Irezumi
Irezumi is more than just the Japanese word for tattoo; it represents a centuries-old art form deeply woven into the fabric of Japanese society, reflecting shifting cultural values from spiritual symbols to marks of punishment and rebellion. This distinctive style, traditionally applied by hand, carries a rich history that continues to shape its perception in modern Japan. Join us as we uncover the fascinating journey of irezumi, from ancient rituals to its revered — and sometimes misunderstood — status today. Irezumi has a complex and fluctuating history, transitioning from ancient spiritual and status symbols to a mark of criminal punishment before evolving into a sophisticated art form. The distinctive hand-applied technique, known as tebori, and its associated rituals, distinguish traditional irezumi as a painful, time-consuming, and highly respected craft. Despite its artistic value and growing popularity among youth, irezumi continues to face significant social stigma in modern Japan due to its historical associations, particularly with organized crime.
AI Summary
Irezumi is more than just the Japanese word for tattoo; it represents a centuries-old art form deeply woven into the fabric of Japanese society, reflecting shifting cultural values from spiritual symbols to marks of punishment and rebellion. This distinctive style, traditionally applied by hand, carries a rich history that continues to shape its perception in modern Japan. Join us as we uncover the fascinating journey of irezumi, from ancient rituals to its revered — and sometimes misunderstood — status today.
- Irezumi has a complex and fluctuating history, transitioning from ancient spiritual and status symbols to a mark of criminal punishment before evolving into a sophisticated art form.
- The distinctive hand-applied technique, known as tebori, and its associated rituals, distinguish traditional irezumi as a painful, time-consuming, and highly respected craft.
- Despite its artistic value and growing popularity among youth, irezumi continues to face significant social stigma in modern Japan due to its historical associations, particularly with organized crime.
The Art of Irezumi
Irezumi, literally meaning 'inserting ink', is the Japanese term for tattooing, but it refers to a much broader and deeper tradition than a simple translation might suggest. This unique art form encompasses various styles, including the distinctive techniques of the indigenous Ainu people and the Ryukyuan Kingdom. Each stroke tells a story, imbued with history and cultural significance.
A Painstaking Craft
Unlike modern machine tattooing, all traditional irezumi is applied by hand, a method known as tebori. Skilled artisans, called horishi, use wooden handles with silk-threaded metal needles to painstakingly tap ink into the skin. This arduous and time-consuming process, utilizing special 'Nara ink' or sometimes indigo plant dyes, demands immense patience and skill from both artist and client.
Ancient Roots and Shifting Perceptions
The practice of tattooing in Japan dates back to at least the Jōmon period, around 10,000 BC, where markings might have held spiritual or decorative purposes. Chinese visitors during the Yayoi period, roughly 300 BC to 300 AD, observed these designs in Kyushu, noting their spiritual significance and role as status symbols. However, historical records like the 8th-century Kojiki suggest that on the ancient Japanese mainland, tattooed individuals were sometimes seen as outsiders.
Marks of Punishment
The Kofun period, spanning 300 to 600 AD, marked a turning point where tattoos began to acquire negative connotations. Instead of symbols of status, they became a criminal penalty, known as irezumi kei. The location and design of the tattoo often indicated the crime committed, forever branding individuals and associating tattoos with societal outcasts within Japanese society.
The Ainu's Unique Tradition
Distinct from mainland Japanese practices, the indigenous Ainu people of northern Japan developed their own rich tattooing traditions. For Ainu women, mouth tattoos, often indigo in color, marked rites of passage into adulthood, offered protection against illness, and served aesthetic purposes. Though few Ainu today bear these traditional markings, they remain a powerful symbol of their cultural heritage.
Edo Period: Art Blooms from Adversity
Despite the persistent use of tattoos as punishment, the Edo period (1603–1867) saw a remarkable blossoming of irezumi as an art form. Minor fads for decorative tattoos emerged, sometimes with designs completed only when lovers' hands intertwined. It was during this era that Japanese decorative tattooing truly began its transformation into the sophisticated art we recognize today.
A key catalyst for this artistic revolution was the widespread appeal of the Chinese novel Suikoden, first published in Japan in 1757. This epic tale of heroic rebels, adorned with lavish, full-body tattoos of dragons, mythical beasts, and powerful natural imagery, sparked a massive demand for similar designs among the populace. Woodblock artists, already masters of intricate prints, were perfectly positioned to meet this new artistic hunger.
These innovative woodblock artists leveraged their existing tools, including chisels and gouges, to adapt their skills to the skin. They famously used a unique 'Nara ink,' or 'Nara black,' which has the remarkable property of turning a distinct blue-green hue once settled under the skin, creating the characteristic palette of traditional irezumi.
The patrons of these elaborate tattoos were diverse. Some scholars suggest lower-class citizens proudly flaunted them, while others believe wealthy merchants, legally restricted from ostentatious displays of wealth, discreetly wore expensive irezumi beneath their clothes. It is certain, however, that firemen embraced these tattoos as a form of spiritual protection against the very flames they fought.
The Meiji Ban and Underground Persistence
With the opening of Japan's borders during the Meiji period in the late 19th century, the government sought to present a 'modern' image to the world. Seeing tattoos as primitive and barbaric, they swiftly outlawed them, reinforcing the stigma. Yet, despite the ban, the art form didn't vanish—it simply went underground. Foreigners, captivated by the intricate artistry, secretly sought out Japanese tattoo masters, ensuring the tradition endured.
Modern Stigma and Legal Shifts
Though tattooing was legalized by occupation forces in 1948, the deep-seated stigma persisted, heavily associating traditional Japanese tattoos with the yakuza, Japan's notorious organized crime syndicates. This historical link means many public establishments, such as hot springs and fitness centers, still ban customers with tattoos today, creating barriers for tattooed individuals in daily life.
A significant legal shift occurred in 2020 when Japan's Supreme Court ruled that tattoos are a decorative art form, not a medical procedure requiring a licensed doctor. This landmark decision eased restrictions on tattoo artists and allowed for the creation of hygiene and safety courses, helping to normalize the practice, though the social stigma remains a powerful force.
The challenges are not just social; they can be political. In 2012, Osaka's then-mayor, Toru Hashimoto, launched a controversial campaign to remove tattoos from public sector employees, arguing they undermined public trust. While an Osaka District Court eventually found his policies violated privacy, such incidents highlight the ongoing battle for acceptance that irezumi faces in contemporary Japan.
The Traditional Path: Becoming a Horishi
The journey to becoming a traditional irezumi artist, or horishi, is an incredibly demanding and lengthy apprenticeship. For years, aspiring artists dedicate themselves to a master, often living in their home, meticulously cleaning the studio, observing every detail, and practicing on their own skin. They learn to craft needles and tools by hand, mix inks to precise specifications, and painstakingly copy designs from the master's extensive archives.
Upon mastering the unique hand-tattooing techniques, an apprentice is usually granted a tattoo name by their master. This name often incorporates 'hori' (meaning 'to engrave') combined with a syllable from the master's name or another significant word, symbolizing their artistic lineage and newfound identity within the craft. It's a profound initiation into a select fraternity.
The Tebori Process: A Ritual of Ink
The process for receiving a traditional irezumi is deeply personal and often begins with a word-of-mouth introduction to a secretive artist. After an initial consultation to discuss designs, the work starts with outlining, or sujibori, often done freehand in a single, hours-long session. This intricate framework sets the stage for the rest of the masterpiece.
Once the outline is complete, the shading and coloring, known as keburi, are meticulously filled in over many weekly visits, depending on the client's finances and endurance. When the full design is finally finished—a process that can take years for a full body suit—the horishi proudly 'signs' their name in a discreet, pre-reserved spot, typically on the client's back. Many wearers continue to keep their elaborate art secret, a testament to the lingering social stigma.
A Tapestry of Motifs
Irezumi designs are rich with symbolic imagery, each motif carrying layers of meaning drawn from Japanese mythology, folklore, and nature. These visual narratives are not merely decorative; they embody wishes, protections, and personal statements for the wearer.
Common motifs include powerful dragons symbolizing wisdom and strength, elegant koi fish representing perseverance, and vibrant cherry blossoms signifying the fleeting beauty of life. These elements are often combined with intricate backgrounds of clouds, waves, or wind bars to create a dynamic, flowing composition that covers the body as a single, harmonious work.
Mythological beasts: Dragons, kirin, foo dogs, Hō-ō (phoenix) Animals: Koi fish, tigers, snakes, birds Flowers: Peonies, cherry blossoms, lotuses, chrysanthemums Other plants: Bamboo, maple leaves Figures: Samurai, geisha, Buddhist deities, Shinto kami, Noh masks Backgrounds: Clouds, waves, wind bars
Traditional vs. Modern: A Shifting Landscape
While traditional tebori maintains its revered status, modern tattooing in Japan, or yobori, increasingly mirrors Western practices. Electric machines are widely used, offering faster application and more diverse styles. Many contemporary Japanese artists are globally recognized for their exceptional skill, excelling in both traditional and modern designs.
However, the commitment to traditional irezumi remains unparalleled. A full body suit—covering arms, back, thighs, and chest, with a central un-tattooed 'path' down the torso—can take up to five years of weekly sessions to complete, costing upwards of $30,000. This immense investment of time, money, and pain underscores the profound dedication required for this enduring art form.
Article
Irezumi
Irezumi (入れ墨, lit. 'inserting ink') (also spelled 入墨 or sometimes 刺青) is the Japanese word for tattoo, and is used in English to refer to a distinctive style of Japanese tattooing, though it is also used as a blanket term to describe a number of tattoo styles originating in Japan, including tattooing traditions from both the Ainu people and the Ryukyuan Kingdom.
All forms of irezumi are applied by hand, using wooden handles and metal needles attached via silk thread. This method also requires special ink known as Nara ink (also called zumi); tattooing practiced by both the Ainu people and the Ryukyuan people uses ink derived from the indigo plant. It is a painful and time-consuming process, practiced by a limited number of specialists known as horishi. Horishi typically have one or more apprentices working for them, whose apprenticeship can last for a long time period; historically, horishi were admired as figures of bravery and roguish sex appeal.
During the Edo period, irezumi kei ("tattoo punishment") was a criminal penalty. The location of the tattoo was determined by the crime; thieves were tattooed on the arm, murderers on the head. The shape of the tattoo was based on where the crime occurred. Tattoos came to be associated with criminals within Japanese society. Two characters in the 1972 film Hanzo the Razor, set in the Edo period, are depicted with ring tattoos on their left arms as punishment for theft and kidnapping.
At the beginning of the Meiji period, the Japanese government outlawed tattoos, which reinforced the stigma against people with tattoos and tattooing in modern-day Japan. Although tattoos are still banned in many public recreational areas today, a 2019 appeal changed the classification of tattoos as decoration instead of a medical procedure.
Etymology
Irezumi
In Japanese, irezumi literally means 'inserting ink' and can be written in several ways, most commonly as 入れ墨. Synonyms include bunshin (文身, lit. 'patterning the body'), shisei (刺青, lit. 'piercing with blue'), and gei (黥, lit. 'tattooing'). Each of these synonyms can also be read as irezumi, a gikun reading of these kanji. Tattoos are also sometimes called horimono (彫り物, lit. 'carving') which have a slightly different significance.
History of Japanese tattoos
Irezumi
Tattooing for spiritual and decorative purposes in Japan is thought to extend back to at least the Jōmon or Paleolithic period (approximately 10,000 BC) on the Japanese archipelago. 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 not unanimously accepted. There are similarities, however, between such markings and the tattoo traditions observed in other contemporaneous cultures. In the following Yayoi period (c. 300 BC–300 AD), tattoo designs were observed and remarked upon by Chinese visitors in Kyushu. Such designs were thought to have spiritual significance as well as functioning as a status symbol.
However, evidence suggesting a lack of tattooing traditions also exists; according to the early 8th-century Kojiki (古事記, "Records of Ancient Matters" or "An Account of Ancient Matters"), no such traditions of tattooing existed on the ancient Japanese mainland, with people who were tattooed regarded as outsiders. A further record in the Nihon Shoki (日本書紀, sometimes translated as The Chronicles of Japan) (the second-oldest book of classical Japanese history) chronicles that tattooing traditions were confined only to the Tsuchigumo people.
Starting in the Kofun period (300–600 AD), tattoos began to assume negative connotations. Instead of being used for ritual or status purposes, tattoo marks began to be placed on criminals as a punishment.
Ainu tattoos
An Ainu woman with a tattoo around the mouth, 1910
The Ainu people, the indigenous people of northern Japan, are known for their traditions of tattooing, though few Ainu people and people of Ainu descent have these tattoos in the modern day. These tattoos were frequently used for decorative and social purposes, with both women and men being tattooed. Women were tattooed on the hands, forearms, and mouths in indigo to signify moving into adulthood, to protect against disease, and for aesthetic purposes.
Japanese tattoos in the Edo period
Irezumi
Various tattoos imposed as corporal punishment during the Edo period, from the Koji Ruien.
A tattooed man's back, c. 1875
Tammeijiro Genshogo by Utagawa Kuniyoshi. Brooklyn Museum
Until the Edo period (1603–1867), 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 irezumi as an artform was the development of the art of woodblock printing, and the release of the popular Chinese novel Suikoden in 1757 in Japan; though the novel dates back several centuries before this, 1757 marked the released of the first Japanese edition. Suikoden, a tale of rebel courage and manly bravery, was 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, creating a demand for the type of tattoos seen in the woodblock illustrations.
Woodblock artists also began to practice tattooing, using many of the same tools they used for woodblock printing. These included chisels, gouges, and, most importantly, a unique type of ink known as "Nara ink" or "Nara black", which turns blue-green under the skin.
There is some 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, who wore them as a form of spiritual protection.
Tattoos in modern Japan
Irezumi
Following the opening of Japan's borders to the rest of the world at the beginning of the Meiji period, the Japanese government, conscious to protect its image and make a good first impression in the face of its new international status, outlawed tattooing, with irezumi soon taking on connotations of criminality. Nevertheless, many foreigners, fascinated with the unique skills of Japanese tattoo artists, travelled to Japan with the express intention of being tattooed there, 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 (such as public baths, fitness centers and hot springs) still ban customers with tattoos. In 2020, the Supreme Court of Japan ruled that tattoos could be performed by people other than licensed medical professionals, a requirement still present in South Korea, after the home studio of an Osaka-based tattoo artist, Taiki Masuda, was raided by the police and the artist was fined. As a result, the Japan Tattooist Organization formed and created a hygiene and safety online course for artists that provides a certificate of completion, similar to practices in other countries.
Although tattoos have gained popularity among the youth of Japan due to Western influence, tattoos continue to be stigmatised throughout most of Japan; unlike many other countries, even finding a tattoo shop in Japan can 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, there are an estimated 3,000 tattoo artists throughout the entirety of Japan. Around 1.4 million adults in Japan have tattoos. Attitudes around the acceptability of tattoos vary significantly by age, with 60% of Japanese people in their 20s and younger agreed that rules for tattoos should be relaxed, according to the results of a 2021 survey.
Tattooed yakuza
There are even current political repercussions for tattoos in Japan. In 2012, the then-mayor of Osaka, Tōru Hashimoto, started a campaign to rid tattoos from public sector employees, claiming that "tattoos on City workers undermined trust in the City" and threatening to fire any government employee with tattoos. That year, he authorized a survey of all public sector employees asking whether they had tattoos. Multiple city employees filed lawsuits against the City of Osaka after being reprimanded for having tattoos. This survey, along with other tattoo-related policies implemented by Hashimoto, was eventually found to have violated the city's privacy protection ordinance by the Osaka District Court. Parties and annual meetings are held by associations amongst those with tattoos.
Modern tattoos in Japan are done mostly in a similar manner to Western tattooing. Unlike traditional irezumi, where the design is mostly 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. Modern tattoos are also done via an electric tattoo 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 widely recognised for the quality of their work, despite the relative expense of irezumi tattoos, and are highly sought after.
Despite the majority of modern tattooing being done by needle and machine, irezumi is also practiced with traditional tools, though tattoo artists trained in this style can be difficult to find; unlike most Western-style tattoo artists in Japan, the majority of traditional irezumi artists are not located in the Tokyo area. Also unlike Western tattooing is the high expense of the technique, as well as the higher proportion of time required to complete one piece and the higher level of pain involved. A typical traditional body suit, covering the arms, back, thighs and chest, with a space left down the centre of the torso, can take up to five years of weekly visits to complete, and cost in excess of US$30,000. The process is also more formal than Western tattooing, with the artist having a greater level of control over the finished design.
Process
Being tattooed
Tattoo artist working on a body suit
The process of being tattooed in the irezumi style can be difficult and time-consuming. The first step of finding a traditional tattoo artist can be a daunting task, as many tattoo artists in Japan are somewhat secretive in their work, with introductions made by word-of-mouth only, though the advent of the Internet has made finding an irezumi artists more accessible.
After an initial consultation during which the client will discuss with the tattooist the designs they are interested in, the work begins with the tattooing of the outline. This will usually be done in one sitting, often freehand (without the use of a stencil), which may require several hours to complete. When the outline is complete, the shading and colouring is done in weekly visits, or 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 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. Many yakuza and other criminals themselves now avoid tattoos for this very reason.
Becoming an irezumi artist
The process of training to become a traditional tattoo artist is difficult and time-consuming; tattoo artists will train for many years under a master, sometimes living in the master's house, and may spend years cleaning the studio, observing and practicing in their own skin, making both the needles and other tools required, mixing inks, and painstakingly copying designs from the master's book before being allowed to tattoo clients.
Tattoo artists must master the unique styles of tattooing by hand required, and will usually be given a tattoo name by their master, most often incorporating the word hori (to engrave) 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 (and so on).
Glossary of Japanese tattoo terms
Irezumi
A man with a sujibori depicting a rising koi fish
Bokukei, bokkei (墨刑): Punishment by tattooing Donburi Sōshinbori (どんぶり 総身彫り): A full body tattoo without the open section typically left down the centre of the chest Gobu (五分): A sleeve tattoo that stops above the elbow Hanebori (羽彫り, "to carve with a feather"): A hand-tattooing technique employing a feathering motion Hanzubon: Tattooed 'shorts'; inner thigh filled completely with tattoo work Hikae: Chest panel tattoo, covering both pectoral muscles Horimono (彫り物, 彫物, "carving, engraving"): Another term for traditional Japanese tattoos Horishi (彫り師, 彫物師): A tattoo artist Irebokuro (入れ黒子): From ire or ireru, meaning "to insert", and bokuro or hokuro, a beauty spot Irezumi (入れ墨, 入墨, 刺青, 文身, 黥): A tattoo (noun) or to tattoo someone (verb) Kakushibori (隠し彫り, "hidden carving"): 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. Katabori: An untattooed, triangle-shaped space left clear in the armpit Kebori (毛彫り): The tattooing of fine lines or of hair on tattooed figures Koban gata: An untattooed, round-edged space left clear in the armpit Munewari (胸割り): A chest tattoo with an open space left down the middle Munewari Sōshinbori (胸割り総身彫り): A full body tattoo with an open space left down the middle of the chest Nagasode (長袖): Arm tattoo, to the wrist Shakki: The sound of irezumi needles puncturing skin Shichibu (七分): A three-quarter length sleeve tattoo, to the mid forearm Sujibori (筋彫り): The outline of a tattoo or the process of outlining a tattoo Sumi (墨): The ink used to tattoo, traditionally mixed by the apprentice Taubushi: A fully-tattooed armpit Tebori (手彫り, "to carve by hand"): The technique of tattooing by hand Tsuki-bori (突き彫り): A hand-tattooing technique employing a thrusting motion Wabori (和彫り): A catch-all term for traditional Japanese tattooing practices Yōbori (洋彫り): Yō (Western) tattooing. The slang term for tattooing done with the machine.
Common motifs
Irezumi
a Suikoden motif full-back Irezumi
Some common images in traditional Japanese tattoos include:
• Mythological beasts and monsters: dragons, kirin, baku, foo dogs, Hō-ō (鳳凰) • 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 (deities) such as tengu • Backgrounds: clouds, waves, wind bars • Masks used in Noh theater (hannya)