bravery illustrated with lavish woodblock prints showing men in heroic scenes, their
bodies decorated with dragons and other mythical beasts, flowers, ferocious tigers and religious
images.
The novel was an immediate success, and demand for the type of tattoos seen in its illustrations
was simultaneous.
Woodblock artists began tattooing.
They used many of the same tools for imprinting designs in human flesh as they did to create
their woodblock prints, including chisels, gouges and, most importantly, unique ink known
as Nara ink, or Nara black, the ink that famously turns blue-green under the skin.
There is academic debate over who wore these elaborate tattoos.
Some scholars say that it was the lower classes who wore—and flaunted—such tattoos.
Others claim that wealthy merchants, barred by law from flaunting their wealth, wore expensive
irezumi under their clothes.
It is known for certain that irezumi became associated with firemen, dashing figures of
bravery and roguish sex-appeal, who wore them as a form of spiritual protection.
Tattoos in modern Japan At the beginning of the Meiji period the Japanese
government, wanting to protect its image and make a good impression on the West and to
avoid ridicule, outlawed tattoos, and irezumi took on connotations of criminality.
Nevertheless, fascinated foreigners went to Japan seeking the skills of tattoo artists,
and traditional tattooing continued underground.
Tattooing was legalized by the occupation forces in 1948, but has retained its image
of criminality.
For many years, traditional Japanese tattoos were associated with the yakuza, Japan's notorious
mafia, and many businesses in Japan still ban customers with tattoos.
Although tattoos have gained popularity amongst the youth of Japan due to Western influence,
there is still a stigma on them amongst the general consensus.
Unlike the US, even finding a tattoo shop in Japan may prove difficult, with tattoo
shops primarily placed in areas that are very tourist or US military friendly.
According to Kunihiro Shimada, the president of the Japan Tattoo Institute, “Today, thanks
to years of government suppression, there are perhaps 300 tattoo artists in Japan.
There are even current political repercussions for tattoos in Japan.
In 2012, the mayor of Osaka started a campaign to rid companies of their employees with tattoos.
According to an article written about Hashimoto “He is on a mission to force workers in
his government to admit to any tattoos in obvious places.
If they have them, they should remove them—or find work elsewhere.”
Hashimoto’s beliefs were fairly well received by the public as well, with many large companies
who were already “tattoo-phobic”, siding with him.
Modern tattoos in Japan are done similarly to western ones.
Unlike traditional irezumi, where the majority of the tattoo decision making is left up to
the artist, customers bring in a design of their choice or can decide on what they would
like at the shop.
Many Japanese artists are well-versed in multiple styles besides traditional Japanese tattoos,
giving customers the ability to select from a wide assortment of options, anywhere from
tribal to new age styles.
Modern tattoos are done via an electric machine, in which the ink can be inserted into the
machine or the needle tip can be dipped into ink for application.
Japanese artists are lauded for their quality of work, despite being a bit pricey, and are
highly sought after.
“Despite widespread discrimination towards people with tattoos, with rules that prohibit
tattooed people into hot springs, golf courses and gyms, it is still one of the best places
in the world to get the best quality ink jobs.”
Despite the majority of modern tattooing being done by needle gun, irezumi is still done
traditionally.
The ancient tattoo style is still done by specialist tattooists, who might be difficult
to find.
Unlike western style tattoo artists, the majority of traditional irezumi artists aren’t located
in the Tokyo area.
It is painful, time-consuming and expensive: a typical traditional body suit can take one
to five years of weekly visits to complete and cost in excess of US$30,000.
The process is also much more formal than western tattooing.
Whereas western tattoo artists tend to do exactly what you request, traditional irezumi
artists tend to go back and forth with the customer and discuss what they would like
the tattoo to look like as well as reserve the right to refuse service.
Rather than electric guns, wooden handles and metal needles attached via silk thread
are utilized.
Process
The prospective tattooee must first find a traditional tattoo artist.
This in itself can be a daunting task because such artists are often surprisingly secretive,
and introductions are frequently made by word of mouth only.
A traditional tattoo artist trains for many years under a master.
He will sometimes live in the master's house.
He may spend years cleaning the studio, observing, practicing on his own flesh, making the needles
and other tools required, mixing inks, and painstakingly copying designs from the master's
book before he is allowed to tattoo clients.
He must master all the intricate skills—unique styles of shading, the techniques used for
tattooing by hand—required to create the tattoos his clients will request.
He will usually be given a tattoo name by his master, most often incorporating the word
"hori" and a syllable derived from the master's own name or some other significant word.
In some cases, the apprentice will take the master's name, and will become The Second
or Third.
After an initial consultation during which the client will discuss with the tattooist
the designs he is interested in, and work begins with the tattooing of the outline.
This will usually be done in one sitting, often freehand, which may require several
hours to complete.
When the outline is complete, the shading and colouring is done in weekly visits, whenever
the client has money to spare.
When the tattoo is finished, the artist will "sign" his name in a space reserved for that
purpose, most often somewhere on the back.
Wearers of traditional tattoos can often afford little else.
They frequently keep their art secret, as tattoos are still seen as a sign of criminality
in Japan, particularly by older people and in the work place.
Ironically, many yakuza and other criminals themselves avoid tattoos for this very reason.
Glossary of Japanese tattoo terms
Irezumi, 剳青, 黥 or 刺青): tattoo Horimono: tattoo.
This is another word for traditional Japanese tattoos.
Horishi: a tattoo artist.
Bokukei, bokkei: punishment by tattooing.
Tebori: describes the technique of tattooing by hand.
Hanebori: a hand-tattooing technique employing a feathering motion.
Tsuki-bori: a hand-tattooing technique employing a thrusting motion.
Kakushibori: tattooing near the armpits, the inside of the thighs and other "hidden" body
areas.
Also refers to the tattooing of hidden words, for example among the petals of flowers.
Kebori: the tattooing of fine lines or of hair on tattooed figures.
Sujibori: outlining, the outline of a tattoo.
Shakki: the sound needles make when they puncture the skin.
Irebokuro: from ire or ireru, which means to insert, and bokuro or hokuro, a beauty
spot Yobori: "Yo" tattooing.
The Japanese-English slang term for tattooing done with the machine.
Sumi: The ink used to tattoo, traditionally mixed by the apprentice
Hikae: Chest panel tattoo Nagasode: Arm tattoo, to the wrist
Shichibu: 3/4 sleeve tattoo, to the mid forearm Gobu: 1/2 sleeve tattoo, to above the elbow
Common motifs Some common images in traditional Japanese
tattoos include: Mythological beasts and monsters: Dragons,
Kirin, Baku, Foo Dogs, Hō-ō Animals: Birds, Koi, Tigers, Snakes
Flowers: Peonies, Cherry Blossoms, Lotuses, Chrysanthemums
Other plants: Bamboo, Maple leaves Characters from traditional folklore and literature,
such as the Suikoden Images of the "Floating World" inspired by
ukiyo-e prints: geisha, samurai Buddhas and Buddhist deities such as Fudō
Myō-ō and Kannon Shinto kami such as tengu
Backgrounds: clouds, waves, wind bars.
See also Criminal punishment in Edo-period Japan
Criminal tattoos Tōyama no Kin-san
Yakuza References
Further reading Andrews, Joshua.
The Art of Tattooing.
howtotattoo.net, 2008.
Fellman, Sandi.
The Japanese Tattoo.
New York: Abbeville Press, 1986.
ISBN 0-89659-798-9, ISBN 0-89659-661-3.
Richie, Donald, and Ian Buruma.
The Japanese Tattoo.
New York: Weatherhill, 1980.
ISBN 0-8348-0149-3.
External links Japanese Tattoo Gallery A website about traditional
Japanese Tattoos and Irezumi art.
BMEZine—Body Modification EZine Irezumi—Irezumi by Horiyoshi III
tattoo-navi—irezumi from japan 'The way of the Ink' documentary about Irezumi,
by Pamela Valente and Pascal Bagot