Aesthetic phenomenon of the traditional Japanese tattoo and its connection with the art of Japanese woodblock prints (based on examples of Utagawa Kuniyoshi’s work)

Abstract

Traditional Japanese tattooing widely known as 入れ墨 irezumi is one of the brightest arts with strong roots dating back to the Edo period (XVII-XIX centuries). As it developed in open cultural spaces of the Edo period, irezumi adopted many graphic features of 浮世絵 ukiyo-e - Japanese woodblock prints, and quickly became a special body decoration. Despite being linked to yakuza culture, irezumi still contain numerous elements which correspond to the visual code of Asian culture represented in most pieces of eastern art. Unfortunately however, this aesthetic phenomenon remains poorly studied by scholars. The most significant example of connection between the Japanese traditional tattoo and the art of Japanese woodblock printing is the frequent adoption of subjects and composition of Kuniyoshi’s woodblock series “108 heroes of Water Margin”. Comparative analysis of “Zhang Shun. White Stripe in the Waves” and irezumi based on this woodblock print confirmed that traditional Japanese tattoos imitate a composition of the particular ukiyo-e from the aforementioned series but the main distinguishing features of irezumi are the presence of additional elements such as cherry blossoms, peony, and a storm cloud-like background. Moreover, these additional elements which obviously represent a visual code of Asian culture, along with the bends of the human body, play a significant role in creating a special rhythm of the picture. Comparing principles of Japanese tattoo aesthetic with statements given in “Manual of the Mustard Seed Garden” proved that irezumi can be considered a specific kind of art.