Tattoo Book

TABOO Ukiyo-e & The Japanese

TATTOO

RONIN GALLERY

TABOO Ukiyo-e & The Japanese

TATTOO

RONIN GALLERY 425 Madison Ave. New York, NY 10017 The Largest Collection of Japanese Prints 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 ex hibition, 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 cata log 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

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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 ngers. Dexterous and practiced, the ngers of the right hand control the hari, or tattooing needle(s), in the technique of tebori. As lines and dots form curling dragons and erce 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 initia tion, community and membership, but also one of loneliness, rebellion and autoeroti cism. 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 modication, 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 esh 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 reect 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 today’s preeminent tebori artist, Horiyoshi III, oer a current interpretation of this rich tradition. The art photography of Masato Sudo continues this conversation roningallery.com | 212.688.0188

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between past and present, as the works of Daniel Kelly reveal the intersections of irezumi and contemporary art. From Edo’s “oating world” to modern Japan, Taboo traces the world of tattoo as it uctuates between immoral pleasure and illegal indul gence. 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 con vention,”2 tirelessly asserting a subcultural identity earned through pain and artistry.

Pre-Edo: From Cultural to Cr iminal (10,000 BCE - 1603 AD)

At its origin, the Japanese tattoo conrmed community. Reecting cultural values or social order, irezumi indicated belonging. Several scholars suggest that Japanese body modication 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 gures to a desire for, if not a reality of, tattooing. However, this theory is inconclusive. The rst accepted record of Japanese tattooing dates to 265 BCE. The Chinese chronicle Wei Chih describes how the Wa, the people of ancient Japan, deco rated their bodies and faces with designs, each marking’s specic 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 o 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 lial 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 immo rality. Bands of ink encircled the arms or the Chinese characters for “dog” or “evil, bad” glared in midnight blue from the foreheads of Japan’s criminal class. Follow ing elaborate systems to denote type and severity of crime, these punitive cyphers may have diered 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 Edo’s 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 pro gressed, tattoos increasingly became an act of resistance against the Shogunate, once

again making the tattoo a willful declara tion of one’s values. Following irezumi’s 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 Edo’s Yoshiwara. A pair of forbidden lovers would clasp hands, inserting a small black dot on their hand where their dearest’s thumb would end. As the Edo period continued, emboldened couples moved to tattooing each other’s 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 discre tion was crucial. As her clients would die or shift, the courtesan would use moxa to cauterize her irebokuro o 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 Edo’s lower class males. Irezumi bodysuits, traditionally ending mid-calf and mid forearm, decorated gamblers, remen (hikeshi), street knights (otokodate) and laborers. Raised to near heroic status in Edo, remen wore tattoos of carp and dragons to protect themselves from the dangers of their pro fession. 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 identied 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 ineectiveness.” 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 oating world. Blossoming in Edo’s 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.


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Meiji Period - Allied Occupation: Modernization and the Barbaric (1868 - 1952)

With the arrival of Commodore Perry’s ships in 1853, the Japanese authorities urged rapid modernization in an eort to avoid colonization. As well as pushing Western dress and banning the traditional samurai topknot, Meiji ocials 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 Eng land to Nicholas II, the last Czar of Russia, Westerners ocked 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, outing 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 eort 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 po tential of tattooing through tebori. Ameri can GIs, such as the famous Sailor Jerry,

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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 rst time in seventy years, tattooing was completely legal in Japan.

Yakuza to Olympians (1952 - Today)

Despite newfound legality, irezumi did not en joy a renaissance of Edoesque fervor. Though no longer against the law, tattoos remained rmly pitted against popular opinion. A history of negative associations became a fright ening 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 identied criminals in Japan’s 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 roll ing 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 Pre vention of Unlawful Activities have spurred tattoo clientele to shift from 99 percent yakuza to 50 percent average citizen. 5 Today, American one-point tattoos ourish amongst Japan’s younger generations, but the general Japanese attitude towards irezumi remains conicted. 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, Japan’s contemporary tattoo culture maintains a small and dedicated community of appreciative customers and connoisseurs. Traditional tebori masters are considered to be ne 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 oc cupies 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 dicult.”8 In the winter of 2020, Japan will play host to the Olympic games. With more tattooed athletes, ocials and visiting fans than ever, this imminent inux of Olympian ink has raised some concerns about Japan’s reception of these guests after a recent incident of discrimination. In Sep tember 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, Japan’s 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 shouldn’t be socially acceptable as that would be sacrilegious.”10

1. Richie, Dona ld, 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 Countr y Reclaim Its Tattoo Culture?” Japan Times. Japan Times, 03 May 2014. Web. 15 Dec. 2014. 7. Sekiguchi, Toko. “Taking the Stink Out of Ink.” Japa n 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. 20 13. Web. 10 Jan. 2015. 10. Okazaki, Manami. Wabori: Traditional Japanese Tattoo. Hong Kong: Kingyo, 2013. Print. 38.


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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 one’s allegiance to the exciting, chaotic and rapidly shifting conditions of the urban “oating world.” These ephemeral arts developed as parallel forms of expression, each drawing inspiration from religious imagery, Japanese mythology and folklore, tradi tional symbolism, historical episodes and popular literature. Released in 1805, Takizawa Bakin’s 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 ourished, 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 ery 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 Japan’s 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 a gainst 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, rening his skills in obser vation and drawing. As modernization pushed ahead, Yoshitoshi suered a nervous breakdown in 1872, driving him to poverty. A year later, he resumed working and fullled his creative potential. Yoshitoshi suered his nal 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 fty-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: Schier, 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 oral 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


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Kaosho Rochishin Kuniyoshi (1797 - 1861)

A tale of 108 bandit warriors, the Suikoden stressed camaraderie and loyalty as e ach 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 “owery monk,” he epitomizes justice, loyalty, brashness and strength. As midnight blue outlines the tattooed cherry blossoms on the hero’s shoulders, this print not only presents a popular tat too subject, but also an ukiyo-e interpretation of irezumi. Series: One of the 108 Suikoden Heroes Medium: Woodblock Print Date: c. 1827-1830 Signature: Ichiyusai Kuniyoshi ga Size: 15” x 10.25” Ref. #: JP6351

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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 Edo’s “oating 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.

Series: One of the 108 Heroes of the Suikoden Medium: Woodblock Print Date: c. 1827-1830 Signature: Ichiyusai Kuniyoshi ga Size: 14.75” x 10” Ref. #: JP6362


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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 languag e. 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. Series: One of the 108 Heroes of the Suikoden Medium: Woodblock Print Date: c. 1827-1830 Signature: Ichiyusai Kuniyoshi ga Size: 14.5” x 9.5” Ref. #: JPR5252

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Oniwaka-maru and Giant Carp Kuniyoshi (1797 - 1861)

The carp, or koi, does not inch beneath the knife and can swim against the current with immense endurance. As king of the river sh, 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. Medium: Woodblock Print Date: c.1838 Signature: Ichiyusai Kuniyoshi ga Size: 14.25” x 10” Ref. #: JPR5243

Oyogu (swim). Masato

Sudo. Photograph ( Archival fresco pigment print .) 16.75” x 12.5.” JPR5913.


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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 proph ecy, serpents are a popular motif in both ukiyo-e and tattoo.

Series: Japanese and Chinese Comparisons for the Tale of Genji Medium: Woodblock Print Date: 1855 Signature: Ichiyusai Kuniyoshi ga Size: 14.75” x 10” Ref. #: JP5983

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Kaosho Rochishin Kuniyoshi (1797 - 1861)

In this depiction of Rochishin, the “owery monk,” Kuniyoshi portrays the delicate sakura blossoms of this Suikoden hero’s distinctive tattoo across Rochishin’s hulking shoulders. Series: 100 Poems by 100 Poets Medium: Woodblock Print Date: 1848 Signature: Ichiyusai Kuniyoshi ga Size: 13.75” x 9.5” Ref. #: JP6352

Itabashi: Inuzuka Shino with Hikiroku, Samojiro and Dotaro Kuniyoshi (1797 - 1861)

Based on Bakin’s 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 Shino’s sword. By depicting Dotaro with a tattoo bodysuit, Kuniyoshi emphasizes the villain ous nature of the swimmer. Series: The 69 Stations of the Kisokaido Medium: Woodblock Print Date: 1852 Signature: Ichiyusai Kuniyoshi ga Size: 14” x 9.25” Ref. #: JP5426


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Ichimura Kakyo as Shirataki Sakichi (left) Kunisada (1786 - 1864) aka Toyokuni III Arms crossed tightly against his chest, kabuki actor Ichimura Kakyo’s skin blooms with rich, red peonies or botan. Known as the king of the owers, the peony symbolizes strength and beauty.

Series: Modern Suikoden Medium: Woodblock Print Date: 1861 Signature: Kiko Toyokuni ga Size: 14.25” x 9.75” Ref. #: JP6366

Nakamura Shikan as Kurikara Denshichi (right) Kunisada (1786 - 1864) aka Toyokuni III 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 Shikan’s kimono slithers along silk, not skin, this stylized snake hints at the inuence of tattoo on Edo fashions.

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Series: Modern Suikoden Medium: Woodblock Print Date: 1861 Signature: Kiko Toyokuni ga Size: 14.25” x 9.5” Ref. #: JP6368

Ichimura Uzaemon as Kiyotaki no Sashichi Kunisada (1786 - 1864) aka Toyokuni III

Bando Kamezo as Hinotama-kozo Oni Keisuke Kunisada (1786 - 1864) aka Toyokuni III

The falcon, or taka, peeking around Ichimura Uzaemon’s shoulder symbol izes endeavor and success, as well as power and courage. Looking towards his kimono, the swimming carp and churn ing waves recall classic tattoo motifs, once again referencing the shared ico nography of Edo’s popular culture. From ukiyo-e to tattoo, tattoo to fashion, the arts drew inspiration from each other.

Knife gleaming overhead, Hinotama-kozo With mouth agape and fangs bared, the Oni Keisuke’s skin blooms with red and head of a crocodile wraps around Wani no white oni-azami, or thistle. Through the Junsuke’s shoulder. Amid cresting waves gure’s pivoted stance, Toyokuni III of- and crashing waterfalls, Toyokuni III al fers the viewer an unobstructed view of ludes to the protagonist’s wrestling vic the eld of irezumi owers on Keisuke’s tory against the sumo ghter known as back. Growing where other plants cannot “Whale Mountain.” and nestled within thorny bristles, this ower is associated with toughness and Series: Modern Suikoden deance. Depicted in Toyokuni III’s mod- Medium: Woodblock Prints ern reimagining of the classic Suikoden , Date: 1862 the thistle is an apt adornment for the an - Signature: Kio Toyokuni ga tiauthority heroes of Edo. Size: 14” x 9.5” Ref. #: JP6369 Series: Modern Suikoden Medium: Woodblock Prints Date: 1862 Signature: Kio Toyokuni ga Size: 14” x 9.5” Ref. #: JP6370

Series: Modern Suikoden Medium: Woodblock Prints Date: 1862 Signature: Kio Toyokuni ga Size: 14.25” x 9.75” Ref. #: JP6365

Ichikawa Kodanji as Wani no Junsuke Kunisada (1786 - 1864) aka Toyokuni III


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Celebrating the Framing of the Ichimuraza Theater Kunisada (1786 - 1864) aka Toyokuni III

While tattoos ourished 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 reghters, another heavily tattooed group in Edo. Medium: Woodblock Prints Date: 1864 Signature: 79 years old Toyokuni hitsu (left) ,Oju Toyokuni hitsu (center, right) Size: 14” x 28.5” Ref. #: JP6460

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Nozarashi Gosuke, Asahina Tobei and Ude no Kisaburo from Modern Suikoden Kunisada (1786 - 1864) aka Toyokuni III 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 f ar 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 oral tattoo of Kaosho Rochishin. On the left, actor Kawarazaki Gonjuro plays the role of Ude no Kisaburo, likened to an ascetic warrior. Medium: Woodblock Prints Date: 1858 Signature: Kiko Toyokuni ga Size: 14” x 28.5” Ref. #: JP6371


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Ichikawa Kodanji as Komori Yasu and Kawarazaki Gonjuro as Kirare Yosa Kunisada (1786 - 1864) aka Toyokuni III The presence of the bat tattooed on Yasu’s 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 drama’s protagonist, Yasu is a blackmailer and general rough customer. Medium: Woodblock Print Date: 1860 Signed: Toyokuni ga Size: 14.25” x 9.75” Ref. #: JP6356

Ichikawa Kyuzo as Issun Tokubei Kunisada (1786 - 1864) aka Toyokuni III Portrayed in the role of popular hero Issun Tokubei, actor Ichikawa Kyuzo wears tattooed whirlpool, wave and ower imagery. Wrapping around his sides and extending down his arms, this tattoo takes a modied kame, or “tortoise,” pattern, covering the entire back and barely wrapping around the sides of the shoulders and torso. Medium: Woodblock Print Date: 1859 Signature: Sukinimakase Toyokuni ga Size: 14” x 9.5” Ref. #: JP6364

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Series: Suikoden Medium: Woodblock Print Date: c. 1832 Size:3.5” x 5” Ref. #: JP5046

Tattooed Warrior with Heavenly Woman Kunisada (1786 - 1864) aka Toyokuni III In this shunga print, faint blue outlines weave their way all across the warrior’s 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 Medium: Woodblock Print Date: c.1840 Size: 10” x 13” Ref. #: JP6455 Tattooed Lovers on a Cold Night Kunisada (1786 - 1864) aka Toyokuni III

This book oers 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 Kunisada’s 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.


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Kawarazaki Gonjuro

Flowers of Edo: Five Young Men (Full set of ve prints) Kunichika (1835 - 1900) Kunichika’s complete series Flowers of Edo: Five Young Men reveals the prominence of tattoo in kabuki roles, but this popularity extended ostage 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 ower, wave and dragon tattoos. Medium: Woodblock Prints Date: 1864 Signature: Kunichika ga Size: 13.5” x 9.25” (each) Ref. #: JPR5469

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Sawamura Tanosuke

Nakamura Shikan

Ichimura Kakyo

Bando Hikosaburo


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Ichikawa Danjuro as Kyumonryu Shishin Kunichika (1835 - 1900) Playing the role Kyumonryu Shishin from the Suikoden , Ichikawa Danjuro sports an elegant rendering of the hero’s 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 ac tors playing aragoto, or “rough style,” roles.

Series: 100 Roles of Ichikawa Danjuro Medium: Woodblock Print Date: 1898 Signature: Kunichika hitsu Size: 14” x 9.5” Ref. #: JP6367

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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. Kyu monryu 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 Medium: Woodblock Print 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 dened 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. Medium: Woodblock Print Date: c. 1880 Size: 13.5” x 9.25” Ref. #: JP6166


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Rorihakucho Chojun Wrestling Kokusenpu Riki in the Water Yoshitoshi (1839 - 1892) Red maple leaves ride the waves and whirlpools of Suikoden hero Chojun’s 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 water’s current, adding the dynamism and drama of this underwa ter triumph. Medium: Woodblock Print Date: c. 1887 Signature: Oju Yoshitoshi ga Size: 27.5” x 9.5” Ref. #: JP6360

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Kyumonryu Shishin Yoshitoshi (1839 - 1892) In this print from Heroes of the Suikoden, Yoshitoshi presents Kyumonryu receiving his namesake tat toos. With all outlines and one sleeve complete, the tebori master begins to shade the hero’s shoulders. With his right index nger 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 dierent hari on the oor next to the artist, Yoshitoshi reveals the tools and practice of tebori during the Edo period. Series: Heroes of the Suikoden Medium: Woodblock Print Date: 1868 Signature: Ikkaisai Yoshitoshi hitsu Date: 13.75” x 9.25” Ref. #: JP6375


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Painful: the Appearance of a Prostitute of the Kansei era (1789-1801) Yoshitoshi (1839 - 1892)

A precursor to the decorative tattoo in Edo, irebokuro (vow marks) were enormously popular in the Yoshi wara. They began as simple tattooed dots but es calated to names tattooed onto the inner arm. Handker chief 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 courtesan’s lover or client, declaring the couple’s love, whether purchased or true, by tattooing his name upon her arm. Series: 32 Aspects of Women Medium: Woodblock Print Date: 1888 Signature: Yoshitoshi ga Size: 14” x 9.25” Ref. #: JP6462 30


Kyumonryu Shishin Yoshitoshi (1839 - 1892)

From Yoshitoshi’s 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 Kyumonryu’s bodysuit with an incredible richness of color and intricacy of design. Series: 100 Views of the Moon Medium: Woodblock Print Date: 1885 Signature: Yoshitoshi Size: 14” x 9.5” Ref. #: JPR5812


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Horiyoshi III

Horiyoshi III (b. 1946) is Japan’s 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 na tional and international fame. Interestingly, the most famous tattoo artist world wide, Horiyoshi III’s 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 Horiyoshi’s apprentice for ten years. By age twenty-eight Horiyoshi III’s body suit was complete, hand tattooed by Shodai Horiyoshi. In the future, Kazuyoshi, Horiyoshi III’s son and apprentice, will carry on the family line and become Horiyoshi IV. Though ukiyo-e ocially ended in 1868, Horiyoshi III carries on the spirit of these “pictures of the oating 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 Japan’s only tattoo museum in Yokohama. With over forty years of ex perience, he is the foremost authority on traditional Japanese tattooing. Horiyoshi III explains that his work embodies a commitment to three points: shu ( 守), to succeed to a tradition, ha ( 破 ), to add new concepts and techniques, and ri ( 離 ), to develop ha further and create one’s own world. In Taboo ’s collection of his paintings and drawings, this philosophy shines through. Whether portraying the brave heroes of the Suikoden or a frighten ing 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 denitely important, but it is also important to open doors to further devel opment.”1

1. Horiyoshi III. 100 Demons of Horiyoshi III. Japan: Yoshihito Nakano, 1998. Print.

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Toryumon Gate Horiyoshi III (b. 1946) Passing through the Toryumon gate, the carp begins its transformation from a determined sh into a triumphant dragon. Through the use of vertical line and ecked 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


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Baku Horiyoshi III (b. 1946)

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

Baku. Horiyoshi III. Drawing. 20” x 14.25.” c. 2010. JPR5761. 34


Koryu the Descending Dragon Horiyoshi III (b. 1946)

Curling down the scroll, the dragon glares ercely out at the viewer. Through deep shadows and dra matic highlights, Horiyoshi III emphasizes the sharp scales and gleaming talons of this mythologi cal creature. Medium: Scroll painting on silk Date: c. 2010 Signature: Sandaime Horiyoshi Size: 46” x 13.5” Ref. #: JPR5787


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Fujin, the God of Wind Horiyoshi III (b. 1946) 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. Medium: Scroll painting on silk Date: c. 2010 Signature: Sandaime Horiyoshi Size: 46” x 13.5” Ref. #: JPR5783

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Raijin, the God of Thunder Horiyoshi III (b. 1946) 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. Medium: Scroll painting on silk Date: c. 2010 Signature: Sandaime Horiyoshi Size: 46” x 13.5” Ref. #: JPR5784

roningallery.com roningallery .com | 212.688.0188

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Kusunoki Tamonmaru Horiyoshi III (b. 1946) 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 s care the young hero, but Tamon Tamon maru showed no fear and stabbed the tanuki to death. Medium: Scroll painting on silk Date: c. 2010 Signature: Sandaime Horiyoshi Size: 46” x 13.5” Ref. #: JPR5790

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Kashinkoji Riding Sword Horiyoshi III (b. 1946)

As a dragon dra gon spirals around the gure of Kashinkoji, “the phantom ninja” uses his magic to ride upon his sword. Medium: Scroll painting on silk Date: c. 2010 Signature: Sandaime Horiyoshi Size: 46” x 13.5” Ref. #: JPR5788


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Namakubi in Winter Horiyoshi III (b. 1946) Landing tenderly upon the frosty branch, a little bird looks down at the hanging namakubi. The presenta tion of severed heads served as a frightening declara tion of victory in medieval Japanese warfare. Medium: Scroll painting on silk Date: c. 2010 Signature: Sandaime Horiyoshi Size: 47.5” x 14” Ref. #: JPR5792

Namakubi. Horiyoshi III. Drawing. 16.25” x 12.”c. 2010. JPR5770.

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Yuki-onna the Snow Witch Horiyoshi III (b. 1946)

A famous spirit, or yokai, Yuki-onna is a beautiful, but treacherous character. With nearly translu cent 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. Medium: Scroll painting on silk Date: c. 2010 Signature: Sandaime Horiyoshi Size: 46” x 13.5” Ref. #: JPR5785


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Haryu the Dragon with Waves Descending Horiyoshi III (b. 1946)

Haryu the Dragon with Waves Ascending Horiyoshi III (b. 1946)

Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi Size: 19.25” x 12.5” Ref. #: JPR5758

Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi Size: 18” x 13.75” Ref. #: JPR5755

The Ash Blowing Dragon. Hokusai .Woodblock print. 8” x 10.”

c. 1834. JP5984

Originating as a deled snake in Indian mythology, the dragon, or ryu, served a talismanic purpose for remen of Edo. Closely associated with water, tattooed dragons would protect the remen 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.

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Koi Botan; Carp and Peonies Horiyoshi III (b. 1946) Horiyoshi III recalls the dynamic koi of the woodblock (seen in Hoson’s Carp Jumping for Insect) as he depicts one of the most popular tattoo motifs. From the active ick 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 Signature: Sandaime Horiyoshi Size: 18.25” x 13.75” Ref. #: JPR5748

Carp Jumping for Insect. Hoson. Woodblock print.

14.75” x 10.5.” 1930-1931. JP5598*.


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Botan Chirashi (Scattered Peonies) Horiyoshi III (b. 1946) Though more than a century separates Horiyoshi III’s drawing from Kunichika’s woodblock print, elegant peo nies (botan) bloom in each image. Just as the folding screen bursts with vibrant petals in Kunichika’s print, Horiyoshi III carries this traditional motif into the present, lling his paper with lush petals. Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi Size: 16.5” x 24” Ref. #: JPR5766

Onoe Kikugoro and Sawamura Tanosuke.

Kunichika. Woodblock print. 14” x 9.75.” 1864. JP6377.

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Asahina Saburo Yoshihide Horiyoshi III (b. 1946) Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi 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 legendar y gure Asahina wrestles with one of two attacking crocodiles. The determined expression on the hero’s face and his bulging muscles sug gest that he is a strong ghter, yet the contrasting horried and worried appearances of the spectators in the surrounding boats suggests that this may be a close ght. While Horiyoshi III’s Asahina battles a dierent foe amidst crashing waves, this drawing demonstrates the enduring popularity of Japanese folk heroes.


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Nitta Yoshisada Horiyoshi III (b. 1946)

Before Nitta Yoshisada and his army can ght their enemies in the Battle of Kamakura, they are stranded between a steep cli and a body of water. Yoshisada oers his sword in prayer to the moon, hoping for a s pontaneous 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 Yoshisada’s victory. Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi Size: 19.25” x 12.5” Ref. #: JPR5751

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Moon at Inamura-Ga-Saki. Yoshitoshi.

Woodblock print. 14.5” x 9.5.” 1886. JP2439.

Nine-Tailed Fox Horiyoshi III (b. 1946)

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 eld 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 Signature: Sandaime Horiyoshi Size: 19.5” x 12.5” Ref. #: JPR5756

Nine Tale Fox and Songoku. Hokusai. Woodblock print.

8.5” x 10.” 1815 - 1868. JP3220.


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Zennyo Ryuo the Rain Goddess Dragon Horiyoshi III (b. 1946) Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi Size: 19.25” x 12.75” Ref. #: JPR5749

Ryuo Dragon King Taro Horiyoshi III (b. 1946) Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi Size: 19.25” x 12.5” Ref. #: JPR5754

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Roshi Ensei from Suikoden Heroes Horiyoshi III (b. 1946) Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi Size: 16.5” x 11.5” Ref. #: JPR5558

Fudo Myo-o the Guardian Deity, Wisdom King Horiyoshi III (b. 1946) Medium: Drawing Date: c. 2010 Signature: Sandaime Horiyoshi Size: 16.5” x 12.5” Ref. #: JPR5775


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MASATO SUDO

Introduced by Dutch merchants in Naga saki Bay, photography ourished in Japan at the close of the Edo period. Artisans and local ocials 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-e’s 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 driv ers. 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: Japa - nese 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 Park’s 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 tech nology 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 oer. Furthermore, this technology allows an incredible smoothness of texture close to that of human skin. Just as traditional fresco technique preserves Michelangelo’s pigments in Sistine Chapel, archival fresco pigment printing captures Sudo’s photographs within a soft layer of plaster, guarding his photographs for cen turies to come.

1. The archival fresco pigment printing process was developed by the FL Tokuyama Corporation. http://www.fresco-g.com/english/

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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 ercely coura geous. 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 esh to be celebrated. One who wears a true full-body tattoo completed by one of Japan’s great masters becomes a ransho, embodying the culture, spirituality and skill behind the art form.

Sudo’s series Ransho is available individually or in a complete suite of 30 photographs.


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富

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 st, 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

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交

Majiau (join) Masato Sudo (b. 1955)

Sakata Kaido-maru wrestling with a giant carp on the back of the left gure, Shoki on the back of the right gure. Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” Ref. #: JPR5890

Shoki Capturing an Oni. Yoshitoshi.

Woodblock print. 14” x 9.25.” 1890. JPR5046.


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錦

Nishiki (glory) Masato Sudo (b. 1955) Tattoo Artist: Horikin Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5895 Sakata Kintoki at Mt. Ashigara. Kuniyoshi.

Woodblock print. 14.75” x 10.” c.1830. JP6464.

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群

Mure (herd) Masato Sudo (b. 1955) Tattoo Artists: Shodai Horiyoshi and Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5893


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屈

Kagamu (Bend) Masato Sudo (b. 1955) Tattoo Artist: Horijin Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5889

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華

Hana (ower) Masato Sudo (b. 1955) Tattoo Artists: Horijin Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5898


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睨

Niramu (glare) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5910

Tiger Design for Horimono. Eisen.

Woodblock print. 7” x 5.” c.1842. JP6374.

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潜

Hisomu (hidden) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5914

Dragon Design for Horimono. Eisen.

Woodblock print. 7” x 5.” c.1842. JP5784.


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葉

Ha (leaves) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5909

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芯

Shin (core) Masato Sudo (b. 1955)

Standing nude represents the pistil of a ower while the colorfully tattooed seated gures act as stamens in this human ower. Tattoo Artist: Horijin Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 16.75” x 12.5” ref. #: JPR5918 roningallery.com | 212.688.0188

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Kumu (pile) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5891

Itadaki (top) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5892

Utsuru (reection) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5894

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Narabu (queue) Masato Sudo (b. 1955) Tattoo Artist: Horijin Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5896

To (collapse) Masato Sudo (b. 1955) Tattoo Artist: Horijin Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5897

Yumi (bow) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5906


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Kaku (expand) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5903

So (A pair) Masato Sudo (b. 1955) Tattoo Artist: Horijin Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5904

Mau (dance) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5908

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Hyo (oat) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5911

Hama (beach) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5907

Ninau (carry) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5912


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Cho (tide) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5915

Za (seat) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5917

Jin (exceed) Masato Sudo (b. 1955) Tattoo Artist: Horishiba Series: Ransho Edition: 30 Medium: Photograph (archival fresco pigment print) Signature: Masato Sudo Size: 12.5” x 16.75” ref. #: JPR5888

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Utsu (strike) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III ref. #: JPR5901

Suji (line) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III ref. #: JPR5905

Shiboru (squeeze) Masato Sudo (b. 1955) Tattoo Artist: Shodai Horiyoshi ref. #: JPR5902

Ritsu (standing) Masato Sudo (b. 1955) Tattoo Artist: Horiyoshi III ref. #: JPR5900

All works above: Ransho. Edition of 30. Signed Masato Sudo. Photograph (archival fresco pigment print). 16.75” x 12.5.”


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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 con temporary global tattoo community. Though exceedingly popular abroad, this popularity does not equal cultural acceptance in Japan. In the United States, tat tooing 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

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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, Kelly’s 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 con crete 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 Mu seum of Modern Art New York, the Met ropolitan 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-collé of ukiyo-e print) Edition: AP 6/10 Date: 2006 Signature: Daniel Kelly Size: 43” x 33.5” Ref. #: JPR5967


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Wink Daniel Kelly (b. 1947)

Medium: Mixed-media (Lithograph, woodblock and hand coloring on Japanese mulberry paper) Edition: 39/45 Date: 2005 Signature: Daniel Kelly Size: 28” x 22” Ref. #: JPR5968

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I Am Not a Geisha Daniel Kelly (b. 1947)

Medium: Mixed-media (Lithograph, woodblock and hand coloring on Japanese mulberry paper with chine-collé of ukiyo-e print) Edition: 47/60 Date: 2006 Signature: Daniel Kelly Size: 43” x 32” Ref. #: JPR5966


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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 specic patterns (i.e. see j inebeibori below). Dogu - Clay gures 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 Edo’s emergent middle class. Centered in the kabuki theater and the yoshiwara, or pleasure district, this culture ourished 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 res in Edo, remen 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 re. 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 them selves 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 Edo’s pleasure district, the yoshiwara. Often s hared between a courtesan and her lover, an irebokuro was a tiny dot on the hand or a lover’s 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 ag ainst a heavenly god, menacing creatures from classic legends, dangerous and f rightening 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 ruans. 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 ute. 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 oating world.” Woodblock prints capturing the pleasure driven, merchant class culture that ourished in Edo between 1603 and 1868. Yakuza - Japanese crime syndicate.

Irezumi TIMELINE 10,000 300 BCE 265 BCE

Jomon clay gures suggest early tattooing through decorative patterns on the face and body, though these theories are not conclusive 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” (lial 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 ourishes amongst the lower classes (remen, 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 Japan’s 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 Japan’s 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


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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: Schier, 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. “Japan’s 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), Sa ge Publications, 2014. Print, 319-338.

RONIN GALLERY

425 Madison Ave New York, NY 10017 212.688.0188 www.roningallery.com [email protected] 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


Tattoo Book

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