Marks of the East

The story of tattooing in Polynesia began about 2000 years ago, with minor deviations with each culture.  One similarity that all the Polynesian cultures share with each other is the period in the nineteenth century when the European missionaries arrived to the islands and made extensive attempts to eradicate tattooing as an art form from Polynesian culture.  To the visiting Europeans, those unusual markings on the locals’ bodies seemed barbaric and unholy.  Despite this, many Polynesian artists maintained their traditions as best as they could, and the Samoan people hold the wonderful title of the last bastion of unbroken tattooing tradition.  They still use traditional means of applying the pe’a and malu.

                European missionaries believed tattoos were barbaric and unholy.  What do you think?  Btw, these are women.

After falling into disfavor in the mid-20th century, the Maori moko and Hawaiian uhi began a renaissance-style resurgence in the 1970s and 80s.  Lack of trained professionals and lack of desire for getting one slowed and delayed their resurgences; however, use of tattoo machines has allowed for greater speed of application and more intricate designs.  Today, many Maori people use the traditional moko as a political statement, silently yet strongly displaying to the world their heritage and roots.

Modern tattoos are much more intricate thanks to modern tools and techniques.

Sources:

http://www.pbs.org/skinstories/history/beyond.html

http://www.polynesiantribaltattoo.com/history/

Ancient Polynesians had a very different outlook on their tattoos than modern people do.  Much like some tattoos of this era, and tattoos of other cultures, Polynesian tattoos held specific meanings to the wearer, but that’s about where the similarities end.  For Polynesians, the meanings of their tattoos varied from island to island, tribe to tribe, and, in the Hawaiian culture’s case, village to village.

The Maori people of New Zealand held their tattoo art in high regard.  Moko, as they called it, was used to display which social class they were in, their rank within that class, their genealogy, and their occupation.  On top of that, there was the obvious display of toughness of having endured the painful process.  Designs varied so greatly between tribes that it was even possible to distinguish where a specific individual called home.  Men and women both received tattoos, but on different places.

Facial tattoos were common amongst the Maori of New Zealand 

The Samoan people had their tattoo art introduced to them by two sisters named Taema and Tilafaiga who came from Fiji.  While both men and women received tattoos, or tatau, the most extensive ones, the pe’a, was reserved mostly for men.  Pe’as covered the thighs, butt, lower back, and navel, and in ancient times, they were regarded as a sign to the village that a man was committed to serving his family.  Having one was even considered a perquisite to receiving the title of matai or “chief.”  To a woman, a man with a pe’a was sexier than a man without one because the man with a pe’a had shown his bravery and dedication by allowing his body to go through the painful process.  On the other hand, tattooing women was considered an act more sacred than tattooing men.  One type of female tatau, the malu, was applied to the thigh.  Though less extensive that the pe’a, it was often flashed when dancing a traditional dance called the siva.

Hawaiians seemed to have the loosest views on tattooing, or kakau, as the traditions were the least regimented and regulated of Polynesia.  Use and application of an uhi was sparse in the islands and social strata.  However, they did mark almost every part of their bodies; there were instances when a company of warriors, or a Pahupu, had solid black tattoos that covered their entire bodies except the teeth and eyeballs.  Kind of like ninjas, but instead of black robes they used black body paint.  Traditions and uses varied greatly within the islands and villages, and included displaying grief or sorrow or to add visual appeal to a hula dancer.

Symbols themselves had meanings as well.  Spear heads, for example, were used to represent courage, warriors, or sharp items; and a line of spear heads going next to a line of human symbols could represent defeating enemies.  Turtle shells could also mean longevity, wellness, fertility, and peace.  It all depended on where the symbols were placed and what other symbols surrounded them.

Some common shell designs.

Sources:

http://www.apolynesiantattoo.com/polynesian-tattoo-meanings

Before we start, I’d like to make a clarification.  The link says that this section will be only about Hawaiian tattoos; however, I figured that, since Hawaii is only a small portion of all of the Polynesian region, why not do the blog on all of Polynesia?  I mean, there’s so much history and culture behind body art in that region, so why not try to cover it all, right?  Now that we’ve got that out of the way, let’s get started.

There are many similarities in tattooing among the Samoan, Maori, and Hawaiian cultures of Polynesia, one of which included a tattoo master.  The master, mostly male, was highly-trained in his profession and had extensive knowledge of the designs, shapes, motifs, and the meanings and placement of each.  The master was held in high esteem by the general population, and he would usually be responsible for deciding what design would be appropriate for someone, who could get a tattoo, and when those who could can get one.  He would also instruct his subject on what things he or she must and/or mustn’t do before getting a tattoo.

Before starting, the master would outline design with earth or soot, or in this case, a sharpie marker

The master would also usually be highly-paid for his tattoos since most of his subjects would come from the upper tiers of society; gifts like fine mats, wood or jade carvings, and weapons were commonly given in return for their efforts.  Unfortunately, the tattoo master road was a lonely one; masters would often have to give up starting families or have permanent relationships. They would also have to take care not to “taint” themselves or their work. They even had spiritual responsibilities, making sure that they didn’t offend their patron god so that they won’t lose their skills.  Basically, if you were a Polynesian tattoo master, you’d be a loner, loved by no one, but hailed by all.

Source:

In Korea now, getting a tattoo is harder than you would think. It is not as simple as walking down the street and looking for an advertisement for tattoos. Most tattoo operations are underground and have to be looked up online or recommended by the locals who are interesting in helping you. In order to get a tattoo in Korea, the tattooist needs to have the same license as a doctor. In other words, according to medical law, the tattooist has to have a doctor's license. Up until a few years ago, tattoo parlors were considered illegal and could only be found by doing research online and going to a very suspicious spot just to get a tattoo. However, the view on tattoos is slowly becoming more lax. Many K-Pop stars are now getting tattoos and tattoos are now slowly seen as fashion statements rather than gang signs.

                          4minute's HyunA with her tattoo                                      

There is a generational gap in which younger Koreans (~20 years old) see tattoos as "cool" while the older Koreans still see them as a sign of being in the Korean mafia. Foreigners generally are not treated the same way and the native Koreans merely think that it's a "foreign" thing. Despite that, even foreigners have been known to be denied access in gyms and bathhouses because they had an exceptionally large tattoo on their body. If a foreigner visits Korea with a large tattoo, you can expect at least people staring at you and tiptoeing around you. So just some advice for anyone with tattoos wanting to visit Korea, be prepared to hide your tattoos. Especially if you are a woman, people will treat you differently and there have been cases where foreigners were kicked out of their hotel just for having large tattoos.

Korean Pop Star BoA with her tattoo.

http://myline-kakao.blogspot.com/2014/01/kpop-idols-with-tattoo_9837.html

            In Korea, tattoos are used in order to show an individual's affiliation to a certain crime syndicate or to just intimidate others who happen to see the tattoos. Members of organized crime often have tattoos of the pa (mob) they are in. When confronted by other mobs, they show the tattoo to identify themselves. The tattoo can also be used as a warning to civilians. Because of this, tattoos have often been considered taboo. There are young Koreans who get tattoos as well but tattoos are still seen in popular culture as being tell-tale signs that the person who has tattoos have to treated with wariness and mistrust, especially if the person is a native Korean. Nowadays, the top 3 gangs in South Korea are "Chil Sung Pa" (칠성파), or Seven Star, "Hwan Song Sung Pa" (환송성파), [the origin of the name is ambiguous; rumors has it 환,송,and 성 represent nicknames of the three founders of the gang], and "Ssang Yong Pa," or (Double Dragon).  

Example of Gang Tattoos

These gangs compete amongst each other continuously. The Seven Star mob tattoo is a pattern of seven stars on their chest. They are seen as number one mob and as being extremely secretive. The Hwan-Song-Sung-Pa signature mob tattoo is the Hanja character of "Son" (孫) the founders' family name, on any part of their body. Where they have it signifies rank.  The Double Dragon mob tattoo is the two dragons curling over each other on their upper arm. The Double Dragon mob is seen as being extremely violent and brutal. 

                                            Another Example

Besides these gang tattoos, there are a variety of tattoos that a person can get, ranging from mythological or real creatures to just small drawings. The Chinese Dragon is popular along with smaller animals such as Koi Fish and Bluebirds. 

You are all in for a treat! Today, I’ll be touching base on tattoos of modern-day. Essentially, the tattoos of modern-day are reminiscent of tattoos from the past (i.e. tribal patterns) as I have mentioned in the last post with Tatak Ng Apat Na Alon, but they are that and much, much more.

No longer will you have to endure painful hours of tattooing by the “tapping” method (pictured below). Using a needle attached to a piece of wood in one hand and another piece of wood in the other to steady the arm, the tattooist is able to create masterpieces on people’s bodies.

Yikes! This is the “tapping” method of tattooing. You can almost feel the agony he’s in through this photo!

Here is a close-up of the tapping method. It looks intense!

Nowadays, traditional tattoos are becoming increasingly popular. They no longer suffer the social stigma of being associated with delinquency; instead, they are used as a tool to spread cultural awareness.

The revival of traditional tribal tattoos has also been met with additions of new concepts and symbolic pieces. For instance, Elle (pictured below) sports traditional tattoos that have creatively incorporated modern styles as well.

Elle’s left forearm symbolizes the “four waves” of colonizers who now make up the people of the Philippines.

As with all things, tattoos have come to evolve in other aspects. Some popular tattoos include the symbol on the flag of the Philippines: three stars and a sun. The eight rays are indicative of the “First” 8 provinces that rebelled against Spain, while the three stars represent Luzon, Visayas, and Mindanao.

This person got creative! Recognize those stars? They’re nautical stars!

Another popular tattoo among Filipino tattoo enthusiasts is an illustration of the national flower of the Philippines – the Sampaguita, which is also known as the Jasminum sambac. As the national flower, it has become an emblem of love, purity, devotion, dedication, strength, and fidelity.

Look how pretty these turned out! They don’t require as much maintenance as the real flower and they last forever!

Last but not least, a common theme among tattoos within the Filipino American community utilizes an ancient manuscript called Baybayin, or Alibata.

This is Baybayin script. Lovely, isn’t it?

This Baybayin tattoo translates to “Breathe.” What a refreshing take on tattoos!

Did you get a better idea of what you want for your next tattoo? Let us know by liking our post!

Till the next tattoo, Vee B.

Sources:

http://www.traveltrilogy.com/2014/03/the-redeemers-of-traditional-hand.html

http://www.vanishingtattoo.com/tattoos_in_Philippines.htm

http://www.pinoytattoos.com/filipino-sun-and-stars-tattoo/

http://slodive.com/inspiration/filipino-tattoos/

Due to the limited practice of Irezumi in its native land of Japan, its extorted cultural influences and imported western industrial procresses have a larger place in the world's tattooing practices than true Irezumi masters, or Hori. Despite this, and the disreputable view of tattooing in current Japanese society, Hori still demand respect. Unlike the tattoo artist in the West, Hori still have training and techniques that date to the pre-Meji Restoration era and beyond, with artists undergoing apprenticeship, meeting with clients over weeks to create the tattoo, and using Tebori, the traditional way of Irezumi, in which steel tips bamboo sticks are used to ink a tattoo by hand.

An example is Horiyoshi III, widely considered to be the most famous of the Irezumi Hori, with over four decades of experience and a name recognized internationally. Born as Yoshihito Nakano on March 9th, 1946, Yoshihito first became intrigued by tattoos when he was barely over ten years old. Experimenting with crude designs as he grew up, Hoshihito eventually first met Yoshitsugu Muramatsu, also known as Horiyoshi of Yokohama, when receiving a full-body tattoo. In his early twenties, Yoshihito began his apprenticeship until Horiyoshi I, alongside Horiyoshi I own son. In 1971, Horiyoshi I decided to retire, and passed the title of Horiyoshi III to his star pupil, who was then graduated to be a full Irezumi Hori. Over the next four decades, Horiyoshi III expanded his repertoire with new self-created designs, and has published several books about Irezumi, including his new designs, the history and philosophy of the art and collections of famous tattoos. Currently, Horiyoshi has two apprentices, his own son Souryou Kazuyoshi and Alex Kofuu Reinke Horikitune. Due to Horiyoshi II's advancing age and a kidney failure in 2007, it is planned for Kazuyoshi to take his father's place in a few years and take the name Horiyoshi IV. This chain of apprenticeship and the bequeathing of titles is a clear sign of the deeply held traditions of Irezumi that are still adhered in the modern age.

Sources:

http://www.tofugu.com/2012/10/04/tebori/

http://horiyoshi3tattoo.com/horiyoshi-iii/

http://www.tattooartistmagazine.com/issue4/horiyoshiiii.html

To this day Chinese tattoos have been a popular tattoo choice, from dragons to characters there has only been one person to become China’s first tattoo enthusiast. Liu Ming became China’s first man of tattoos. He is currently 50 years old from Henan province and has 90 percent of his body covered in tattoos. In 2008 he had a count of 200 tattoos. He received a new tattoo of the Olympic rings from the Beijing Olympics on his forehead along with the Olympic torch along the side of his body. He decided to squeeze in the Olympic rings and torch in 2007 after he attended a celebration for the games.

It is crazy to think that someone from a culture that first believed that tattoos were seen so negatively has gotten almost his whole body covered in tattoos. He wanted to put the Olympic tattoos on his body to change people’s minds about Chinese always being so conservative. He believes that tattoo artists and those with tattoos don’t have to be bad people but that those same people can also be patriotic.

Coming from an Asian home, my parents never accepted the idea of tattoos. They never thought about the whole concept of having permanent ink on my skin as a good thing. They believed it was a way for bad people to show off how bad they are and make people around them scared. It was never seen as a way of expression to them. Just the mention or talk about tattoos made them freak out and ask if my siblings and I were really stupid enough to get one. It’s different growing up in a generation where tattoos are so cool and everyone wants one so they can express who they are in a way that they feel comfortable with and then thinking about the past and how tattoos were only seen in a negative way. 

Sources:

http://www.imaginechina.com/clientLightBoxEn.ic?id=30105&lang=en&viewtype=1

http://www.picsgen.com/extreme-tattoos/chinese-tattoo-enthusiast-liu-ming/

http://africa.chinadaily.com.cn/china/2013-08/29/content_16930235.htm

Dragons can symbolize a variety of things, from qualities, emotions and traits. Dragons are recognized as powerful, protective and fearsome. They usually symbolize strength, courage, and endurance. They are the epitome of the earliest power; they are the ultimate ruler of all the elements due to the fact that they can master all the elements, Fire, Water, Earth and Wind.

In Chinese culture, ancient Chinese Dragons symbolize cosmic energy, also known as Chi. They stand for new beginnings and good fortune. They have good qualities such as continued success, high achievement and prosperity. In the Chinese culture they have a legend called The Legend of the Nine Dragons. Kowloon is the mainland overlooking Hong Kong which means Nine Dragons. The legend talks about the mainland and that it was named Kowloon from a Chinese Emperor who ran away there after the Sung Dynasty. It was originally named after the right hills located there but the emperors servant thought that the emperor should be recognized as well. Then the Nine Dragons were born. The Nine Dragons represent the nine sons of the Dragon King.

The image above is a painting of the Nine Dragons.

The Nine Dragons include: Bixi, Chiwen, Pulao, Bi’an, Taotie, Gongfu, Yazi, Suan’ni, Jiaotu. Bixi represents resilience, toughness, longevity and good fortune. Chiwen controls the element of water and is said to protect homes from fire. Pulao is the expert of the mighty roar that sends a warning to people when disasters of various kinds or disturbances are close by. Bi’an is the protector of authority and fairness. Taotie is the keeper of prosperity, health and all that is delectable. Gongfu is the son whose world revolves around water and controls floods and his presence protects against them. Yazi signifies battles and victory, his presence brings fear to the enemy and guarantees victory in military obstacles. Suan’ni is the keeper of knowledge and wisdom. Jiaotu is the guardian of the house who protects homes from burglars and such.

Heres an awesome tattoo of a dragon along the persons back. Many of the dragons tattoos are large scale in order to have the full cool look.

Dragon tattoos in Chinese culture portray positive aspects. Dragons as a tattoo represent a powerful guardian and guide.  They are seen as a noble beast and depict intelligence. They offer wisdom and protection and symbolize freedom. The dragon is allowed to go anywhere it wants and can represent the freedom of your soul and life. With the legend of the Nine Dragons, certain dragon tattoos can depict the kind of traits one would like onto them. For example, getting a tattoo of Taotie would protect the wearer with their money and health and food.

They can be placed anywhere along the body as well. With Chinese, it is not unusual to see full body tattoos of dragons. They have many other symbols than just as dragons. Before, those in the mafia had full body tattoos and they were looked down upon and were illegal to have at one time in Chinese history. But are currently are worn for multiple purposes.

Dragon tattoos could be placed anywhere on the body and still look amazing. Look at how cool this arm tattoo looks

Sources:

http://wiki.answers.com/Q/What_do_dragon_tattoos_symbolize

http://tattoosymbolism.blogspot.com/2012/03/dragon-tattoo-symbolism.html

http://beyond-calligraphy.com/2012/03/06/nine-sons-of-the-dragon-king/

http://aaartisans.com/wp-content/uploads/2013/12/back-chinese-tattoos.jpg

As mentioned before, most of the symbols that are associated with Japanese tattoo designs are actually directly derived from the woodcuts of the Japanese Edo period. As a result, many of the images found in the Irezumi style are more myth based rather than their more western counterparts, with different aspects of common Japanese folklore representing the ideals they are used to embody. This is especially true in respect to representation of creatures, whether animals are originated from the real world or entirely fictional.

Tigers, or kora, are viewed are said to ward off evil, whether demons or disease. Interestingly, there are in fact no native tigers in the Japanese mainland, with stories resulting from visits to and from China and Korea. Tigers are portrayed in myth as supreme hunters, with strength and courage matching that of the more fantastical animals of Japanese culture.

Lions, or rather their mythological variant the Fu Dog, suffers from a similar, with even more extreme distortion. Unlike the Tiger, which was based upon firsthand and secondhand accounts, the Fu Dog is the result of a knowledge filtering from India. As a result, the Fu Dog is best shown as a entirely fictional creature based on flawed accounts of lions, with the gaps filled in by the borrowing of dog characteristics. Fu Dogs are shown as guardians, with Irezumi designs either having poses based on designs used as statues used to guard gateways, with a sitting Fu Dog with a paw on a ball used to represent Buddhist or Shinto law, or has the Fu Dog crawling up or down a limb, in protection of the bearer.

Koi, or Japanese Carp, is surprisingly seen by the Japanese as a popular symbol of masculinity. Apparently this is derived from the common Koi instinct of jumping up waterfalls, an act that is viewed as an indication of courage, determination, and preservation in the face of adversity. There is a common myth found throughout Asia, The Dragons Gate, in which koi would try to jump up an legendary waterfall on the Chinese Yellow River in order to reach the titular Gate, in order to ascend to become a dragon. As such, Koi can been viewed as the symbol of the Japanese equivalent of the “American Dream”.

Sources:

http://blog.alientimes.org/2010/02/the-tiger-in-japanese-history-and-culture-a-brief-look/

http://www.irezumiart.co.uk/irezumi-symbology/

http://www.everything-ponds.com/koi-symbolism.html

                         In Korean ancient times, fisherman used tattoos to protect themselves from evil spirits that might attack them in the sea. As time progressed, tattoos changed from being used for spiritual protection to a symbol to be ostracized. In the 19th century, during the Joseon Dynasty, tattoos were seen as an affront to one's own body. Criminals and slaves were branded, a visible sign that they were "apart" from the rest of society. For example, some criminals were branded "thief" on their foreheads and slaves had the name of their owner on their forearm. It effectively made all those branded into outcasts and as a walking sign of shame.                             

                    The famous Chinese philosopher Confucius.

Stemming from this text from an old Confucian text, “our bodies—to every hair and bit of skin—are received from our parents, and we must not presume to injure or wound them”, it was seen as disrespectable to both the individual and family to change one's body.  This Confucian principle of purity, in both body and spirit, is integral to Korean society even now. Bodies are seen as a gift from the ancestors and shouldn't be marred in any way being using tattoos. In the 20th century, Korean crime families used tattoos as a way to identify which gang you belonged to.

Example of a Korean gang tattoo. The panther symbolizes power and is meant to intimidate others.

   This practice was taken from crime groups in Japan. In that time and even with the current older Korean population, tattooed individuals are seen as either dangerous criminals or at best, merely untrustworthy. In other words, they weren't individuals that you brought home to meet your family. In those days, people with tattoos were denied access to the public bathhouse and swimming pool, due to fear that they would scare away the clientele. They could also be denied a job because they had a tattoo. Despite all of this, tattoos were never illegal. Socially, ethnic Koreans and foreigners with tattoos are frowned upon and stand out among their peers.   

  http://www.korea4expats.com/article-tattoos-Korea-society-attitude.html

http://www.frank151.com/news/the-secret-story-of-korean-tattoos-memento-interview.html

Due to western influences and decapitating hindrances by the government, tattoos in the Kalinga tribe are not nearly as prominent and reviled as years ago.

Whang-Od (94 years old!) of the Kalinga tribe notes that the act of tattooing can only be passed down through the bloodline. A superstition holds that an infection will occur if anyone not from the tattooing bloodline attempts to tattoo. 

Check out her awesome tattoos! They sure do tell a story, don’t they?

Because Whang-Od lost her husband at the age of 25 and never remarried, she could not pass down tattooing because she had no children. As of today, she does have a niece that she could pass on tattooing to, but unfortunately, her niece is reluctant, as she wants to become a teacher instead.

Fear not, my fellow tattoo enthusiasts! The tradition has long since been revived and in Los Angeles, nonetheless! In 1998, Filipino Americans created Tatak Ng Apat Na Alon, also known as “Mark of the Four Waves” in English, in hopes of reviving this cultural practice as well preserving the history of their ancestors.

How awesome is this? The attention to detail on these tattoos is amazing!

Thankfully, no heads were decapitated in order to receive these tattoos. Members of Tatak Ng Apat Na Alon spread cultural awareness through word of mouth and by showing off their tattoos instead of hunting heads of their rivals. Their traditional tattoo designs reflect their indigenous ancestors and also serve to keep the tradition alive.

Eric Barrios, a member of Tatak Ng Apat Na Alon.

Out of the 150 members, 100 are tattooed with traditional designs. Eric Barrios (pictured above) believes that his tattoos are reminiscent of his ancestors before him:

“Like the nomadic turtle who carries his home wherever he goes, my tattoos carry forth my ancestral heritage. As a Filipino-American, my tattoos show that I know myself, my roots, and my people.” 

Stay tuned for more on Filipino tattoos of modern day! 

Till the next tattoo, Vee B.

Many tattoos to this day include the popular demand of Chinese characters stating, “Love” or “Hope” or another character that has some significant meaning. Before this crazy phenomenon, the Chinese culture contains many different kinds of tattoos that have been well known in the Chinese culture for over thousands of years.

In China there is a term for tattooing, it is called Ci Shen/Wen Shen, which means “puncture the body”. In the past, there were only a few periods of time, in China, when tattoos were accepted and they were mainly correlated with lower social classes or the underworld. Although China has put tattoos at work for thousands of years, Chinese who were more civilized and practical displayed nothing but hatred toward tattoos during this timeframe. In the 18th century, artists became more active in the art of tattooing.

One of the most famous tattoos known in Chinese history is of the legend of the Chinese general Yueh Fei, who was a servant in the South Song Dynasty. During a battle with the enemy, Yueh Fei’s Field Marshall betrayed their side and joined the enemy’s side. After that Yueh Fei resigned from his duty and returned home to his mother. Upon his return, his mother was furious with his decision in resigning in his duty to his country because his duty was for his country no matter what. Because of her fury she felt that she needed to remind him by tattooing four characters on his back with her own sewing needle, “jin zhong bao guo”. This meant  “Be totally devoted to your country”.

The image presents General Yueh Fei receiving his tattoo "Jin Zhong Bao Guo" from his mother's sewing needle.

In the past, tattoos were also used to make those who committed crimes. They were forced to get a tattoo on their face and were banished somewhere far from where they were banished. The tattoo on their face would be there forever so even after they have been exiled and returned everyone would know they are a criminal and that was their form of punishment. It was known as Ci Pei.

Aside from tattoos being used as the mark of a criminal, there are different Chinese minorities that have tattooing traditions. Those minorities include the Dulong, Dai and Li tattoos.

The image above presents an elder Dulong woman and a young Dulong girl. You can see the marking on the Dulong woman's face compared to the Dulong girl's face that she does not have a tattoo which means she is still not of age to become an adult yet.

Tattoos from the Dulong tribe, those who lived along the Dulong River, were done among the women of the tribe back in the Ming Dynasty. Around 350 years ago they were under attack from neighboring tribes and the women were sometimes taken as slaves. The Dulong women were the ones who made the decision to tattoo their faces so that it would make them uglier and less likely to be raped by any man. Even though the Dulong groups are no longer being attacked by neighboring tribes, the Dulong women continue this tradition. When Dulong girls of age 12 or 13 are tattooed on their faces and is a symbol of maturity.

The image above is of an elder Dai woman with markings on her face.

In the Dai tribes they have an ancient tattooing tradition where both men and women in the Dai are tattooed. Tattoos in Dai men are displayed as a sign of strength and virility and are generally drawn in a way to create emphasis on their muscles. For Dai women they receive tattoos on the backs of their hands, their arms, or contain a small dot between their eyebrows. Usually tattoos of the Dai people are of a intriguing beast, like a dragon or a tiger. Before, Dai tattoos were given to children when they were 5 or 6 but they have decided to give it to them at 14 or 15 as a rite of passage to becoming an adult.

This image is of a Li woman. 

For the Li people of the Hainan Island, tattooing has been a tradition that has been ongoing. Tattoos for the Li people are mainly worked among the women of the group. Men have tattoos too, like three blue circular rings on their wrists for medical reasons, but besides that, women are the ones doing the tattooing. Tattooing in the Li for women is used like the Dulong and Dai tribes as a rite of passage to being an adult and becoming mature. Li girls at the age of 13 or 14 get tattoos on the nape of their neck, their throat and on their face, but this tattooing process to becoming an adult would take four to five days. So it took them a while to officially become an adult. After that, they would get their arms and legs tattooed  but she was unable to get tattoos on her hands because only married women were allowed to get tattoos on their hands.

There is more to Chinese tattoos than their characters. There are a variety of types of tattoos that were created by Chinese cultures and people in the West fail to recognize them other than their characters. 

Sources:

http://traditions.cultural-china.com/en/14Traditions9157.html

http://tattootemple.hk/history-of-tattooing

http://www.trekearth.com/gallery/Asia/China/East/Zhejiang/Hangzhou/photo420509.htm

The origins of Irezumi, the traditional art of Japanese Tattooing, have regrettably been lost to the sands of history. While the earliest forms of Irezumi is thought to have created by the prehistoric tribes that would form Japan, with proof in the form of engraved and painted clay statues, the first concrete evidence of Japanese tattoos was in Chinese histories dating back to the third century AD. Part of this is because of the earliest Japanese records show that tattooing had become a sign of dishonor several century later, with criminals being marked with symbols showing their crimes. However, this fell into disuse during the 17th and 18th century Edo period, when the modern form of Irezumi first developed among the lower classes, with tattoos representing beauty, protection, bravery and wealth being developed. Historical account indict that the change was due to new widespread woodcuts, that are the origins of the common Irezumi symbols today, such as flowers, tigers, dragons, etc, with the new Irezumi masters taking the name Hori, meaning to carve, a title also used by woodcutters.

A late Edo-era woodcut. Notice the predominant bird and flower in the background

The cultural influence of Irezumi met a unfortunate end during the Meiji Restoration, when the government outlawed the art, fearing that foreign powers would take it as proof that Japan was barbaric and primitive. However, the opposite would prove to be true, as visiting sailors quickly fell in love with the stylistic style . This lead to a situation where Japanese who wanted tattoos had to do so in secret, but westerners regarded it as a status symbol, to the point that royals on diplomatic visits would visit Hori, including the last Czar Nicholas II, the doomed Archduke Ferdinand, and the future King George V.

King George V, then Prince George of York, getting his first tattoo aboard the H.M.S. Baccante, from the famous Hori Chyo

After WWII, Allied occupation forces became so impressed with Irezumi, that General MacArthur was convinced that lifted the 70 year ban. Many American Tattooists exchanged techniques with their Japanese counterparts, with the famous tattoist Don Ed Hardy visiting and training under in a Hori. Today, many can seen how aspects of Irezumi have influenced American styles. Ironically, Irezumi is actually more popular overseas than in its homeland. This is became it have become identified with criminals again, with part WWII-Japan viewing tattoos as a non-conformist symbols, and has become afflicted with the Yakuza. 

Sources:

http://www.vanishingtattoo.com/tattoo_museum/chinese_japanese_tattoos.html

The first record of Filipino/as with tattoos occurred around the 1600s by the Spaniards, who were so blown away by these tribal tattoos that they dubbed the Philippines “La Isla De Los Pintados”, which translates to “The Island of the Painted Ones.”

This mummified body of Apo Ano is dated back to 400 years ago. He is tattooed from the top of his head to the soles of his feet. Yikes! That must have tickled.

Tribes notorious for head-hunting – Bontoc Igorot, Kalinga, Ifugao, just to name a few – would honor a tribal member who had decapitated a rival tribe or warrior by tattooing him. This practice was known as “Chaklag” and it brought great honor to his tribe. 

This tribesman from the Bontoc Ingorot tribe sports the “chaklag,” which is a t-shaped design that runs from his chest and curves around his shoulders to his arms. Notice the intricate detail in the tattoos.

Tattoos were believed to have magical attributes that would enhance the tribesmen’s prowess and protect them. The more tattoos a tribesman wore, the more heads he had taken and the higher his rank in the tribe.

Nevertheless, tribesmen did not limit themselves to striped designs. In the Kalinga tribe, tribesmen that killed more than two men were ornated with tattoos of different animals or insects that served to act as guardians.

Just two tribalmen hanging out with their gongs out. Those handles look pretty sweet, right? They’re made of human jawbones. Can’t blame them for being resourceful!

What about the womyn, you ask? The females of the tribes also modeled tattoos, but theirs did not serve the same grim purpose. 

Visay and Mindanao womyn wore detailed lines on their arms and wrists, while Luzon mountain womyn modeled full chest and arm tattoos. These tattoos were seen as a sign of beauty, a means of fertility enhancement, and a way of covering their bodies.

  Since decapitating became unlawful in 1900 and tattoos were heavily discouraged thereinafter, tribal tattoos have been scarce. Fortunately enough, these tattoos are making a comeback. And rightfully so! Stay tuned for more on the influence behind tattoos and which tribal tattoos are the rage today!

!!! Tell us what fascinated you in our comment section. One lucky person will be featured on our blog every Friday !!!

Till the next tattoo, Vee B.

Sources: 1) http://uwbodyadornment.pbworks.com/w/page/7147475/Philippine%20Tattoos

2) http://www.vanishingtattoo.com/tattoos_in_Philippines.htm

3) http://www.onetribetattoo.com/history/filipino-tattoos.php