Tattoo Book

TABOO
Ukiyo-e & The Japanese
TATTOO
RONINGALLERY
TABOO
Ukiyo-e & The Japanese
TATTOO
RONIN GALLERY
425 Madison Ave. New York, NY 10017
The Largest Collection of Japanese Prints in the U.S.
Contemporary Asian Art
March 2015
2015 RONIN GALLERY All Rights Reserved
I would like to take this opportunity to express my gratitude to the

following people for their valuable contributions to this exhibition and
catalogue. It has been a great pleasure to work with you all. Firstly, thank
you to Tomomi Seki for your incredible work on every aspect of this exhibition, as well as your work on the translation and cataloguing of the
individual works. Thank you to Madison Folks for your excellent scholarly research, writing and editing of both the essays and catalog entries.
A special thank you to Travis Suzaka for your inexhaustible work in catalog design, production and marketing. My additional thanks to Runting
Song, for her photography and data entry, and Akane Yanagisawa, for
her assistance in the exhibition installation. And of course, a thank you
to my parents, Herbert Libertson and Roni Neuer, whose partnership,
advice and encouragement made this exhibition possible.
David Libertson
President
roningallery.com | 212.688.0188
TABOO: Ukiyo-e & The Japanese TATToo

Holding the skin taut with the left hand,
the artist threads a brush, wet with sumi,
through his left fingers. Dexterous and
practiced, the fingers of the right hand control the hari, or tattooing needle(s), in the
technique of tebori. As lines and dots form
curling dragons and fierce warriors, these
designs come alive. Though vibrant and enthralling, theirs is a forbidden beauty.
Through the lens of social psychology,
tattooing leads a double life: one of initiation, community and membership, but also
one of loneliness, rebellion and autoeroticism. As Donald Richie explains in The
Japanese Tattoo, we have a paradox...a man
beauties himself for himself and yet does so
at the expense of the favor of society.1 As
one rejects societal norms for subcultural
identities, masochistic connotations arise
from the ready acceptance of physical pain
and a conscious violation of the social contract.
One of the oldest forms of body modification, the tattoo is a complicated cultural
symbol simultaneously representing both
belonging and nonconformity. In Japanese,
tattoo translates to irezumi, referring to
the actual insertion of ink into the skin.
While the popularity of traditional irezumi
soars worldwide, attitudes in Japan are
far more complex. Shaped by centuries of
controversy, the Japanese tattoo embodies
the forbidden and the dissonant. Whether
forcibly applied or willingly received, the
union of ink and flesh initiates a lifelong
membership to lifestyle, a secret and an
idea. Engaging in the expressive potential
of the body, irezumi allows the wearer to
not only reflect his or her individual values,
but also remark upon society. The deeply
Kyumonryu Shishin from the Heroes of the Suikoden.
Yoshitoshi. Woodblock print. 13.75 x 9.25.1868.

ref. #: JP6375
personal nature of the tattoo is furthered

by the ephemerality of the artwork: the
life of the tattoo is no more than that of
its wearer.
The exhibition Taboo: Ukiyo-e and
the Japanese Tattoo explores the verboten
world of irezumi across history and medium. The works of print masters Kuniyoshi,
Kunisada, Yoshitoshi and Kunichika celebrate the popularity of the tattoo in Edo,
while the original paintings and drawings of
todays preeminent tebori artist, Horiyoshi
III, offer a current interpretation of this
rich tradition. The art photography of
Masato Sudo continues this conversation
between past and present, as the works

of Daniel Kelly reveal the intersections of
irezumi and contemporary art. From Edos
floating world to modern Japan, Taboo
traces the world of tattoo as it fluctuates
between immoral pleasure and illegal indulgence. From cultural practice to punitive
measure, a rally of class consciousness to a
declaration of criminal devotion, the tattoo is a refusal to bow to authority and convention,2 tirelessly asserting a subcultural
identity earned through pain and artistry.
Pre-Edo: From Cultural to Criminal

(10,000 BCE - 1603 AD)
At its origin, the Japanese tattoo confirmed
community. Reflecting cultural values or
social order, irezumi indicated belonging.
Several scholars suggest that Japanese body
modification began as early as the Jomon
period (c.10,000 300 BCE). These scholars link the designs on the face and body
of clay dogu figures to a desire for, if not a
reality of, tattooing. However, this theory
is inconclusive. The first accepted record of
Japanese tattooing dates to 265 BCE. The
Chinese chronicle Wei Chih describes how
the Wa, the people of ancient Japan, decorated their bodies and faces with designs,
each markings specific placement and size
denoting social rank.
While mainland Japanese rejected this
practice by the 7th century, tattooing
remained integral to cultural identity in
some indigenous minorities. In Kyushu,
coal miners adorned their bodies with
dragon tattoos to protect themselves from
the dangers of the mine, while in Okinawa,
women wore tattoos on their hands to ward
off malignant spirits. Amongst the Ainu in
Hokkaido, women began the tattooing
of their lips and arms at age twelve. The
completion of these tattoos signaled the
beginning of womanhood and conveyed
eligibility for marriage. Outside of these
minority groups, associations of commu6
nity and tradition were overshadowed with

the arrival of Confucianism in the 7th century. According to Confucian theory, the
body is an inheritance from the parents,
thus, to modify or harm the body is an act
of disrespect and violation of filial piety. As
this philosophy soaked into the Japanese
consciousness, tattoos became taboo.
At the close of the Kofun period (300
- 600 AD), mere philosophical dissonance
turned to indisputable evidence of immorality. Bands of ink encircled the arms or
the Chinese characters for dog or evil,
bad glared in midnight blue from the
foreheads of Japans criminal class. Following elaborate systems to denote type and
severity of crime, these punitive cyphers
may have differed regionally, but were
united in their brutality. Crudely executed
and popularly reviled, irezumi entered the
Edo period as an involuntary inscription
into a subculture, no longer a celebrated
and voluntary expression of belonging.
Edo: Ink as Art, Art as Resistance

(1603 - 1868)
Despite prevailing attitudes at the start of
the 17th century, irezumi grew along with
Edos newly emergent middle class. By
1700, the traditional Japanese tattoo had
developed, signaling a shift from punitive
to decorative tattooing. Just as ukiyo-e
print designs and kimono patterns became
more complex throughout the Edo period,
so did irezumi. Amidst the kabuki theater
and the Yoshiwara, the tattoo became an
inextricable facet of life, intertwining with
woodblock printing and theater to generate
a creative cycle. For example, a tattoo could
serve as an important narrative device in a
popular play and inspire woodblock prints.
In turn, these prints could become the
visual inspiration for new tattoo designs,
which could then spark costumes for new
kabuki performances. As the century progressed, tattoos increasingly became an act
of resistance against the Shogunate, once
again making the tattoo a willful declaration of ones values.

Following irezumis shift from punishment to art form, tattoo artists adopted
fresh terminology. While irezumi refers
to the insertion of ink into skin, the Edo
period term horimono translates to carved
object. With this retitling to horimono,
artists emphasized the skill and creativity
behind tattooing, insisting its status as an
art form. Referring to themselves as horishi,
tattoo artists were often initially trained
as woodblock carvers or other craftsmen.
Through this new terminology, horishi not
only asserted their identity as artisans , but
also the parallel nature of the cherry woodblock and skin. While largely accepted as
the term for tattoo in Japan today, irezumi
retains derogatory connotations amongst
modern tattoo masters. Though the days of
punitive ink are long over, Japanese masters
continue to associate this term with crude
and unskilled tattooing.
Applied discreetly behind closed doors,
horimono began with irebokuro, literally
engraved moles. These vow marks began
in the pleasure districts of Osaka and Kyoto
but became exceedingly popular in Edos
Yoshiwara. A pair of forbidden lovers would
clasp hands, inserting a small black dot on
their hand where their dearests thumb
would end. As the Edo period continued,
emboldened couples moved to tattooing
each others names alongside the symbol
for life, inochi, on the underarm (see pg.
30). In both cases, the mark remained hidden, its pleasure derived from its secrecy.
For the enterprising courtesan, such discretion was crucial. As her clients would die or
shift, the courtesan would use moxa to cauterize her irebokuro off the skin, making
room for the next declaration of devotion.
Other forms of early decorative tattooing
were kisshobori, or pledge marks to Buddha, and irozumi, playful tattoos done in
lead white, so as only to be visible when the
skin became reddened through drinking or
blushing.
Beyond the Yoshiwara, decorative tattooing reached grand proportions amongst

Edos lower class males. Irezumi bodysuits,
traditionally ending mid-calf and mid forearm, decorated gamblers, firemen (hikeshi),
street knights (otokodate) and laborers.
Raised to near heroic status in Edo, firemen
wore tattoos of carp and dragons to protect
themselves from the dangers of their profession.
The street knights saw themselves as
champions of the common people, whether
or not this always rang true. Pitting themselves against corrupt samurai and general
injustice, these street knights identified
and adorned themselves with the heroes
of the hugely popular Suikoden. Translated from the Chinese classic Stories of
the Water Margin in 1805, this tale of 108
bandit warriors inspired many kabuki plays,
ukiyo-e prints and irezumi alike.
Throughout the Edo period, sumptuary
edicts attempted to constrain everything
from paper size to kimono design, yet, as
scholar Willem Van Gulik states, the mere
fact that they were issued so many times
indicates their ineffectiveness.3 From the
bathhouses to the streets, tattoos enjoyed
incredible visibility during the Edo period.
Laborers often worked in very little clothing, showcasing their vibrantly beautiful
bodysuits despite Shogunal policy (see pg.
20). Whether bearing images of the heroes
of the Suikoden, a blatantly antigovernment
tale, or a hidden vow mark, wearing a tattoo
was a fairly safe and enormously popular
way to criticize authority, express dissent
and proudly declare membership to the
floating world. Blossoming in Edos celebration of the popular arts, irezumi returned
to its roots in community, establishing class
consciousness and a vital sense of belonging
in a newly formed middle class.
Meiji Period - Allied Occupation:

Modernization and the Barbaric
(1868 - 1952)
With the arrival of Commodore Perrys
ships in 1853, the Japanese authorities urged
rapid modernization in an effort to avoid
colonization. As well as pushing Western
dress and banning the traditional samurai
topknot, Meiji officials outlawed tattooing
in 1872, followed by harsh crackdowns in
1880 and 1908. The Japanese government
feared that irezumi would be perceived as
barbaric, yet Western opinion proved quite
contrary to their expectations. While tattoos remained illegal for Japanese citizens,
Western enthusiasm for the art prompted
the Japanese government to allow the inking of foreigners, if only in Yokohama, Kobe
and Nagasaki. From Prince Alfred of England to Nicholas II, the last Czar of Russia, Westerners flocked to these ports to
receive tebori tattoos.4 As irezumi publicly
entranced the West, the art continued only
privately within Japanese culture.
By the start of World War II, Imperial
persecution of irezumi had reached a high
point. Perceived as nonconformists by the
governmental authorities, inked Japanese
were barred from the armed forces. Many
Japanese men rushed to quietly get tattoos
in order to evade conscription, flouting existing laws against irezumi and avoiding the
national call to arms. United in their nonconformity, these would-be soldiers voiced
their dissent to the war effort through ink.
In 1945, war gave way to occupation and
a critical exchange between Japanese and
American tattoo artists. While Japanese
artists dismissed the simplicity and poor
placement of American style one-point tattoos, Western artists realized the true potential of tattooing through tebori. American GIs, such as the famous Sailor Jerry,
devoted themselves to learning the art form,

trading Western pigments for the designs of
tebori masters. In 1948, this rampant ardor
for the Japanese tattoo led General Douglas
MacArthur to lift the ban on irezumi. For the
first time in seventy years, tattooing was completely legal in Japan.
Yakuza to Olympians
(1952 - Today)
Despite newfound legality, irezumi did not enjoy a renaissance of Edoesque fervor. Though
no longer against the law, tattoos remained
firmly pitted against popular opinion. A history of negative associations became a frightening reality with the rise of the Japanese
crime syndicate, the yakuza. Proliferating in
the wake of WWII, the yakuza dealt in the
sex industry, extortion, weapons smuggling,
as well as some legitimate businesses. While
forcibly applied punitive tattoos identified
criminals in Japans past, yakuza use ink to
willingly pronounce their membership to the
criminal class. Within the yakuza, a tattoo
served four roles: initiation, proof of perseverance, commitment to the criminal world and
declaration of their particular branch of the
larger syndicate (Kumi). Reaching a high point
among yakuza members in the 1970s, irezumi
quickly became synonymous with crime and
intimidation. Through the mere act of rolling up a sleeve, revealing the ink beneath, one
could get whatever he wanted, whenever he
wanted it.
Since the 1990s, economic recession and
the implementation of the Act for the Prevention of Unlawful Activities have spurred
tattoo clientele to shift from 99 percent
yakuza to 50 percent average citizen.5 Today,
American one-point tattoos flourish amongst
Japans younger generations, but the general
Japanese attitude towards irezumi remains
conflicted. Though an estimated 3,000 tattoo
artists work in Japan today, as opposed to

approximately 200 in 1990, the traditional
tattoo remains tied to its history of dissent,
criminality and fear, rather than its rich past
of community, belonging and cultural identity.6 Even so, Japans contemporary tattoo
culture maintains a small and dedicated
community of appreciative customers and
connoisseurs. Traditional tebori masters are
considered to be fine artists worldwide.
While the art of irezumi no longer
breaks the law, this art form continues to
face discriminatory policies. Tattooed persons are regularly banned from public baths,
hot springs and swimming pools, regardless
of whether one wears a full tattoo bodysuit
or a small one-point. In 2013, Osaka mayor
Toru Hashimoto announced that he would
move any tattoo bearing civil servants from
positions requiring regular contact with
residents.7 Not authorized under the Ministry of Health and Welfare, irezumi occupies a legally ambiguous space. Tattooed
Japanese cannot donate blood, can only
enroll in the most basic of health insurance
policies, and face incessant discrimination
when applying for loans. Irezumi master
Horitoshi explains, socially we might be
respected as artists or tattoos might be
seen as a kind of fashion, but within the

establishment, it is really difficult.8
In the winter of 2020, Japan will play
host to the Olympic games. With more
tattooed athletes, officials and visiting fans
than ever, this imminent influx of Olympian ink has raised some concerns about
Japans reception of these guests after a
recent incident of discrimination. In September 2014, a Maori indigenous language
scholar was turned away from an onsen, or
hot spring, in Ishikari, Hokkaido for her
tribal tattoos. In response to international
outrage and growing concern, Yoshihide
Suga, Japans Chief Cabinet Secretary, explained, private facilities have the right to
run businesses by their own rules, though
he later encouraged Japan to take measures
to make their visitors feel welcome.9 Despite changing clientele and international
popularity, it is clear that the tattoo remains entangled with taboo in Japan, but
perhaps this is the inherent nature of this
art form. In the words of tattoo researcher
Osamu Matsuda, tattoos are something
that is outlaw or counterculture in nature,
they shouldnt be socially acceptable as that
would be sacrilegious.10
1. Richie, Donald, and Ian Buruma. The Japanese Tattoo. New York: Weatherhill, 1980. Print. 76.
2. Horiyoshi III. 100 Demons of Horiyoshi III. Japan: Yoshihito Nakano, 1998. Print. 149.
3. Van Gulik, Willem R. Irezumi: The Pattern of Dermatography in Japan. Leiden: Rijksmuseum Voor Volkenkunde, 1982. Print. 84.
4. Kitamura, Takahiro. Tattoos of the Floating World: Ukiyo-e Motifs in the Japanese Tattoo. Amsterdam: KIT Pub., 2007. Print. 48.
5. Yamada, Mieko. Westernization and Cultural Resistance of Tattooing Practices in Contemporary Japan. International Journal of
Cultural Studies.12 (4), Sage Publications, 2014. Print, 319-338. 328.
6. Mitchell, Jon. Japan Inked: Should the Country Reclaim Its Tattoo Culture? Japan Times. Japan Times, 03 May 2014.
Web. 15 Dec. 2014.
7. Sekiguchi, Toko. Taking the Stink Out of Ink. Japan Real Time. Wall Street Journal, 5 Nov. 2013. Web. 13 Jan. 2015.
8. Okazaki, Manami. Wabori: Traditional Japanese Tattoo. Hong Kong: Kingyo, 2013. Print. 170.
9. Associated Press. Tattoo Ban at Bathhouses Raises Concern in Japan.Ajw.asahi.com. The Asahi Shimbun, 14 Sep. 2013.
Web. 10 Jan. 2015.
10. Okazaki, Manami. Wabori: Traditional Japanese Tattoo. Hong Kong: Kingyo, 2013. Print. 38.
IREZUMI IN UKIYO-e
Irezumi: Literally to insert ink and is the term commonly associated with
traditional Japanese tebori, or hand tattooing, both in technique and imagery.
The aesthetics of the Japanese tattoo are due to the intimate and inseparable relationship between
ukiyo-e and irezumi. By the height of the Edo period, the public visibility and narrative inspiration of
both the tattoo and the woodblock print indicated ones allegiance to the exciting, chaotic and rapidly
shifting conditions of the urban floating world. These ephemeral arts developed as parallel forms of
expression, each drawing inspiration from religious imagery, Japanese mythology and folklore, traditional symbolism, historical episodes and popular literature. Released in 1805, Takizawa Bakins Shinpen
Suikogaden (New Illustrated Edition of the Suikoden) incited mania in Edo and served as a key point of
intersection between ukiyo-e, irezumi, and kabuki theater. As irezumi and ukiyo-e flourished, the tattoo and the woodblock print became increasingly referential, melding shared motifs into a common
iconography. Even when ukiyo-e prints do not illustrate irezumi, they consistently reveal this shared
visual language. From the bandit heroes of the Suikoden to the fiery scales of a carp, these ukiyo-e prints
present on paper the same iconography inked into skin.
Kunisada (1786 - 1864) aka Toyokuni III One of the most active and popular ukiyo-e artists of
the 19th century, Kunisada was born in the Honjo district of Edo in 1786. At the age of fourteen, he
was admitted to study under Toyokuni, the current head of the Utagawa school. Many of his works,
particularly his actor prints, became overnight successes and he was considered the star attraction of
the school. He signed his works Kunisada until 1844, when he began using the signature of Toyokuni.
Kuniyoshi (1797 - 1861) Kuniyoshi will always be remembered as Japans greatest master of warrior
and historical prints. Born in Edo in 1797, Kuniyoshi was the son of a silk dyer. At the age of fourteen,
he was accepted to study woodblock printing under Toyokuni I and would become one of his most successful students. In 1827 Kuniyoshi designed the dramatic series, 108 Heroes of the Suikoden, inciting
a popular hunger for his portrayals of famous samurai and legendary heroes. Known by the nickname
Scarlet Skin, Kuniyoshi carried this bold spirit into his own life, adorning himself with a tattoo that
stretched across his shoulders and the expanse of his back.
Kunichika (1835 - 1900) Born the son of a public bathhouse proprietor in Edo, Kunichika began his
ukiyo-e training under Toyohara Chikanobu before apprenticing under Utagawa Kunisada. Kunichika,
a leader in the actor print genre, represents one of the last great ukiyo-e artists working in a rapidly
modernizing Japan. Often depicting roles from the Suikoden in half-portrait form, Kunichika presents
his actors in dramatic poses set against vibrant backgrounds, or bursting with activity within an exciting theatrical scene.
Yoshitoshi (1839 - 1892) Working in a Japan straddling the domains of the old, feudal systems and
the Meiji era, Yoshitoshi is considered to be one of the last great masters of ukiyo-e. At the age of
twelve, he began to study under the renowned artist Utagawa Kuniyoshi, refining his skills in observation and drawing. As modernization pushed ahead, Yoshitoshi suffered a nervous breakdown in 1872,
driving him to poverty. A year later, he resumed working and fulfilled his creative potential. Yoshitoshi
suffered his final mental breakdown in the spring of 1892 and was committed to the Sugamo Asylum.
On the 9th of June 1892, he died of a cerebral hemorrhage at the age of fifty-three. His work is known
for its eerie and imaginative component.
1. Kitamura, Takahiro, and Katie M. Kitamura. Bushido: Legacies of the Japanese Tattoo. Atglen, PA: Schiffer, 2000. Print, 13.
10
Rori Hakucho Chojun

Kuniyoshi (1797 - 1861)
The Suikoden is a Japanese adaptation of the 14th century Chinese classic, Shuihuzhuan (Stories of
the Water Margin). In 1805, Takizawa Bakin presented his translation New Illustrated Edition of the
Suikoden, to great acclaim. Chojun is a popular and heavily tattooed hero from this tale. In a feat of bravery and strength, he breaks through the water gate, despite the fall of enemy arrows. Unfortunately, he
soon dies due to the wounds attained during the struggle. He is usually portrayed with a sword between
his teeth and a floral tattoo bodysuit.
Series: One of the 108 Heroes of the Suikoden
Medium: Woodblock Print
Date: c. 1827-1830
Signature: Ichiyusai Kuniyoshi ga
Size: 15 x 10.25
Ref. #: JP6373
11
Kaosho Rochishin
Kuniyoshi (1797 - 1861)

A tale of 108 bandit warriors, the Suikoden stressed camaraderie and loyalty as each warrior operated on
their own code of justice, often to highly violent ends. Rochishin is a tattooed priest and one such hero.
Known as the flowery monk, he epitomizes justice, loyalty, brashness and strength. As midnight blue
outlines the tattooed cherry blossoms on the heros shoulders, this print not only presents a popular tattoo subject, but also an ukiyo-e interpretation of irezumi.
Series: One of the 108 Suikoden Heroes
Date: c. 1827-1830
Size: 15 x 10.25
Ref. #: JP6351
12
Konkoryu Rishun
Kuniyoshi (1797 - 1861)

Inciting a mania in Edo, the Suikoden inspired prints, plays and tattoos, often serving as the main point
of intersection between these popular arts. As a blatantly antiauthority story, the Suikoden resounded
with the residents of Edos floating world. In this particular print, Kuniyoshi presents Konkoryu Rishun, or the water dragon, the Suikoden hero known for his incredible swimming ability. As Rishun
upturns the boat of his adversary, his chest tattoo of thunder god Raijin glares out at the viewer.
Date: c. 1827-1830
Size: 14.75 x 10
Ref. #: JP6362
13
Nyuunryu Kosonsho
Kuniyoshi (1797 - 1861)
The aesthetics of the Japanese tattoo are due to its intimate and inseparable relationship with ukiyo-e.
Even when ukiyo-e prints do not illustrate inked skin, they consistently reveal a shared visual language. In
this print, a dragon curls around Suikoden hero Nyuunryu Kosonsho, nicknamed Dragon in the Clouds.
A Taoist priest, this hero is known for his ability to control wind and rain.
Date: c. 1827-1830
Size: 14.5 x 9.5
Ref. #: JPR5252
14
Oniwaka-maru and Giant Carp

Kuniyoshi (1797 - 1861)
The carp, or koi, does not flinch beneath the knife and can swim
against the current with immense endurance. As king of the river
fish, the carp represents persistence and fortitude. Though this
print does not feature tattooed skin, it presents a common tattoo
motif, illustrating the shared visual vocabulary of ukiyo-e and the
tattoo.
Date: c.1838
Size: 14.25 x 10
Ref. #: JPR5243
Oyogu (swim). Masato Sudo. Photograph (Archival
fresco pigment print.) 16.75 x 12.5. JPR5913.
15
Makibashira: Saginoike Heikuro Fighting a Giant Python

Kuniyoshi (1797 - 1861)
Snakes, or hebi, often serve as guardians of shrines in Japanese legends. Linked with wisdom and prophecy, serpents are a popular motif in both ukiyo-e and tattoo.
Series: Japanese and Chinese Comparisons for the Tale of Genji
Date: 1855
Size: 14.75 x 10
Ref. #: JP5983
16
Kaosho Rochishin
Kuniyoshi (1797 - 1861)

In this depiction of Rochishin, the flowery monk,
Kuniyoshi portrays the delicate sakura blossoms
of this Suikoden heros distinctive tattoo across
Rochishins hulking shoulders.
Series: 100 Poems by 100 Poets
Date: 1848
Size: 13.75 x 9.5
Ref. #: JP6352
Itabashi: Inuzuka Shino with Hikiroku,

Samojiro and Dotaro
Kuniyoshi (1797 - 1861)
Based on Bakins The Eight Dogs of Satomi, this

print presents protagonist Inuzuka Shino trying to
save his evil uncle Hikiroku from drowning. Little
does Shino know, Hikiroku is actually hoping to
trick and drown him with the assistance of Dotaro
(swimming behind), while Samojiro, found in the
boat, steals Shinos sword. By depicting Dotaro with
a tattoo bodysuit, Kuniyoshi emphasizes the villainous nature of the swimmer.
Series: The 69 Stations of the Kisokaido
Date: 1852
Size: 14 x 9.25
Ref. #: JP5426
17
Ichimura Kakyo as Shirataki Sakichi (left)

Kunisada (1786 - 1864) aka Toyokuni III
Arms crossed tightly against his chest, kabuki actor Ichimura Kakyos skin
blooms with rich, red peonies or botan. Known as the king of the flowers,
the peony symbolizes strength and beauty.
Series: Modern Suikoden

Date: 1861
Signature: Kiko Toyokuni ga
Size: 14.25 x 9.75
Ref. #: JP6366
Nakamura Shikan as Kurikara Denshichi (right)
Rendered in the burnt orange of fall, maple leaves fall across the arms and
torso of Nakamura Shikan. An important motif across ukiyo-e and tattoo,
maple leaves, or momiji, suggest the passage of time or aging. While the
serpent on Shikans kimono slithers along silk, not skin, this stylized snake
hints at the influence of tattoo on Edo fashions.
18

Date: 1861
Size: 14.25 x 9.5
Ref. #: JP6368
Ichimura Uzaemon
as Kiyotaki no Sashichi

The falcon, or taka, peeking around
Ichimura Uzaemons shoulder symbolizes endeavor and success, as well as
power and courage. Looking towards his
kimono, the swimming carp and churning waves recall classic tattoo motifs,
once again referencing the shared iconography of Edos popular culture. From
ukiyo-e to tattoo, tattoo to fashion, the
arts drew inspiration from each other.
Medium: Woodblock Prints
Date: 1862
Signature: Kio Toyokuni ga
Size: 14.25 x 9.75
Ref. #: JP6365
Bando Kamezo
as Hinotama-kozo Oni Keisuke

Knife gleaming overhead, Hinotama-kozo
Oni Keisukes skin blooms with red and
white oni-azami, or thistle. Through the
figures pivoted stance, Toyokuni III offers the viewer an unobstructed view of
the field of irezumi flowers on Keisukes
back. Growing where other plants cannot
and nestled within thorny bristles, this
flower is associated with toughness and
defiance. Depicted in Toyokuni IIIs modern reimagining of the classic Suikoden,
the thistle is an apt adornment for the antiauthority heroes of Edo.
Date: 1862
Size: 14 x 9.5
Ref. #: JP6370
Ichikawa Kodanji
as Wani no Junsuke

With mouth agape and fangs bared, the
head of a crocodile wraps around Wani no
Junsukes shoulder. Amid cresting waves
and crashing waterfalls, Toyokuni III alludes to the protagonists wrestling victory against the sumo fighter known as
Whale Mountain.
Date: 1862
Size: 14 x 9.5
Ref. #: JP6369
19
Celebrating the Framing of the Ichimuraza Theater

While tattoos flourished within the Yoshiwara and the kabuki theater, tattooed bodysuits also became very common
amongst laborers. Mallets raised overhead, laborers assemble the framework of the Ichimuraza Theater. Balancing
amidst the beams, the men work in various states of undress, revealing the blue and red of their tattooed bodysuits.
Laborers such as these often also worked as firefighters, another heavily tattooed group in Edo.
Date: 1864
Signature: 79 years old Toyokuni hitsu (left) ,Oju Toyokuni hitsu (center, right)
Size: 14 x 28.5
Ref. #: JP6460
20
Nozarashi Gosuke, Asahina Tobei and Ude no Kisaburo from Modern Suikoden
In this triptych, Toyokuni III depicts not the bandit heroes of the Suikoden, but three famous otokodate, or street
knights, of Edo. Like an Edo period Robin Hood, an otokodate fought for justice and the common man. By depicting otokodate with the characteristic tattoos of the Suikoden bandits, Toyokuni III presents these Japanese street
warriors as a modern answer to a Chinese classic. Looking to the print on the far right, Toyokuni III renders actor
Ichikawa Ichizo as Nozarashi Gosuke with the characteristic nine-dragon irezumi of Kyumonryu, a common tattoo
choice of Edo street knights. In the center, actor Nakamura Fukusuke appears as Asahina Tobei, bearing the floral
tattoo of Kaosho Rochishin. On the left, actor Kawarazaki Gonjuro plays the role of Ude no Kisaburo, likened to an
ascetic warrior.
Date: 1858
Size: 14 x 28.5
Ref. #: JP6371
21
Ichikawa Kodanji as Komori Yasu

and Kawarazaki Gonjuro as Kirare Yosa
The presence of the bat tattooed on Yasus cheek

heightens his intimidating and sinister nature. From
the kabuki drama Yowa Nasake Ukina no Yokogushi,
this print presents the characters Yasu the bat and
scarface Yosa. While Yosa is secretly Yosaburo, the
dramas protagonist, Yasu is a blackmailer and general
rough customer.
Date: 1860
Signed: Toyokuni ga
Size: 14.25 x 9.75
Ref. #: JP6356
Ichikawa Kyuzo as Issun Tokubei

Portrayed in the role of popular hero Issun Tokubei,

actor Ichikawa Kyuzo wears tattooed whirlpool, wave
and flower imagery. Wrapping around his sides and
extending down his arms, this tattoo takes a modified
kame, or tortoise, pattern, covering the entire back
and barely wrapping around the sides of the shoulders
and torso.
Date: 1859
Signature: Sukinimakase Toyokuni ga
Size: 14 x 9.5
Ref. #: JP6364
22
Series: Suikoden
Date: c. 1832
Size:3.5 x 5
Ref. #: JP5046
Tattooed Warrior with Heavenly Woman

In this shunga print, faint blue outlines weave their way all across the warriors exposed skin, from ankle
to mid-forearm. While clearly meant as an erotic image, it also provides an unobstructed view of an Edo
period tattoo bodysuit. As most shunga were not signed, the name of the artist is attributed.
Series: E-hon
Date: c.1840
Size: 10 x 13
Ref. #: JP6455
Tattooed Lovers on a Cold Night

This book offers a rare glimpse of the tattooed body in shunga. This thirty-four page ehon (illustrated
book) contains six diptych shunga works and ten pages of text. While most works of shunga were unsigned, this ehon features Kunisadas alternate artist name, Matabei, hidden along the bottom of a folding
screen on page eight. Within the beautiful honeycomb and fern design of the covers, this ehon reveals
that tattoos were depicted across many genres during the Edo period.
23
Kawarazaki Gonjuro
Flowers of Edo: Five Young Men (Full set of five prints)
Kunichika (1835 - 1900)
Kunichikas complete series Flowers of Edo: Five Young Men reveals the prominence of tattoo in kabuki
roles, but this popularity extended offstage as well. While the tattoos of kabuki characters were applied
with makeup, the actors often wore true irezumi beneath their costumes. In the following half portraits,
these actors present flower, wave and dragon tattoos.
Date: 1864
Signature: Kunichika ga
Size: 13.5 x 9.25 (each)
Ref. #: JPR5469
24
Sawamura Tanosuke
Nakamura Shikan
Ichimura Kakyo
Bando Hikosaburo
25
Ichikawa Danjuro as Kyumonryu Shishin

Kunichika (1835 - 1900)
Playing the role Kyumonryu Shishin from the Suikoden, Ichikawa Danjuro sports an elegant rendering of
the heros nine-dragon tattoo bodysuit. Cast in deep blue and piercing red, these stage tattoos would
have been applied using kumadori, the same makeup used to paint lines on the face, arms and legs of actors playing aragoto, or rough style, roles.
Series: 100 Roles of Ichikawa Danjuro
Date: 1898
Signature: Kunichika hitsu
Size: 14 x 9.5
Ref. #: JP6367
26
Kabuki Actor Onoe Kikugoro

as Kyumon no Ryukichi
Kunichika (1835 - 1900)
Kyumonryu Shishin is one of the most popular

heroes of the Suikoden. The son of a wealthy
landowner, the hero gives up a life of privilege
for that of the otokodate, or street knight. Kyumonryu themed tattoos often focus on his martial
artistry, a key facet of the warrior identity, and his
persona, as literally nine-dragoned, referring to
the nine dragons tattooed on his body.
Series: Mitate Suikoden with Waterfalls
Date: 1875
Signature: Toyohara Kunichika hitsu
Size: 14 x 9.5
Ref. #: JP6361
Kabuki Actor Onoe Kikugoro

as Fudo no Bunji
Kunichika (1835 - 1900)
Centering actor Onoe Kikugoro beneath the crashing waterfall, Kunichika beautifully illustrates one of
the oldest tattooing motifs: kawa, or river. Though
most tattoo iconography depends on the presence
of ink, kawa is defined by the absence of pigment.
Referring to the river of bare skin running down
the center of the chest, kawa is a distinctive feature
of the jinbeibori tattoo pattern.
Date: c. 1880
Size: 13.5 x 9.25
Ref. #: JP6166
27
Rorihakucho Chojun
Wrestling Kokusenpu Riki in the Water
Yoshitoshi (1839 - 1892)
Red maple leaves ride the waves and whirlpools of

Suikoden hero Chojuns tattoo bodysuit. Plunging
down the length of this kakemono (vertical diptych), Chojun, the White Stripe, wrestles the
pirate Riki, the Black Whirlwind, to the depths.
Muscular and determined, the hero nears the river
bottom. As bright blue diagonals cut across the
scene, Yoshitoshi captures the waters current,
adding the dynamism and drama of this underwater triumph.
Date: c. 1887
Signature: Oju Yoshitoshi ga
Size: 27.5 x 9.5
Ref. #: JP6360
28
Kyumonryu Shishin
In this print from Heroes of the Suikoden, Yoshitoshi presents Kyumonryu receiving his namesake tattoos. With all outlines and one sleeve complete, the tebori master begins to shade the heros shoulders.
With his right index finger extended along the bamboo of the hari, the tattoo artist holds the skin taught
and the sumi brush with the left hand. Depicting the prepared ink and different hari on the floor next to
the artist, Yoshitoshi reveals the tools and practice of tebori during the Edo period.
Series: Heroes of the Suikoden
Date: 1868
Signature: Ikkaisai Yoshitoshi hitsu
Date: 13.75 x 9.25
Ref. #: JP6375
29
Painful: the Appearance of a Prostitute of the Kansei era (1789-1801)

A precursor to the decorative tattoo in Edo, irebokuro (vow marks) were enormously popular in the Yoshiwara. They began as simple tattooed dots but escalated to names tattooed onto the inner arm. Handkerchief clenched between her teeth, the courtesan turns away from the shimmering needle hovering above
her inner arm. Her loose wisps of hair, handkerchief and disheveled kimono suggest that one moment of
passion led to another: the application of a vow mark. The hand wielding the needle likely belongs to the
courtesans lover or client, declaring the couples love, whether purchased or true, by tattooing his name
upon her arm.
Series: 32 Aspects of Women
Date: 1888
Signature: Yoshitoshi ga
Size: 14 x 9.25
Ref. #: JP6462
30
Kyumonryu Shishin
From Yoshitoshis famous 100 Views of the Moon, Kyumonryu gazes at the full moon in his home village.
Though his bandit life has yet to begin, his characteristic nine-dragoned irezumi is complete. While many
ukiyo-e artists rendered tattoos solely in blue and red, here Yoshitoshi revels in the tattoo, depicting Kyumonryus bodysuit with an incredible richness of color and intricacy of design.
Series: 100 Views of the Moon
Date: 1885
Signature: Yoshitoshi
Size: 14 x 9.5
Ref. #: JPR5812
31
Horiyoshi III
Horiyoshi III (b. 1946) is Japans preeminent tebori master, whose work is indebted
to traditions of apprenticeship and skill.
While the world of tattoo remains one of
secrecy and exclusivity in Japan, Horiyoshi
III has transcended taboo, achieving national and international fame. Interestingly, the most famous tattoo artist worldwide, Horiyoshi IIIs studio continues to
operate discreetly and unmarked.
Born Yoshihito Nakano, Horiyoshi III
received his current title from the late
tebori master Yoshitsugu Muramatsu, also
known as Shodai Horiyoshi of Yokohama.
Beginning at age sixteen, Horiyoshi III
served as Shodai Horiyoshis apprentice for
ten years. By age twenty-eight Horiyoshi
IIIs body suit was complete, hand tattooed by Shodai Horiyoshi. In the future,
Kazuyoshi, Horiyoshi IIIs son and apprentice, will carry on the family line and
become Horiyoshi IV.
Though ukiyo-e officially ended in 1868,
Horiyoshi III carries on the spirit of these
pictures of the floating world in his work,
simultaneously incorporating his own style
and a contemporary perspective. This
sensitivity to tradition extends beyond
his tebori. In recent years, Horiyoshi III
has concentrated on traditional kakejiku
(scroll paintings). Rendering Japanese folktales, calligraphy and religious subjects in

sumi (black ink) and traditional mineral
pigments, Horiyoshi III interweaves past,
present and future. In addition to painting
and drawing, Horiyoshi III tattoos full
time, publishes numerous books of his
drawings, and is the founder with his wife,
Mayumi, of Japans only tattoo museum in
Yokohama. With over forty years of experience, he is the foremost authority on
traditional Japanese tattooing.
Horiyoshi III explains that his work
embodies a commitment to three points:
shu (), to succeed to a tradition, ha (),
to add new concepts and techniques, and
ri (), to develop ha further and create
ones own world. In Taboos collection of
his paintings and drawings, this philosophy
shines through. Whether portraying the
brave heroes of the Suikoden or a frightening slew of oni, Horiyoshi III captures the
vital energy of his subjects across needle,
pencil and brush. As he explains, I heavily
felt the burden of my creative desire not
to make drawings by just following the
established images...Observance of tradition is definitely important, but it is also
important to open doors to further development.1
1. Horiyoshi III. 100 Demons of Horiyoshi III. Japan: Yoshihito Nakano, 1998. Print.
32
Toryumon Gate
Horiyoshi III (b. 1946)

Passing through the Toryumon gate, the carp begins its
transformation from a determined fish into a triumphant
dragon. Through the use of vertical line and flecked white,
Horiyoshi III captures the urgency and drama of this
magical moment.
Medium: Scroll painting on silk
Date: c. 2010
Signature: Sandaime Horiyoshi
Size: 58.5 x 14
Ref. #: JPR5789
33
Baku

Common in Japanese folklore, Baku are supernatural
creatures that feed on dreams. One may summon the
Baku to rid themselves of a nightmare.
Date: c. 2010
Size: 46 x 13.5
Ref. #: JPR5786
Baku. Horiyoshi III. Drawing.

20 x 14.25. c. 2010. JPR5761.
34
Koryu the Descending Dragon

Curling down the scroll, the dragon glares fiercely

out at the viewer. Through deep shadows and dramatic highlights, Horiyoshi III emphasizes the
sharp scales and gleaming talons of this mythological creature.
Date: c. 2010
Size: 46 x 13.5
Ref. #: JPR5787
35
Fujin, the God of Wind

Fujin is the god of wind. He carries his bag of

wind (kazebukuo or futai) and is often paired
with Raijin. As Fujin glances back at the dragon
breaking through the clouds, he loosens the tie
on his bag, releasing a powerful gust of wind.
Date: c. 2010
Size: 46 x 13.5
Ref. #: JPR5783
36
Raijin, the God of Thunder

Raijin is the god of thunder, lightning and

storms. He is often pictured holding drums and
paired with Fujin. Sticks raised, Raijin beats his
drum, evoking a treacherous storm and luring a
dragon from the darkness.
Date: c. 2010
Size: 46 x 13.5
Ref. #: JPR5784
37
Kusunoki Tamonmaru
Sword drawn, Tamonmaru shines his lantern

in the face of a gruesome tanuki, a badgerlike
beast. According to the tale, the mischievous
beast tried to scare the young hero, but Tamonmaru showed no fear and stabbed the tanuki
to death.
Date: c. 2010
Size: 46 x 13.5
Ref. #: JPR5790
38
Kashinkoji Riding Sword

As a dragon spirals around the figure of Kashinkoji,

the phantom ninja uses his magic to ride upon his
sword.
Date: c. 2010
Size: 46 x 13.5
Ref. #: JPR5788
39
Namakubi in Winter
Landing tenderly upon the frosty branch, a little bird

looks down at the hanging namakubi. The presentation of severed heads served as a frightening declaration of victory in medieval Japanese warfare.
Date: c. 2010
Size: 47.5 x 14
Ref. #: JPR5792
Namakubi. Horiyoshi III. Drawing.

16.25 x 12.c. 2010. JPR5770.
40
Yuki-onna the Snow Witch

A famous spirit, or yokai, Yuki-onna is a beautiful, but treacherous character. With nearly translucent skin and lips blue from the cold, only the rich
black of her hair distinguishes her from the snow.
Moving without footprints or a sound, she appears
to unsuspecting travelers.
Date: c. 2010
Size: 46 x 13.5
Ref. #: JPR5785
41
Haryu the Dragon

with Waves Descending
Haryu the Dragon

with Waves Ascending
Medium: Drawing
Date: c. 2010
Size: 19.25 x 12.5
Ref. #: JPR5758
Medium: Drawing
Date: c. 2010
Size: 18 x 13.75
Ref. #: JPR5755
The Ash Blowing Dragon. Hokusai.Woodblock print. 8 x 10.
c. 1834. JP5984
Originating as a defiled snake in Indian mythology, the

dragon, or ryu, served a talismanic purpose for firemen
of Edo. Closely associated with water, tattooed dragons
would protect the firemen from the hazards of their job.
Symbolizing wealth, this mythical beast traditionally has
the body of a serpent, the horns of a deer, scales of a carp
and the four-clawed talons of an eagle.
42
Koi Botan; Carp and Peonies

Horiyoshi III recalls the dynamic koi of the

woodblock (seen in Hosons Carp Jumping for
Insect) as he depicts one of the most popular
tattoo motifs. From the active flick of the tail
to the determined spark in the eyes, Horiyoshi
III captures the traditional spirit of the carp
against the crashing waves characteristic of
irezumi.
Medium: Drawing
Date: c. 2010
Size: 18.25 x 13.75
Ref. #: JPR5748
Carp Jumping for Insect. Hoson. Woodblock print.
14.75 x 10.5. 1930-1931. JP5598*.
43
Botan Chirashi (Scattered Peonies)

Though more than a century separates Horiyoshi IIIs

drawing from Kunichikas woodblock print, elegant peonies (botan) bloom in each image. Just as the folding screen
bursts with vibrant petals in Kunichikas print, Horiyoshi
III carries this traditional motif into the present, filling his
paper with lush petals.
Medium: Drawing
Date: c. 2010
Size: 16.5 x 24
Ref. #: JPR5766
Onoe Kikugoro and Sawamura Tanosuke.
Kunichika. Woodblock print. 14 x 9.75.

1864. JP6377.
44
Asahina Saburo Yoshihide

Medium: Drawing
Date: c. 2010
Size: 20 x 14.25
Ref. #: JPR5765
Asahina Fighting Two Crocodiles. Yoshitoshi. Woodblock print. 13.75 x 29.5. c. 1842. JPR5045
In the central panel of this marvelous triptych, the legendary figure Asahina wrestles with one of two
attacking crocodiles. The determined expression on the heros face and his bulging muscles suggest that
he is a strong fighter, yet the contrasting horrified and worried appearances of the spectators in the surrounding boats suggests that this may be a close fight. While Horiyoshi IIIs Asahina battles a different
foe amidst crashing waves, this drawing demonstrates the enduring popularity of Japanese folk heroes.
45
Nitta Yoshisada

Before Nitta Yoshisada and his army can fight their enemies
in the Battle of Kamakura, they are stranded between a
steep cliff and a body of water. Yoshisada offers his sword in
prayer to the moon, hoping for a spontaneous ebb tide that
will allow him to cross the water in safety, and surprise their
enemies. After throwing his sword into the ocean, the tide
soon begins to roll back, securing Yoshisadas victory.
Medium: Drawing
Date: c. 2010
Size: 19.25 x 12.5
Ref. #: JPR5751
46
Moon at Inamura-Ga-Saki. Yoshitoshi.

Woodblock print. 14.5 x 9.5. 1886.
JP2439.
Nine-Tailed Fox

The nine-tailed fox is a common motif in the
Japanese tattoo. According to folklore, foxes, or
kitsune, are considered intelligent, magical and
are associated with the Shinto spirit Inari.
Zenko are the foxes associated with Inari, while
yako, or field foxes, are considered mischievous.
As the number of tails indicates the level of
wisdom, the nine-tailed fox is considered especially powerful. Kitsune are also associated with
assuming a human form, particularly that of a
beautiful woman.
Medium: Drawing
Date: c. 2010
Size: 19.5 x 12.5
Ref. #: JPR5756
Nine Tale Fox and Songoku. Hokusai. Woodblock print.
8.5 x 10. 1815 - 1868. JP3220.
47
Zennyo Ryuo the Rain Goddess Dragon

Medium: Drawing
Date: c. 2010
Size: 19.25 x 12.75
Ref. #: JPR5749
Ryuo Dragon King Taro

Medium: Drawing
Date: c. 2010
Size: 19.25 x 12.5
Ref. #: JPR5754
48
Roshi Ensei from Suikoden Heroes

Medium: Drawing
Date: c. 2010
Size: 16.5 x 11.5
Ref. #: JPR5558
Fudo Myo-o the Guardian Deity,

Wisdom King
Medium: Drawing
Date: c. 2010
Size: 16.5 x 12.5
Ref. #: JPR5775
49
MASATO SUDO
Introduced by Dutch merchants in Nagasaki Bay, photography flourished in Japan
at the close of the Edo period. Artisans and
local officials ordered cameras from the merchants and slowly began to learn daguerreotype and wet plate photography. With the
start of the Meiji period and the promotion
of Western modernity, photography became
a newfound passion in Japan. Photographs
of this era mirrored ukiyo-es representational relationship with the Japanese tattoo.
This rapport persists today, as evidenced by
the surreal and striking art photography of
Masato Sudo. Focusing on tattoo and the
human form, Sudo invites cutting edge technology into a four hundred year dialogue.
As an art student, Masato Sudo (b. 1955)
concentrated his photographic work on long
haul trucks lavishly decorated by their drivers. While working on one of these studies,
Sudo encountered a driver with designs on
his body outdid those of his truck. Enamored
by such individualized, bodily expression,
Sudo built his career capturing the beauty of
the Japanese tattoo and its dynamic human
canvas. In 1985, Sudo released Ransho: Japanese Tattooing, a photographic exploration of
tebori (hand tattooing) done by Horiyoshi
III, Horijin and Horikin. In 2010, his work

was featured in the exhibition Seeing Beauty
at Balboa Parks Museum of Photographic
Arts in San Diego and can be found in collections worldwide.
Combining large format photography
with the archival fresco pigment printing
process, Sudo generates not only stunning,
but also long lasting studies of the inked
form. Originating in Japan, this new technology draws upon ancient innovation to
create images that are heat, light and moisture resistant.1 Printing onto thin sheets of
plaster, the archival fresco pigment process
not only removes the pixelated feel of
digitally printed images, but also enables
a greater sense of depth than traditional
methods can offer. Furthermore, this technology allows an incredible smoothness of
texture close to that of human skin. Just
as traditional fresco technique preserves
Michelangelos pigments in Sistine Chapel,
archival fresco pigment printing captures
Sudos photographs within a soft layer of
plaster, guarding his photographs for centuries to come.
1. The archival fresco pigment printing process was developed by the FL Tokuyama Corporation. http://www.fresco-g.com/english/
50
ransho
Sudo explains that ransho begins with ancient, enduring Japanese culture. Skilled and dedicated
tattoo masters draw upon the designs of this past, engraving them only onto the fiercely courageous. As the artist tattoos his subject, he uses the ink to evoke the inner spirit of his human
canvas. Born of a union between the soul and exterior beauty, the tattoo shines through as an
impressive art of the flesh to be celebrated. One who wears a true full-body tattoo completed
by one of Japans great masters becomes a ransho, embodying the culture, spirituality and skill
behind the art form.
Sudos series Ransho is available individually or in a complete suite of 30 photographs.
51
Fu (Mt. Fuji)
Masato Sudo (b. 1955)

Tattoo depicts Ryuzukannon, the dragon-riding form of the bodhisattva
Kannon (Goddess of Mercy). Distant view of Mt. Fuji from Nishi-Izu.
Hand clenched in a fist, the model is a crane operator from Yokohama.
Tattoo Artist: Horiyoshi III
Series: Ransho
Edition: 30
Medium: Photograph
(archival fresco pigment print)
Signature: Masato Sudo
Size: 12.5 x 16.75
Ref. #: JPR5916
52
Majiau (join)

Sakata Kaido-maru wrestling with a giant carp on the
back of the left figure, Shoki on the back of the right
figure.
Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
Ref. #: JPR5890
Shoki Capturing an Oni. Yoshitoshi.

Woodblock print. 14 x 9.25. 1890.
JPR5046.
53
Nishiki (glory)

Tattoo Artist: Horikin
Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5895
Sakata Kintoki at Mt. Ashigara. Kuniyoshi.
Woodblock print. 14.75 x 10. c.1830. JP6464.
54
Mure (herd)

Tattoo Artists: Shodai Horiyoshi and Horiyoshi III
Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5893
55
Kagamu (Bend)

Tattoo Artist: Horijin
Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5889
56
Hana (flower)

Tattoo Artists: Horijin
Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5898
57
Niramu (glare)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5910
Tiger Design for Horimono. Eisen.

Woodblock print. 7 x 5. c.1842. JP6374.
58
Hisomu (hidden)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5914
Dragon Design for Horimono. Eisen.
Woodblock print. 7 x 5. c.1842. JP5784.
59
Ha (leaves)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5909
60
Shin (core)

Standing nude represents the pistil of a flower while the
colorfully tattooed seated figures act as stamens in this human flower.
Series: Ransho
Edition: 30
Medium: Photograph
Size: 16.75 x 12.5
ref. #: JPR5918
61
Kumu (pile)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5891
Itadaki (top)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5892
Utsuru (reflection)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5894
62
Narabu (queue)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5896
To (collapse)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5897
Yumi (bow)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5906
63
Kaku (expand)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5903
So (A pair)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5904
Mau (dance)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5908
64
Hyo (float)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5911
Hama (beach)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5907
Ninau (carry)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5912
65
Cho (tide)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5915
Za (seat)

Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5917
Jin (exceed)

Tattoo Artist: Horishiba
Series: Ransho
Edition: 30
Medium: Photograph
Size: 12.5 x 16.75
ref. #: JPR5888
66
Utsu (strike)
Suji (line)

ref. #: JPR5901

ref. #: JPR5905
Shiboru (squeeze)
Ritsu (standing)

Tattoo Artist: Shodai Horiyoshi
ref. #: JPR5902

ref. #: JPR5900
All works above: Ransho. Edition of 30. Signed Masato Sudo. Photograph (archival fresco pigment print). 16.75 x 12.5.
67
Daniel Kelly
The traditional Japanese tattoo and its
associated aesthetics are hugely popular
outside of Japan. Masters of the traditional tebori (hand tattooing) technique
command enormous respect in the contemporary global tattoo community.
Though exceedingly popular abroad, this
popularity does not equal cultural acceptance in Japan. In the United States, tattooing is still other, but gains legitimacy
and exclusivity through the artistry, technical skill, time and subjection to pain. As
a contemporary American artist based in
Kyoto, Daniel Kelly (b. 1947) explores the
perception gap between American and
Japanese views of this art form. Through
his photorealistic prints and mixed media works he captures the Japanese tattoo
through the Western lens.
Born in Idaho Falls, Montana, Kelly is
a painter, printmaker and mixed media
artist. He studied at the University of
Portland and Portland State University.
Following graduation, Kelly moved to San
Francisco, working in glass and mosaics
before studying romantic-expressionist
68
painting with Morton Levin. Upon seeing

a book of woodblock prints, Kelly pursued
the print medium with unyielding enthusiasm. He promptly moved to Kyoto in 1978
and began to study traditional woodblock
technique under Tomikichiro Tokuriki.
Over the next few decades, Kellys work
became increasingly daring.
Combining his expansive knowledge of
techniques with innovative amalgamations
of media, Kelly challenges the boundaries
of each individual art form, as well as the
limits of his own expression. From concrete to paint, polyvinyl to old book pages,
his works push visual distortion and a vital
physicality. Kelly regularly holds exhibitions worldwide and his work can be found
in the permanent collections of the Museum of Modern Art New York, the Metropolitan Museum of Art and the British
Museum. As expressed by contemporary
author Banana Yoshimoto, [Daniel Kelly]
consumes and digests the beauty of an
object, holding and appreciating it within
himself until he has absorbed it.
Madoka
Daniel Kelly (b. 1947)

Medium: Mixed-media
(Lithograph, woodblock and hand coloring on Japanese mulberry paper with
chine-coll of ukiyo-e print)
Edition: AP 6/10
Date: 2006
Signature: Daniel Kelly
Size: 43 x 33.5
Ref. #: JPR5967
69
Wink

Medium: Mixed-media
(Lithograph, woodblock and hand coloring on Japanese mulberry paper)
Edition: 39/45
Date: 2005
Size: 28 x 22
Ref. #: JPR5968
70
I Am Not a Geisha
Medium: Mixed-media
(Lithograph, woodblock and hand coloring on Japanese mulberry paper
with chine-coll of ukiyo-e print)
Edition: 47/60
Date: 2006
Size: 43 x 32
Ref. #: JPR5966
71
GLOSSARY
Aku - evil, bad. Punitive tattoos emblazoned this Chinese character onto the foreheads of criminals.
Bodysuit A full-body tattoo that covers the torso, legs and arms. In traditional Japanese tattooing, the
bodysuit can take several specific patterns (i.e. see jinebeibori below).
Dogu - Clay figures dating to the Jomon period (10,000 - 300 BCE). The decorative patterns engraved on
the face and body suggest tattooing, though this theory is not conclusive.
Ehon - Illustrated book.
Floating world - Refers to the pleasure focused culture of Edos emergent middle class. Centered
in the kabuki theater and the yoshiwara, or pleasure district, this culture flourished during the Edo period.
Kumi - Branch, distinct factions of yakuza.
Hari - Needle(s) used in traditional Japanese hand tattooing. Made up of a bamboo rod with a needle attached the end with thread. For outlines, a single row of needles is used, for shading multiple rows are used.
In the 1980s, the traditional thread and bamboo hari were replaced with stainless steel rods and soldered
needles due to fear of bloodborne disease.
Hikeshi - Firemen. Likely due the immense danger and frequency of fires in Edo, firemen were
raised to heroic status and served as a popular subject in kabuki plays and ukiyo-e prints. They were usually
heavily tattooed with images of dragons, carp or other water symbols as protection from fire.
Horimono - Carved object. Tattooists of the mid-18th century used this term, rather than irezumi, to
distance their work from the brutal punitive tattoos of the time. Tattoo artists of this era referred to themselves as horishi. Some tebori masters today use this term.
Inked skin Skin bearing a tattoo.
Irebokuro - Engraved mole. Precursors to the decorative tattoo, irebokuro were symbols of commitment between lovers. These marks began in the pleasure quarters of Osaka and Kyoto in the mid-17th
century, but reached new levels in Edos pleasure district, the yoshiwara. Often shared between a courtesan
and her lover, an irebokuro was a tiny dot on the hand or a lovers name and the character for life tattooed
along on the inner arm.
Irezumi - The insertion of ink. Refers to traditional Japanese tattooing. This term held punitive connotations during the Edo period, but today it has largely shed this particular association.
Irozumi - Tattoos that used white lead as tattooing pigment. They would normally be nearly invisible, but
would appear when the skin became reddened from drinking or blushing. These playful tattoos became
popular around the same time as irebokuro.
Jinbeibori - Full body tattoo, designed such that it will be completely covered when one wears a jinbei, an
open-front, summer kimono.
Kakejiku - Traditional Japanese silk scroll.
Kisshobori - Pledge marks. A precursor to the decorative tattoo. Often parts of sutras or prayers, these
tattoos indicated a commitment to Buddhism or a promise to oneself. Today people get kisshobori for this
second meaning (ex. For courage).
Kumadori - Makeup used for colored lines on face, arms and legs of Kabuki actors. While mainly reserved
for aragoto or rough style roles, kumadori was also used to paint tattoos on actors skin.
Oni - These demonic, supernatural creatures take four forms: Earthly evil deities against a heavenly god,
menacing creatures from classic legends, dangerous and frightening supernatural apparitions or evil taking
the form of beautiful men or women.
Oni-azami - Thistle
Otokodate - Heavily tattooed street knights, considered themselves champions of the common people,
but were largely just ruffians. Challenged corrupt samurai and fought for justice. An otokodate usually carried one sword, instead the traditional two of the samurai, wore a kimono and was often depicted with a
flute.
Shichibori - Traditional tattoo format. Chest panel with 2/3rd length arm pieces.
Shunga Erotic, often humorous, Japanese art that usually takes the form of woodblock prints.
Skin The canvas of the tattoo artist.
Suikoden - Japanese adaptation of the 14th century Chinese classic, Shuihuzhuan (Stories
of the Water Margin). In 1805, Takizawa Bakin presented his translation, New Illustrated Edition of the
Suikoden, and incited a mania in Edo. This tale of 108 bandit warriors stressed camaraderie and loyalty as
each warrior operated on their own code of justice. The Suikoden inspired prints, plays and tattoos, often
serving as the main point of intersection between these popular arts.
72
Tanuki Mischievous, badgerlike creatures from Japanese folklore.

Tebori - Traditional Japanese hand tattooing. Today, it is mainly reserved for shading, while a tattoo machine
is used for outlining.
Ukiyo-e - Pictures of the floating world. Woodblock prints capturing the pleasure driven, merchant class
culture that flourished in Edo between 1603 and 1868.
Yakuza - Japanese crime syndicate.
Irezumi TIMELINE
10,000 -
Jomon clay figures suggest early tattooing through decorative patterns on the face and body,
300 BCE though these theories are not conclusive
265 BCE
Chinese records show that the Wa, the ancient people of Japan, decorate their bodies and

faces with designs to indicate rank
600s AD
Introduction of Confucianism to Japan instigates the stigmatization of the tattoo through the

idea of body as inheritance (filial impiety to change the body)
Early 1600s Tattoo is cause for ostracization by family and community

Edo period begins in 1603
1700
Shift from solely punitive to decorative tattooing; beginning of irebokuro

Irezumi flourishes amongst the lower classes (firemen, craftsman)
1720
Last Shogunal sanction of punitive tattooing
c. 1750s
Tattoo becomes a symbol of resistance against the Tokugawa rule
1804-1818
Edict against tattoos, yet tattooing continues in secret
1805
Takizawa Bakin releases his Suikoden and inspires countless prints, plays and tattoos
c. 1850s
Tattoo machine invented in the U.S.

Rapid proliferation of ink diminishes with arrival of foreign ships
1867
Emperor returns to power
1868
Edo period ends, Meiji period begins with the arrival of Westerners
1872
Meiji Government bans tattooing, but foreigners can be tattooed by Japanese tattoo artists
1880 & 1908 Crackdowns on tattooing by Japanese government
1945
Japans surrender and beginning of Allied Occupation; East-West tattooing exchange begins
c. 1950s
Tattoo machine introduced in Japan; allows greater detail, but does not replace tebori
1948
General Douglas MacArthur legalizes tattooing
1970s
High point of tattooing amongst Japans criminal class (yakuza)
1980s
Horiyoshi III revitalizes traditional Japanese tattoos

Fear of communicable disease prompts the introduction of latex gloves, stainless steel hari and

single-use ink caps to traditional Japanese hand-tattooing
1990s
Economic recession and implementation of the Act for the Prevention of Unlawful Activities

prompts tattoo clientele to go from 99% yakuza to 50% average citizen
2013
Osaka mayor removes tattooed civil servants from jobs requiring contact with residents
2014
Maori scholar turned away from hot springs in Ishikari, Hokkaido for her tribal tattoos
73
BIBLIOGRAPHY
1. Associated Press. Tattoo Ban at Bathhouses Raises Concern in Japan.Ajw.asahi.com. The Asahi Shimbun, 14
Sep. 2013. Web. 10 Jan. 2015.
2. Fellman, Sandi, and D. M. Thomas. The Japanese Tattoo. New York: Abbeville, 1986. Print.
3. Fresco Giclee. FL Tokuyama Corporation, n.d. Web. 10 Jan. 2015. http://www.fresco-g.com/english/
4. Hendry, Joy, and Massimo Raveri. Japan at Play: The Ludic and Logic of Power. London: Routledge, 2002. Print
5. Horiyoshi III. 100 Demons of Horiyoshi III. Japan: Yoshihito Nakano, 1998. Print.
6. Keyes, Roger S., and George Kuwayama. The Bizarre Imagery of Yoshitoshi: The Herbert R. Cole Collection.
Los Angeles: Los Angeles County Museum of Art, 1980. Print.
7. Kitamura, Takahiro, and Katie M. Kitamura. Bushido: Legacies of the Japanese Tattoo. Atglen, PA: Schiffer,
2000. Print.
8. Kitamura, Takahiro. Tattoos of the Floating World: Ukiyo-e Motifs in the Japanese Tattoo. Amsterdam: KIT
Pub., 2007. Print.
9. Mitchell, Jon. Japan Inked: Should the Country Reclaim Its Tattoo Culture? Japan Times. Japan Times, 03 May
2014. Web. 15 Dec. 2014.
10. Mitchell, Jon. Japans Solitary Ode to Ink. Japan Times. Japan Times, 03 May 2014. Web. 15 Dec. 2014.
11. Mitchell, John. Loved Abroad, Hated at Home: The Art of Japanese Tattooing. Japan Times. Japan Times, 03
Mar. 2014. Web. 15 Dec. 2014.
12. Okazaki, Manami. Japanese Tattoo Art Carves Its Mark in the Mainstream. Japan Times. Japan Times,
6 Sept. 2007. Web.
13. Okazaki, Manami. Wabori: Traditional Japanese Tattoo. Hong Kong: Kingyo, 2013. Print.
14. Richie, Donald, and Ian Buruma. The Japanese Tattoo. New York: Weatherhill, 1980. Print.
15. Sekiguchi, Toko. Taking the Stink Out of Ink. Japan Real Time. Wall Street Journal, 5 Nov. 2013. Web. 13
Jan. 2015.
16. Uhlenbeck, Chris, Amy Reigle. Newland, Ed Freis, and Yoshitoshi Taiso. Yoshitoshi: Masterpieces from the
Ed Freis Collection. Leiden: Hotei, 2011. Print.
17. Van Gulik, Willem R. Irezumi: The Pattern of Dermatography in Japan. Leiden: Rijksmuseum Voor
Volkenkunde, 1982. Print.
18. Yamada, Mieko. Westernization and Cultural Resistance of Tattooing Practices in Contemporary Japan.
International Journal of Cultural Studies.12 (4), Sage Publications, 2014. Print, 319-338.
RONIN GALLERY
425 Madison Ave
New York, NY 10017
212.688.0188
www.roningallery.com
ronin@roningallery.com
Chairman: Herbert Libertson
President: David Libertson
Executive Director: Roni Neuer
Director: Tomomi Seki
Gallery Associate: Travis Suzaka
Research Assistant: Madison Folks
Gallery Assistant: Runting Song
Gallery Assistant: Akane Yanagisawa
74
RONINGALLERY
425 Madison Ave. New York, NY 10017

The Largest Collection of Japanese Prints in the U.S.
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TABOO

Ukiyo-e & The Japanese

Ukiyo-e & The Japanese

I would like to take this opportunity to express my gratitude to the

TABOO: Ukiyo-e & The Japanese TATToo

Kyumonryu Shishin from the Heroes of the Suikoden.

Yoshitoshi. Woodblock print. 13.75 x 9.25.1868.

personal nature of the tattoo is furthered

between past and present, as the works

Pre-Edo: From Cultural to Criminal

nity and tradition were overshadowed with

Edo: Ink as Art, Art as Resistance

again making the tattoo a willful declaration of ones values.

Beyond the Yoshiwara, decorative tattooing reached grand proportions amongst

Meiji Period - Allied Occupation:

devoted themselves to learning the art form,

artists work in Japan today, as opposed to

seen as a kind of fashion, but within the

Rori Hakucho Chojun

Kuniyoshi (1797 - 1861)

Kuniyoshi (1797 - 1861)

Oniwaka-maru and Giant Carp

Oyogu (swim). Masato Sudo. Photograph (Archival

fresco pigment print.) 16.75 x 12.5. JPR5913.

Makibashira: Saginoike Heikuro Fighting a Giant Python

Kuniyoshi (1797 - 1861)

Itabashi: Inuzuka Shino with Hikiroku,

Based on Bakins The Eight Dogs of Satomi, this

Ichimura Kakyo as Shirataki Sakichi (left)

Series: Modern Suikoden

Nakamura Shikan as Kurikara Denshichi (right)

Kunisada (1786 - 1864) aka Toyokuni III

Series: Modern Suikoden

Kunisada (1786 - 1864) aka Toyokuni III

Kunisada (1786 - 1864) aka Toyokuni III

Kunisada (1786 - 1864) aka Toyokuni III

Celebrating the Framing of the Ichimuraza Theater

Ichikawa Kodanji as Komori Yasu

The presence of the bat tattooed on Yasus cheek

Ichikawa Kyuzo as Issun Tokubei

Portrayed in the role of popular hero Issun Tokubei,

Tattooed Warrior with Heavenly Woman

Tattooed Lovers on a Cold Night

Kunisada (1786 - 1864) aka Toyokuni III

Flowers of Edo: Five Young Men (Full set of five prints)

Kunichika (1835 - 1900)

Ichikawa Danjuro as Kyumonryu Shishin

Kabuki Actor Onoe Kikugoro

Kyumonryu Shishin is one of the most popular

Kabuki Actor Onoe Kikugoro

Red maple leaves ride the waves and whirlpools of

Painful: the Appearance of a Prostitute of the Kansei era (1789-1801)

(scroll paintings). Rendering Japanese folktales, calligraphy and religious subjects in

Horiyoshi III (b. 1946)

Horiyoshi III (b. 1946)

Baku. Horiyoshi III. Drawing.

Koryu the Descending Dragon

Curling down the scroll, the dragon glares fiercely

Fujin, the God of Wind

Fujin is the god of wind. He carries his bag of

Raijin, the God of Thunder

Raijin is the god of thunder, lightning and

Sword drawn, Tamonmaru shines his lantern

Kashinkoji Riding Sword