Introduction about Horimono

There are many reasons to want a tattoo. People may elect an image or a symbol to enjoy it aesthetically, for protection, to remember a person or an idea, to fit in, to go with a trend, and so on. There are a multitude of artists worldwide, and the styles of tattooing seem to be as diverse as genres of music. I have spent the majority of my life from my mid-teens forward in the pursuit of tattooing. Much has changed in the time I have been a part of this craft. I have practiced nearly all styles of work, and feel well rounded in the options I have had available to clientele. Despite that background, I have always felt that few styles of tattooing seemed to hold a candle to the fluidity of design inherent to the bodysuit work of Japan. I choose to focus on this work because I am very passionate about the history, language, artwork, customs and most-importantly, craft culture of Japan. I welcome clientele who also share this passion, and am very fortunate to be able to take part in this tradition with those who appreciate it as well. I do my best to read and retain history, stories, culture and customs, as well as travel. 

In order to understand why we see horimono for the powerful adornment it is, as is the case with seemingly every craft pursuit in Japan, we have to understand the rigorous and structured approach to learning. All things have rules. Rules are not laws, but are utilized as a foundation, to help retain a certain quality and look throughout the wearer’s life. For example, the primary image that we begin with is that which defines the theme of a harmonious bodysuit. As a layperson, it is not always easy to spot a suit that is done poorly or improperly, but its strength is inarguable when the work is well executed. 

With the proliferation of tattooing comes those who appreciate only the aesthetic of the work, and it certainly has its place. I love strong designs that have a lot of energy, and don't require any further interpretations. There is no shame in enjoying the easily observed, but to create while understanding the visual narrative adds more depth to the work than previously imagined. 

In summation, I do not believe in such a thing as mastery of something as complex as horimono, or at least, not inside of one lifetime. To constantly learn is to evolve those concepts, and also my ideology surrounding tattooing. I have attempted to review some history, explain the logic behind placement and design, give definitions of terminology, as well as offer ideas and resources to provide you as the client with an easy to understand resource to assist you in your learning, knowledge or pursuit of this type of work. 

I am not Japanese. I am not a member of an ichimon. I have no family affiliations and do not have a Hori title. I do not remember every story, or every character. I have tried to represent myself as best I can, but I make mistakes and am always open to correction, particularly with regards to the definitions. While my command of the Japanese language is limited, I will always strive to learn more. There are subtleties in all language, and as a polyglot, I am generally dissatisfied with a lot of translations into English, because they lack complexity and often miss subtleties. I hope to look behind the words into their deeper meanings, and moreover, hope to enrich the readers understanding as well as my own through this process.

While I may be at a distinct disadvantage culturally, it is my aim to honor, preserve, adopt, and adapt the principles of traditional Japanese tattooing as best I understand them. I do this by utilizing my experience and the classic imagery of the late Edo period to build a better foundation for these contemporary endeavors. In order to better comprehend the modern world of Japanese tattooing, we do best to look to its beginnings.

What is HORIMONO?

The word horimono has its origins in the smithing of the Japanese sword, called nihonto. The word can be literally translated to “carving” or “engraving”. The word chōkoku (sculpture) may be used interchangeably with horimono, and those who performed the art were referred to as chōkokushi or horimonishi respectively, both meaning “engraver”. This carving technique was used primarily for the adornment of ceremonial blades, as the carving weakened the structure of the sword which rendered it unsafe for use in combat. 

Horimono, as we use it today, will be used in its other meaning, “a carved thing”, or simply “full body tattooing”. Other words that are commonly used in place of horimono are wabori, shisei and irezumi, but are not entirely the same meaning, either. 

Irezumi is arguably the most familiar term we as westerners have heard for Japanese tattooing. While its translation refers to the insertion of sumi (Nara ink) under the skin to leave a permanent mark, it is an accepted word for all types of tattoo. 

Tattooing as decoration remained active in the far boundaries of Japan by the Ainu on the northern island of Hokkaido, and by the Uchinanchu women of the Ryukyu Kingdom on the southern island of what is now Okinawa. Its common use as punishment developed during the Edo period (1603-1867). Criminals were marked on their faces or arms, signifying their deeds and ensuring that society would carry a negative connotation of and discriminate against those who carried the marks. Families would disown tattooed relatives, they could not participate in community events, etc. This type of penal tattooing is where the word irezumi comes from, and even today the word carries the same generally negative connotation that it has for centuries.

Ieyasu Tokogawa and the Tokogawa shogunate put an end to the decentralized power and wars between daimyo (feudal lords) that had plagued Japan into the late 1500s, ending almost 150 years of civil war, thus marking the beginning of the era of Edo in 1603. The capital city had been moved from Kyoto (capital city) to the fortress at Edo, in what is now modern day Tokyo (eastern capital), a disambiguation of the same word. The shogunate enacted strict controls monitored by largely corrupt officials, to keep the rowdy populous at bay. The people, subject to a harsh new class order, sought experience over wealth. 

From pleasure quarters arose the culture of Ukiyo. The translation can mean the “floating” or “transient world”, but is also an ironic joke to a homonym used by Buddhists meaning the “sorrowful world”, the plane of the earthly world from which Buddhists seek to be released. Its usage was more widely understood as “living in the moment”, often achieved by being present, but detached from the bothers of life. The images that would be enjoyed by so many were called Ukiyo-e, or “pictures of the floating world”. 

Scenes of this lifestyle were created en masse by printing. Using carved woodblocks and what colors were available, artisans created a quickly competitive and prolific industry that propelled the artistic renaissance of those days. Advanced techniques in carving and printing made fairly high quality art available to all classes of people, and ukiyo-e exploded in popularity, although it was viewed as sophomoric at best by all of the rigid Japanese painting schools. It could be compared to how the modern art critic might view comic books. 

In 1827, the famous ukiyo-e artist Utagawa Kuniyoshi released a book called the Suikoden (Tsūzoku Suikoden gōketsu hyaku-hachi-nin no hitori) in Japanese, the Shuihu zhuan in Chinese. It is a Japanese adaptation of one of the four Chinese classics, a narrative called “Outlaws of the Marsh”, “All Men Are Brothers”, “The Water Margin” or “Tales/Heroes of Liangshan Marsh”, depending upon which version you read. While the story had been in circulation in Japan since 1757, Kuniyoshi's interpretation of the Suikoden offered prints of 108 unlikely heroes depicted in the tale, many of whom were far more heavily tattooed than the original versions, which in turn introduced the first commonly available views to the public of full body tattooing.

The influence on the society at large was unmistakable. The public fell in love with these heroes, which may be better referred to as gyukaku or otokdate, chivalrous commoners/street knights. The otokodate were at diametric ends with the ruling samurai class. The common people related more to these Robin Hood types as opposed to the opulent and garish lifestyles of the samurai and elite. They began to identify with these heroes on a personal level, and ultimately, carved images of the stories that they related to on their bodies.

Those who carved woodblocks took the title prefix of hori (to carve), as did those who tattooed, often because they were one and the same. The tools for carving were adapted to the tattoo practice of tebori (carving by hand), whereby hari(needles) are lashed to the end of a long, usually wooden or metal tool, called a nomi. The needles are brushed with ink and guided by one hand while stabilized by the other, and using a motion similar to that of stroking a cue in billiards, ink is inserted under the skin. It is rumored that famous woodblock artists such as Kyosai and Kuniyoshi performed tebori in addition to their better known art. Many ukiyo-e prints were intended to be used as tattoo designs in addition to being enjoyed as art.

Some actors became famous enough to accrue immense popularity, be paid quite well and be commemorated onto woodblock. The plays enjoyed widespread support in print by those involved in the ukiyo-e publishing process and their eager audiences. Plays, such as Benten Kozō or Natsumatsuri Naniwa Kagami featuring actors playing heavily tattooed characters, were often very colorful and rife with symbolism. One of the dominant themes of kabuki theater is the clash between human emotions and morality, a theme which still holds quite true today. 

Firemen, or Hikeshi, often times had the insides of their coats decorated with large, powerful pictures. The coats, called hikeshi-banten (fire extinguisher jacket), might feature animals, heroes or elements of tales scattered throughout Japanese lore, widely inspired by the designs of Kuniyoshi and his contemporaries. These jackets were essentially protection symbols to help keep the brave firefighters alive to fight again. As generally braggadocious men full of machismo, these same firemen might, through comparative vanity, have the hero designs from their coats tattooed on their backs and bodies. They often identified with the trove of characters found in ukiyo-e, and more specifically musha-e (warrior prints). The “bravery” of the firemen also created a fairly lively atmosphere as well. It is said that the only thing more dangerous than the fires of Edo were the firemen. The strength necessary to fight fires was undoubtedly helpful in mitigating the physical costs of receiving full body tattooing.

This practice of tattooing spread to Yuujyo, who were the sex workers of the Edo period. They would tattoo the name of their regular patrons followed by the kanji for “life” as the suffix -inochi. This essentially meant “My life is devoted to 'patron's name' ”. These tattoos were called irezumiko, and were a part of the devotee practices, which including removing fingernails as well as fingers as signs of affection.

As Edo progressed, so did sumptuary bans on fancy dress. These bans were put in place by the Tokogawa shogunate, in part to prohibit the lower classes, including the moderately wealthy, from having the appearance of aristocracy. As the years moved on, the merchant class had become far wealthier than the higher ranking and, increasingly under peaceful times, less useful samurai class. Concessions were eventually made, but despite their efforts, these bans allowed tattooing, which was always hidden by clothing, to flourish. It is commonly believed that many, many people from all classes were tattooed during mid- to late-Edo. 

Detrimentally, from the growth of the decorative tattoo arose the ability for more opportunistic criminals to have their penal tattoos covered up, lost into the sea of the images of the Genroku and Kasei cultures of late-Edo. It is these roots that deepened the negative connotation associating tattooing with criminal activity, and gave birth to a new organization called yakuza. The word finds its roots in the card game Oicho-Kabu. The goal of the game is to draw three cards that add up to a total of 9. The worst possible losing hand of the game is when a player draws a score of 20, pronounced ya-ku-sa (8,9,3). From the world of Tekiya (peddlers) and Bakuto (gamblers) arose the Yakuza. Similar to the Mafia in Italy, this became the name given to organized crime syndicates with which tattooing has become associated in modern day Japan.

Tattooing was eventually outlawed in 1868 under the Meiji Restoration, marked by the end of the shogunate, as well as a return of imperial rule and the Emperor, to the newly renamed city of Tōkyō. It was also a period in time heavily critiqued by artists and scholars alike for its rampant censorship. The government wanted to do whatever they could to change their assumed image, aiding the rapid westernization of Japan. As an attempt to appeal to the “civility” of these westerners, tattooing remained illegal until 1948, when American occupation forces saw to its re-institution. During this era of westernization, many Japanese tattooists would opt to leave the recently-opened country and travel abroad, often tattooing the social elites at the ports in which they would spend their time.

Despite their association with organized crime, the Yakuza have a murky relationship with Japanese society. Even the word yakuza use for themselves, ninkyō dantai, translates to “chivalrous organizations”. Simply put, their role is not one of black and white, but that is another topic altogether. There is still a national negative impression of both the artists and clients of tattooing because of the role they play in the public idea of what criminals are, or should look like. 

Tattooists in Japan whose tattoos are made exclusively using the pantheon of Japanese themes and images, called wabori, rarely advertise or go by their real names. They are modern Horishi, (professional carver) or Shisho, and their names as artists have the prefix of Hori~. They often choose who they will tattoo, and not the other way around, as is the case in western tattooing, which is called yobori. Horimono is also quite private, and is not to be seen unless it is intentional. It is designed to be hidden under clothing smartly enough that the images would not be revealed in public.

Sanja Matsuri, the yearly celebration of the three founders of the temple Sensō-Ji in the Tokyo neighborhood of Asakusa, is the only time these tattooed people are allowed to show off their full body artworks to the world, often in various stages of completion. Even though it is approved during the festival, there is a huge police presence during the events, and those who are heavily tattooed are still quite wary. It is not uncommon to see shop owners standing outside holding their arms crossed in an X denying entrance to anyone wearing visible tattoos any other day of the year. In turn, the social stigma galvanizes the relationship between artist and client, which becomes one of privilege and comfort– the privilege for the artist to create the work, the privilege of the client to receive the work, and the comfort of the client knowing they are safe to show their work only around those who appreciate and do not condemn it.

Globally speaking, tattooing, the art of tattooing, the application of tattooing, and the sociological impacts of tattooing are felt centuries after their crude and humble roots, but it is my opinion that there is simply no type of work that parallels or eclipses that of horimono in the world of modern tattooing. For those who still pursue it, tattooing in Japan scored a major victory in the war against discrimination recently as it was decided that tattooing is indeed a legal, non-medical procedure. Even so, as the number of tattooers in the world flourishes, it dwindles in Japan. 

DESIGN AND EXECUTION

It is about passion for the ukiyo-e imagery of the Floating World of Edo. It is about preserving imagery from a specific era, and doing the best to enhance those images and stories with supporting elements and proper placement which take it from a decorative marking to clothing inseparable from the wearer. I feel that most modern interpretations of classic imagery lack the strength and impact that informed work has. We are carrying on a craft tradition, not trying to reinvent the wheel. It is for this reason that we put our best foot forward to create something that flows from one part of the body to another, both visually and thematically, based on the designs available to us from the classic imagery of the late-Edo period. 

We would do well to consider parts of the body in the same way we consider a picture frame for artwork or photos we have around our homes. If the image is placed poorly in the frame, it becomes readily apparent and visually off-putting. Essentially, the proper design requires the proper placement in the proper frame.

Unlike artwork, our skin is not archival. Designs executed at high levels of detail and small sizes do not have the staying visual impact that a properly executed piece has. Controlled obsolescence has to play a role in the design of the tattoo in order for it to last with the wearer. While it may seem exacting to say, tattoos are not forever, but only for the life of those who wear them. Skin ages, and we would like for tattoos to age as well as they possibly can. As an aside, there are a number of preserved fully-tattooed human skins which were donated posthumously by the wearers, at the Medical Pathology Museum at Tokyo University. Photos are available online, but there are no in-person visits permitted to non-medical students ...I have asked.

Also, for many westerners, we are often covering up existing tattoos to do our best to maintain continuity in the new work throughout the body. There have been a great deal of advancements in laser removal, which greatly assists our ability as artists to create designs without regard for old work. This is absolutely something we can talk about in person since every case is different, and decide the best solution.

 SenAka背中 - the back

While there are options as far as where to begin, the back piece is tantamount to the design and flow of a body suit. The Kamenokogakubori, or “turtle back”, spans from the wearers collar line, to below the buttocks where it rolls forward to the midline of the body. It is undoubtedly the largest piece of uninterrupted space on the body and it offers the opportunity to create a powerful image.

Continuity is accomplished through the balance of main imagery over the background. One of the most distinct characteristics of the Japanese tattoo is the use of elements such as wind or clouds as background. The background is almost exclusively done in bokashi, gradations of black, accomplished by creating a dilution of the sumi itself. Rarely is color used in the background, aside from accent colors, found in flora like moss or falling leaves. Water is best left in gray as well. Colors in the foreground will be muted if there is dominant color in the background, and so through the use of black and gray, the main images pop. Should you not opt for color, the same idea is applied, using gradations of gray against black and skin to create contrast.

For example, should you complete your back and move on to your arms and chest, the background from the arms can connect to background on the back when the arms are at rest at the sides, creating an even greater sense of connectivity and flow, as all parts of the composition work into each other. The same logic follows when connecting the legs and rib panels.

Imagery should utilize the space and shape of the wearer. Everyone is different, and all bodies are different. What is right for someone else may not be best for you. As an example, some folks are hairier than others, and while this is not a problem, it is something I would consider as far as how much detail goes into areas that have more hair than others. Unless the client plans to shave their body always, the image becomes muddy and obscured by hair, and so to combat that, we use open and legible imagery.

Masculine and feminine also must be considered. Imagery can be divided to masculine on the right side and feminine on the left. An open-mouthed dragon or shishi on the right may be balanced by a closed-mouth version on the left. Or, if the animal on one side moves upwards, the other side moves downwards. The boundaries of a suit are no different. The neckline on a feminine back sits lower across the shoulders, like a low fitted dress, whereas the masculine neckline would sit higher, at the level of a t-shirt collar. Similarly, the chest panels (hikae) are fitted on a masculine chest to about 4 finger widths at the sternum, feminine is about 8 finger widths at the sternum. The collar, or bowl of the neck (donburi) may follow the collar line, or may plunge as a deep V or U.

Continuity is critical to a balanced composition, so that no piece is applied errantly and in such a way to make it appear separate from the rest of the work. This is accomplished through the balance of main imagery over the background. While background is the quintessential mark of Japanese tattooing, one may elect to wait on background if a more feminine look is desired. Nukibori (without shading) achieves a simple look of the main image and no background. This approach may lead the client to opt out of background altogether, but it gives the opportunity to add on once the main image is complete. One of the most distinct characteristics of the Japanese tattoo is the use of elements such as wind or clouds as background. Again, the background is almost exclusively done in gradations of black, accomplished by creating a dilution of the sumi itself. Rarely is color used, aside from accent colors, particularly found in the floral elements common to horimono. A skilled practitioner will be able to accomplish a range of shade from black to gray to support, whether applied by hand or machine. 

I mentioned thinking about the body as picture frames. As there are organized frames in horimono, we must consider the placement of images in the frames. The body is broken down simply enough, as are the number of main/focal images in each part

back 1 image, (or 2 in a battle scene)

½ sleeve 1 image 

full sleeve 1-2 images 

ribs 1 each side

shorts supporting imagery 

¾ pants 1 image 

pants 1-2 images 

Typically we avoid the armpits, or areas around the lymph nodes of the groin, but that is not always the case. These areas are reserved for secret images, or kakushibori. This includes the use of suggestive erotic imagery such as shunga, literally translated as “pictures of spring”, in which “spring” acts as a euphemism for sex. While some may choose to use an erotic image, there is a nature of playfulness to the work, and humorous imagery may also be used. These images would only be seen by family, close friends, or lovers.

 Themes

There are a variety of themes in horimono, and while this is by no means a complete list, it should help the client to begin to find some direction. I borrowed the inspiration for this summary from Clark North, who has a great deal of information available as well

heavenly animals – dragon, phoenix, kirin, karajishi, koi, etc.

earthly animals – hawk, snake, crane, spider, frog, fox, rooster, rabbit, toad, sparrow, etc.

hero with heavenly animal – For images based in fantasy - warrior with dragon, shishi, etc.

hero with earth animal/floral – For images based on true tales - warrior or magician with eagle, hawk, toad, etc.

folk stories –Suikoden, The Heike, The Genji, the pearl diver, tengu, witches, tricksters, etc. 

bijin – portraits of beautiful women

heavenly gods and goddesses – Susanoo, Raijin, Fujin, Bishamonten, Benzaiten, Kwan Yin, Kannon, Shichifukujin (7 lucky gods -Bishamonten, Daikouten, Benzaiten, Ebisu, Jurojin, Fukurokuju, and Hotei), etc.

jigoku zoshi “hell scrolls” – Enma Daio and attendants, oni fighting, bodies being tortured, devotees, prism of light, etc.

religious – Amaterasu and the cave, Fudo Myoo, Tennin (companions of the gods, feathered robes to fly), Tennyo (female angels, wings to fly)

yokai/obake – tsuchigumo, night parade, kappa, tengu, kuchisake-onna, chōchin-oiwa, etc.

namakubi/zugaikotsu – severed heads/skulls

kabuki/noh – Both the plays of kabuki and the masks of noh can be combined as a suit. Kabuki relies on kumadori(painted faces) almost exclusively, save for the play Nanatsumen. Common noh masks are otoko (human male), onna(woman), jinki (supernatural being), kijin (demons). Tattooing often finds kitsune, tengu, karasu tengu, hannya, otame, hyotokko among the more commonly tattooed masks.

 floral

Seasons play an important role in the overall design, which is often signified by the floral elements as well as the clothing of figures. That is to say should the wearer elect a spring flower like falling sakura, it would not be sensible to also include falling momijizensen (autumn maple leaves). The costumes of the figures should have patterns that also reflect the season when possible. 

Animals also have floral associations. For instance it is said that the Karajishi (Korean or Chinese lion) or shishi (lion) fear nothing save for a bug that infests their fur. Left alone, the bug would reproduce and consume the shishi. If the shishisleeps underneath the botan (peony), the dew from the peony will drip onto the shishi and kill the bugs. This is why we see the theme of karajishi no botan (Chinese lion and peony).

Koi (carp) will be paired with water and either sakura (cherry blossom) or momiji (maple leaf)

Ryu (dragon) will be paired with water or clouds, as well as kiku (chrysanthemum)

Tora (tiger) will be paired with bamboo or sakura

Hebi (snake) can be paired with most flowers

Ho-ō (phoenix) will be paired with clouds, can be paired with take (bamboo) or kiri (paulownia)

Karajishi (lion) will be paired with botan and may be paired with iwa (rocks)

Another irrefutable element of horimono is the prevalence of flowers. These flowers may be anchored to rock, but more often than not are floated through the overall design. In order to offer a thorough explanation of some of the symbolism of flowers, it is recommended to study Hanakotoba (the language of flowers, literally “leaf words”). I have included a list of flowers and their meanings, although in we will primarily use five flowers: the chrysanthemum, the peony, the cherry blossom, the maple leaf, and the lotus.

Cherry Blossom 桜

Cherry blossoms (sakura) are a symbolic flower of the spring, a time of renewal, and the fleeting nature of life. In Japanese culture, sakura is seen as the embodiment of beauty and mortality. In addition to the beauty of its pale pink petals and its prevalence in Japan, the blossom is known for its distinctively short lifespan. Sakura is a symbol of wabi-sabi, an important worldview in Japan relating to the acceptance of transience and imperfection, as well as gentleness and kindness. Some other things that a cherry blossom represents are nobility, prosperity, renewal, fragility, purity, life, fertility, and femininity.

Lotus 蓮

In Japanese culture, the lotus (hasu) represents purity of the body, speech, and mind, derived from Buddhist symbolism. The lotus grows in muddy ponds, and must persevere in order to go through its process to become a flower. It is associated with heavenly gods and goddesses as well as koi, who coexist in the same murky waters.

Peony 牡丹

The “King of Flowers” (botan), the peony is used as a symbol of good fortune, wealth, nobility, bravery, and honor. It is often used in tattoos to signify a devil-may-care attitude. Its inherent meaning of prosperity and strength makes it a popular image to incorporate into body art.

Chrysanthemum 菊

The chrysanthemum (kiku) is the floral symbol for the Emperor and the Imperial family, and as such appears on the Imperial Seal, Japanese passports and the 50-yen coin. It is also said to represent longevity and rejuvenation. It is important to notice that white Chrysanthemum are used for funerals and graves in Japan, so be careful with the meaning of each color too. On the other hand, red Chrysanthemum are given to the person you love or, at least, very high affection.

Red Spider Lily 彼岸花

Higanbana flower is called “cluster amaryllis”, “lycoris radiata”, “hell flower”, “flower of death” and “red spider lily” in English. Actually, there are many aliases in Japanese, but like flowers of death, most of them are ominous names. They are associated with final goodbyes, and legend has it that these flowers grow wherever people part ways for good. In old Buddhist writings, the red spider lily is said to guide the dead through samsara, the cycle of rebirth. Red spider lilies are often used for funerals, but they are also used decoratively with no such connotations.

Maple 紅葉

One of the most popular background accents is the Japanese maple (momiji), a symbol of time passing, a symbol of the wind. The design often conveys the leaves as floating, carried on the wind or in the water. In Japan, it’s also the symbol of lovers. In some Japanese tattoo designs, canopies of maple leaves float over shoulders and drift over the torso. A single leaf or a multitude of leaves are also potent symbols of regeneration and resurrection as they cycle through the seasons. 

Japanese wisteria 藤

Wisteria (fuji) signifies love and is also used in many Japanese family crests (kamon). Furthermore, its long-life bestows additional symbolic meaning of immortality and longevity to the wisteria.

Peach桃

The peach (momo) tree in flower is a symbol of Spring, and is associated with immortality and a long life. It is one of the “Three Blessed Fruits” in Buddhism and symbolizes longevity. In Japanese, Momo means peach and tarō means eldest son. Momotarō is the Peach Boy hero in Japanese folklore. Stories about Momotarō are extremely popular in Japan.

Orchid 蘭

The orchid (ran) holds a broad range of meaning in numerous cultures.In Japan, Neofinetia falcata has a long history within the Samurai culture. This little jewel has been long treasured by Japanese royalty for its fragrance and foliage. It is known as an orchid of wealth and nobility. Samurai warriors would travel for miles in the search for this tiny orchid to bring back to the royal court. If the warrior succeeded in his quest, it was considered a sign of his bravery.

Hibiscus ハイビスカス

The hibiscus (haibisukasu) has one of the simplest meanings of all flowers in Japan- gentle. For example, a hibiscus appearing in a Japanese sleeve would be more likely to be considered to mean “gentle”, rather than power or respect. A hibiscus tattoo that stands alone may have a less restrictive interpretation of its meaning.

Japanese Apricot 梅

The Japanese Apricot (ume) may, in floral language, have the meaning of “Elegance”, “Faithfulness” or “Pure heart”.

Bamboo & Grass

Bamboo (take) is universally known as the symbol of good fortune. It is commonly found near many Buddhist temples. The traditional Japanese bamboo fountain, the Tsukubai, is said to embody and illustrate purity and sacredness and the seed of the bamboo tree is said to be tied to the mythical phoenix (ho-ō) often depicted in Japanese arts, which is said to eat only bamboo.

Below is a list of flowers and their corresponding months

Jan – camilla (tsubaki) sasanqua

Feb – andromeda, sakura, ume

Mar – andromeda, sakura, ume, magnolia, peach, tulip

Apr – andromeda, sakura, peony, magnolia, peach, tulip

May – andromeda, azalea, peony, rose, wisteria

Jun – azalea, hydrangea, peony, rose, wisteria, orchid

Jul – hydrangea, rose, orchid

Aug – lotus, rose, orchid

Sep – chrysanthemum, lotus

Oct – chrysanthemum, rose

Nov – chrysanthemum, rose, camilla sasanqua

Dec – camilla sasanqua

 process

The process of completing a short munewari soushinbori (chest crack) bodysuit takes 2-3 years with a client coming in regularly, 1-2x a month. Donburi soushinbori (full suit with no breaks) may take 5 years or longer of regular sessions. This all requires a great deal of endurance, as well as a great physical and financial commitment. For clients who see the work through from beginning to end, the reward is in wearing the tattoo proudly, as well as it is a testament to your perseverance. I can say that I am a different person than when I began my suit, and am better for it, entirely.

We begin with sujibori (outline), and this is accomplished through stenciling images (in some cases), and or drawing the rest in place with marker. Background elements do not get stenciled, as every body is different, and it is imperative that the background not only accentuate and connect the thematic imagery, but accentuate the body of the wearer as well. I try to plan ahead in the event that the client has had enough tattooing for one session. For instance, if we outline something with scales, like a snake or dragon, its easy enough to stop at the scales and draw them in place another time.

 I am open to all placements as a starting point, but for the sake of argument here, we will use a traditional approach and begin with the back (senaka). Assuming we are creating gakubori (including background), we will set the barrier line at the neck. This is known as the mikiri (to close, in relation to background). The height of the collar will determine masculine or feminine, and the cascading shape of the hikae, or chest panel, in a split-front munewari suit. I prefer to use a butsugiri (chopped) edge at the neck, which is a straight cut across, broken by background. I also prefer to close all masculine sleeves to nagasode (long sleeve) this way.

 Botan mikiri (peony closing) is a more feminine way to close out background, and I prefer to use this method for the hikae (chest panel) as well as both feminine gobu (5/10ths), or “half sleeve”, and shichibu (7/10ths) suits, or what we might call a “three-quarter sleeve” suit. The back should extend to 4-8 fingers above the center of the knee, and should extend to the midline of the ribs, appearing as if the wearer had a turtle shell (kame-no-kora) on their back. The buttocks and the backs of the thighs will be tattooed, and so, everything will be connected in the future to the legs and ribs. There are instances in which we may not tattoo the back of the thighs immediately, and I am open to compromise there, but there are no instances where we will end the back above the buttocks. It looks incomplete and amateurish. As an aside, while I understand the perceived awkwardness, it appears very uneducated to stop at the waist line. I also take every precaution to ensure that all people are comfortable at whatever level they feel necessary during the process. I also have a bodysuit, and I do understand the desire of some for more privacy.

The mikiri at the inner edges of the thighs may gradually descend from the fold of the buttocks into the upper thigh, in such a way that the silhouette of Mt. Fuji is created in the negative space of open skin. It may also be taken to the midline of the inner thigh, and brought down for a more masculine feel. If the client plans to add to the legs further past the knee in hanzubon (boy shorts, playful term) to hachibu (8/10ths) or nagazubon (long pants) then the mikiri above the knee may be botan mikiri or butsugiri.

Moving on towards the chest and arm, the client should have an idea as to the level of ultimate completion they would like to achieve. While westerners often ask to drop the chest panel (hikae) from sleeves, unless you plan to utilize the entirety of the front of the body for a single image, the chest offers an anchor point for sleeves at whichever look the wearer prefers. The term hikae (earth) is sourced from the Sogetsu School arrangement of ikebana, literally “giving life to flowers” or “living flowers”. This arrangement is comprised of three main stems, descending in height. The tallest is Shinwhich represents heaven, then Soe which represents man, and finally hikae which represents earth. The hikae is oriented at 75° away to the right of the center line of the composition. If we turn that composition upside down, it can appear as nagasode (long sleeves) with hikae!

There are two approaches for a masculine cut on the hikae. My preference is almost always for kantobori, which is used in Tokyo and does not cover the nipple, or the entirety of the pec, stopping about two finger widths above the nipple. The other option is for kansabori, used in Osaka, and completely covers the pec. I find this to be a bit garish in appearance, and will recommend kantobori every time. When a feminine sleeve is created, the hikae will stop at about 1/3rd of the pec and extend to a maximum of four finger widths from the nipple.

I do not typically tattoo armpits or inner groin, as lymph nodes are located there. The exception as I mentioned earlier, is for kakushibori. The negative, un-tattooed opening on the inside of the arm to the ribs may be approached a few different ways. My preference is for katabori, which appears as a triangle or tear drop shape. Other options include koban gata, (oval, possibly based on the Edo-era coin of the same name), and tsubushi (crush/close, a strategic play from the game go) in which the armpit is completely tattooed. As the tattoo proceeds down the rib, the overall shape of the negative, un-tattooed space will be further defined. It has been said the reason the inside of the arms is left bare is so that you can easily show you do not carry criminal tattooing marks there.

If the wearer has opted for a munewari suit, it is at this point we will connect the ribs and front of legs to the back and chest. Botan mikiri is best suited for the central break down the body. Much like the back may flow down the legs, so flows “the river” down the un-tattooed skin of the munewari. The legs may be also be brought to hanzubon, and completed around the inside of the thigh if desired. If not, the munewari break will roll from the groin down the front of the thigh to the edge of the backpiece and connect.

If the wearer has opted for donburi soushinbori, then we will focus on the border of the donburi, or “bowl” of the neck, to place mikiri to close out the front of the collar. It is my preference that this be butsugiri if the entire front is to be tattooed. If a deep V or U shaped collar is desired, it is very easy to create that at this step in the process, and botan mikiri orbutsugiri may be used.

Legs follow suit, and shall be connected to the existing work on the torso at a length that is reflected in the arm. It would look awkward to have a nagasode top and hanzubon bottom. Full sleeves mean full pants. Shichibui sleeves mean shichibu or nagazubon pants, and so on.

 Mikiri may vary dramatically from artist to artist. I have seen very deep U-shaped breaks on full fronts, I have seen the chest panels tattooed and what appears to be an obi (sash) around the stomach, connecting to the back. There are other styles not commonly seen, such as matsuba (pine needle border) and akebono (gradation shading, literally “day break”).

The process may continue as long as you like, through tsukinaoshi, where we will recolor existing areas to add to the depth and complexity of the piece as it ages through time. While not completely necessary, the saturation that is achieved makes the work feel very rich in color, as well as being able to add still more depth to the blacks and grays in the background. Aging is as much a part of the tattoo process as it is of our physical process, and so the two should work hand in hand, hopefully with grace and complexity.

 Gaman

The word gaman (patience) is one of those words that doesn't seem to have a direct to English translation, but has a variety of meanings, all of which apply to getting tattooed, so much so that it is an integral part of the process. While “patience” may be the common translation, the way the Japanese use it would more reflect the idea of the idea of enduring or perseverance, better expressed as “putting up with it” or “suppressing”.

As an aside, gaman 我慢 is one of the seven earthly desires in Buddhism, and means “conceit, pride, arrogance”. It is interesting to note that the kanji separately are 我/self and 慢/pride/arrogance.

We are often told patience is a virtue, and this is very much a process built around endurance, determination, and suppression. It is much more difficult to receive a tattoo if you are unable to sit still, and the tattooist will have a more challenging time executing the design properly as well. Pain is simply a part of the process, although we do our best to mitigate it. The client must also do their best to endure and mitigate that pain to the best of their ability. This is not a race, and coming in for a couple hours every month is both physically and financially easier, and will accomplish the work in a reasonable time frame. By contrast, coming in three times a year for five hours makes it more difficult for both parties as well as breaks the energy of the work.

 Conclusions

Each completed step of the process is a finished product in and of itself. If one were to stop at a back piece, it should stand on its own strength of design. The same could be said of a sleeve, or a sock, or a full pant leg. 

Whatever approach you prefer, it's important to take the time and really think about what it is that you are getting, as well as what it is that you are committing to. Tattooing is a luxury service, by virtue not something anyone needs. I mentioned coming in a few hours a month, every month, until it is finished. This could mean once, twice, four times a month, it is your discretion. But it also means that I do expect you to commit to coming in regularly. If this is not something you feel comfortable with, I understand, but would suggest again re-examining the motivation to get this work. It is due to any number of reasons, such as the financial commitment or perhaps, the willingness to endure a good deal of pain, that some people do not complete the work. 

I am not telling you this to discourage you, but simply to remind you that this is not for everyone. I very much love what I do, and I love to learn as much about it as I can. I am excited to share this with others who appreciate it and want to learn more as well. It is a rabbit hole to which there is no bottom or end. 

I am here because I serve the community. I tattoo all people from all walks of life, and there is no room whatsoever for intolerant behavior, neither on my part nor yours. Everyone is treated exactly the same, and with respect. I joke A LOT and try to keep a good momentum of conversation going to help get through the piece with a little levity and as a way to keep the clients mind away from the pain of the tattoo. While it may not seem so in this approach, I do take what I make very seriously.

I love the imagery of the late-Edo period of Japan, and hope to share the love of that with my clientele as well. I do not expect everyone to read this. I do not expect you, as the client, to have a vast knowledge of any of these subjects, nor do I expect you to have even had a single tattoo before int order to accomplish this. Honestly, starting this process with no other tattoos is the most ideal way to approach the work. I absolutely do cover-ups, but they can interfere with the options for the placement of imagery. 

I do ask that you show up with an open mind, a good attitude, and try to be welcoming to my ideas. There is a reason I have been studying this for as long as I have. If an idea you have conflicts with itself, or other elements of the design, I will do my best to offer a solution that benefits you in the best way I can. As you are not an expert, I will not treat you as if you were, nor will I hold my expertise over your head. Learning is one of the many wonderful aspects of horimono, and I hope to do my best to learn as well as educate.

I also want you to be comfortable. We have privacy screens, massage tables, bolsters and pillows, but if you would like to bring anything from home, that is fine. Often times, folks having large scale work done will bring a robe, thong, bikini, shorts cut up the side, etc. Be aware of what part of your body you are getting tattooed, as we can't tattoo through clothing. Please dress accordingly. 

Easy snacks are a good idea to have with you, and it is always a good idea to get a solid meal beforehand. If we have a full day session, we will have a break for lunch. Please feel free to bring food and leave it in our fridge, or order from local restaurants. Water is your best friend, drink plenty of it.

Being sick or hungover will not serve either of us well. We will send a reminder about your appointment ahead of time so again, please do not arrive sick or hungover. Cancelling or rescheduling an appointment within 48 hours will forfeit your deposit, please be aware of that when booking an appointment.

I tattoo one person a day if we are starting new work. This is often the longest session of the entire tattoo, as it involves laying out the imagery and accomplishing the outline. I set aside the day because I want neither you nor I to feel rushed. Tattooing is a process, and it is not always easy for the client to see the direction when it is only in the outline phase. One of the best parts of large scale work is that with each session comes a renewed sense of urgency to complete the work. That is to say, every session feels like opening a new gift, and it is exciting to watch the loose puzzle pieces of the body connect.

I look forward to working with you, and in addition to the material above, I hope to have provided a few resources to further your research and education. If you have any questions or corrections, please reach out. My email is the same as if you would like to schedule a consultation, please click the button below.