turns out that book on japanese tattooing history is a real page turner. it’s a big book and i blasted thru a good third of it in a couple hours, reading aloud (hyperfixation powers activate). i’m learning so much but also confirming a lot of my anxieties about why i might not be able to design my own irezumi for my silly fan purposes bc, to paraphrase the way the book eloquently puts it, irezumi (or the art of traditional japanese tattoo design) is a visual language that has its own grammar and syntax, and you have to take time (sometimes decades) to properly learn it before you can properly create new metaphorical words, sentences, and stories using the complex lexicon of established symbols. making mistakes, whether by unintentional blunder or by uninformed decision, can change the whole meaning of a tattoo, and could be disastrous
that said, i’m not creating a tattoo to go on a real person. the stakes are far lower. but i do want to be careful and respectful while playing with something that’s not from my culture
in addition to helping me dream up new irezumi, this book is also turning out to be helpful in unraveling the irezumi donned by yakuza characters. most are given just one big back tattoo with one (1) thing on it (which is perfectly common and normal, it just means something a lot simpler bc, to use the language metaphor, it’s simply a word instead of a sentence. kiryu and his dragon, and saejima and his tiger, are simple, but powerful)
but majima, with his complex mix of several different visual elements, creates a very interesting tableau of meanings. let me try and break it down as briefly as possible with what i’ve picked up over the course of this book.
it’s mini-essay time
right. so. what are we looking at here? well, we see the hannya of course, plus the twin snakes and sakura, enveloped in swirling waves and clouds. the tattoo is rendered in three ink colors in varying saturation: black, red, and yellow, with hints of green for the sakura leaves. black and red are very traditional, even ancient tattoo pigments, and yellow relatively more modern. green is so modern, some artists consider it disqualifying as irezumi, bc it’s nontraditional. we also can see that the tattoo spans over his back, thighs, shoulders, chest, and arms. this is what’s known as a kame no kou (literally “tortoise shell”, referring to the back and thighs) and hikae (from hikaeru, or “to restrain oneself”, referring to the shoulders, chest, and arms). if the tattoo spread a little lower on the arm, past the elbow, the whole bodysuit would traditionally be referred to as simply shichibusode, but no, majima had to combine two different things, like a bisexual
it’s been said in other posts that having a tattoo this large and elaborate is staggeringly expensive and time-consuming, which reflects directly on both the wealth of his patriarch who’s basically sponsoring him (and gets to keep the “canvas” of his skin in the event of his death), and also majima’s endurance with pain. two of many reasons why yakuza get tattooed in the first place, but there are still many more
every visual element to this tattoo has a meaning individually, and woven together, creates even more meaning. i’ll try my best to elaborate on as much as i can, from my limited knowledge
- the swirling clouds and waves
- these are typically employed as background elements to tie a whole piece together and complete the overarching design. the bokashi (or gradient effect) was developed in the 19th century with the rise of new printmaking techniques in the ukiyo-e era, and are practically universal for creating these designs, but in general, wind and water have been popular in japanese art since…….forever. or at least since their first cultural exchanges with china, many centuries ago. clouds and waves don’t tend to have a symbolic meaning all on their own. they’re there for the purpose of being pretty, showing off the artist’s skill, and evoking nature
- the edges of the tattoo, comprised of these swirls, are what’s called bukkiri/butsu-kiri, or mikiri (borders) that look like they were sliced by a katana. this is especially evident on the most visible borders on his chest. i think they’re so eye-catching and iconic
- sakura
- beauty. of course. cherry blossoms represent beauty. BUT! they can also take on other meanings depending on context, such as the fresh renewal of springtime or the impermanence of life (aka mono no aware, “the sadness of things”). it historically has been a much more masculine symbol than feminine; like a warrior who lives fast and dies young. (HMMM.) in addition, it’s very traditional to have sakura rendered in a bright red such as this, rather than their natural pink. they’re recognizable as sakura as opposed to say, ume (plum blossoms), because of the notch at the tip of each petal. they’re small on majima’s tattoo, but they’re there
- snakes
- it’s complicated. sometimes snakes represent sexuality, but often they have more in common with dragons, due to their visual similarity. snakes can symbolize immortality thanks to the evocative, mythical imagery of shedding its skin, and surviving inhospitable winters (yep. that’s majima, the one who refuses to die). they’re also very closely associated with spring vitality, bc that’s when they emerge out of their winter burrows, making them a suitable pair with sakura, though traditionally they’re more commonly depicted in tattoos with peonies
- however! these snakes are special bc they are specifically white snakes, called shirohebi, which are rare, worshipped within the shinto religion, and symbolize good fortune
- hannya
- ok this is the most complex thing to interpret of all. hannya, as most yakuza fans already know, are a type of demon, originating in folklore and appearing often within japan’s rich noh theater history, through the use of masks. furthermore, as with most hannya tattoos, majima’s tattoo technically isn’t a depiction of the demon herself, but a hannya mask, though the two are pretty much synonymous in meaning. also, fun fact, the color of a hannya mask has implications of its own! this one is white, which implies high status
- hannya are known for transformation (most obviously, beauty into terror, as an attractive woman that transforms into a man-eating monster). this is even supported by the iconic way physical hannya masks are constructed – the angle u view them from can drastically change the facial expression of the hannya, from rage to jealousy to sorrow. (that’s why noh masks are so great for theatrical purposes!) also, some associate hannya demons with wisdom, considering the name “hannya” can be traced back to the buddhist notion of hannya (般若, “wisdom”), though some believe this to be coincidence
- many japanese demons have horns, and there’s a reason for that! horns symbolize anger in japanese culture, even today. anyway, take that how u will in this context
now let’s put it all together! one theme i’ve noticed here is of vitality/tenacity, a unique balance of masculine and feminine, mystery (the mythicality of the shirohebi and hannya, plus the hypnotic swirls of water), and fierceness (sharp teeth and horns, blood red sakura). from the hannya mask alone, we can certainly pick up connotations of theatricality, fearsome rage, renown and reputation, potential wisdom, and complexity. the shirohebi also give me a vibe of like, “i’m a rare breed”. plus good luck of course. having TWO of them also makes me think of how he has two distinct “sides”. the mad dog persona and goro majima, the person. did i catch everything? did i read too much into something? let me know
anyway, i’ve still got about a third of the book left. i’ll add more to this if i learn more relevant info on the topic
