Table Of ContentFOREWORD
This anthology of oral history is intended not only as a showcase for the work of these
traditional tattoo artists, but also to give the reader a glimpse into the psychology of
Japanese traditional artisans. For most Japanese craftsmen, the seishin, or the psychological
aspects, of the work are of paramount importance, and more relevant than the technique
itself. These priceless interviews shed light on some of the most important tattoo master's
experiences learning, to mastering their craft; and their use of language, dense with allusion
and philosophy is indicative of the shokunin (artisan) lifestyle and ethos. Furthermore,
the conversations give the reader a glimpse into their personality -- they are often very
opinionated, and extremely proud of their work, but simultaneously humble to their clients
and have a typically downtown sense of humor.
These interviews illuminate the fact that this type of craft doesn't exist in a vacuum, and
understanding the culture that surrounds the work substantially increases the appreciation
for the work itself. I hope this book will be an important resource for both artists who have
perhaps even met many of the people in this book, as well as potential clients and tattoo
aficionados who would like to know more about the Japanese tattooing industry, straight
from the mouths of the masters themselves.
I have also included interviews with Motoharu Asaka, as the culture of wood block prints
and tattoos are intimately connected, and Shoko Tenda, a daughter of a yakuza boss to get
a client's perspective. These interviews were conducted over a span of 6 years, many masters
were interviewed several times, each time, with increasing candor, for which I am truly
grateful. As a result, this book is the most extensive collection of oral histories and interviews
with Japanese tattoo artists compiled in English. Some people mentioned/ whose work is
featured in the book have since passed away.
IR\VL\' WONG PHOTO
CONTENTS
r INTRODUCTION
1 11 /
I MOTOHARU ASAKA I SANJA MATSURI / HORIYOSHI III
c, I HORIHIDE l / HORITOKU I TO KAI HORIHIRO
1 / HORIYASU 1 / HORIMITSU / HORINAMI
-~- - - ----- -- - --.-- - --
/ HOBI):HO II J / NVI)VWD:8'V d 1 Ill / HOBIL.OSHI
/HOBIHISV 1 7i. / HOBIHIL.O /HOBIWVSV
/ HOBII)VZlfMVI)V r /HO BIL.SO. V ,lC l / HOBIllliN
I SHOI)O,J:3.'NGO
INTRODUCTION
Japanese traditional tattoos are typified by a single large narrative or Although it hasn't been proven, it is thought that tattoos in Japan
symbolic subject taken from Japanese iconography, which is often have existed since the Jamon period (about lOOOOBC to 300BC),
embellished with other complimentary elements. The motifs used based on archeological markings on haniwa clay figures, which are
range from protagonists from folkloric tales, religious deities, to speculated to be tattoos. In the following Yayoi period (300BC to 300
animals -- both mythical and real -- which are then complimented AD), Chinese travellers who came to Japan chronicled observations
with flowers and maple leaves, and smaller iconography, taking into of tattooed Japanese people in a historic manuscript called the Wei
account the seasonal compatibility of the main subject. While there are Chih, which describes Japan in the Wei dynastic period. Into the
many tattoo cultures all over the world, Japanese tattoos are certainly Kofun period, (250 to 538), Japanese rulers had taken on much of
some of the most powerful, aesthetic and holistically balanced, and are Chinese ideology, and Confucian Chinese beliefs had permeated
nothing short of breathtaking when seen in the flesh. Japanese cultural values. Accordingly, tattoos were looked upon
negatively, and seen as a barbaric practice.
This book will look at the tattooing tradition that is a continuation
of the Edo period tattoo culture, however, there are many regional There is also evidence of tattooing being wide spread with women in
cultures and communities that have their own culture of tattooing that the Ryukyu Islands (the islands in the region in between the current
have existed autonomously from the Edo traditional tattoos. Kyushu to Taiwan, including Okinawa) who marked their hands
and wrists, as well as the women in Ainu indigenous communities in
Northern Japan, who tattooed their mouth, cheeks and arms.
However, it was in the Edo period, in the area that is now downtown
Tokyo, that the culture of Japanese tattooing flourished, spawned
from the merchant and artisan culture of the time. Edo was the newly
urbanized capital of Japan, developing rapidly in an era of peace, and
new wealth. Culture thrived in many guises, such as literature, ukiyo-e
woodblock prints and kabuki theatre, to cater to the economic
prosperity and disposable income of those even in the lowest social
stratum.
Under the prevailing Tokugawa shogunate class system, which was in
place from 1603, there was a hierarchy that saw samurais at the top,
followed by farmers, artisans and finally merchants at the bottom,
although artisans often had the role of merchants as well, as they
sold their own wares. Those of the working class were restricted to
the marshy shitamachi (downtown) area of Edo (where Asakusa is
now), where they were segregated from the ruling class who lived
in the uptown regions (where West Tokyo is now). Hence, the art
and entertainment of the district; the kabuki theatre, the woodblock
prints, the festivals and the region's huge red light district, the
Yoshiwara, was purely for the commoners, by the commoners, creating
an independent culture in contrast to the high culture of the elite.
008
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(Right) A group of elaborately tattooed Japanese men standing under a waterfall, 1955 (Photo by Three Lions/Getty
Images) (Left) Tsuzoku Suikoden Goketsu Hyakuhachi-nin no Hi tori; Utagawa Kuniyoshi, The Trustees of the
British Museum
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