The origins of American Traditional tattooing through naval sailors

“The universality of tattooing is a curious subject for speculation….” Captain James Cook recorded in his journal during his third Pacific journey from 1776 to 1780. While the practice of tattooing had been ongoing in indigenous cultures for thousands of years, Cook and Royal Navy sailors who observed the Polynesian body art were among the first to bring the practice of tattooing back to Europe and America.

Bored sailors turned amateur tattoo artists began to dabble in putting ink to flesh, the most common being military insignias and the names of sweethearts back home — naturally the mark of a great, lasting relationship.

The practice quickly spread across the fleets.

According to the Naval History and Heritage Command, “by the late 18th century, around a third of British and a fifth of American sailors had at least one tattoo.”

Since Cook’s journeys, shellback turtles, swallows, ships, anchors, daggers piercing a heart, and more continue to “memorialize special memories or career milestones at sea, such as crossing the equator or eclipsing 5,000 nautical miles for the first time,” writes J.D. Simkins of Military Times.

Despite tattoos being a well-established Navy tradition, sailors adorned with tattoos were still considered fringe or “unsavory” members of society until the mid-20th century.

During World War I sailors were highly encouraged to cover up any risqué body art since any perceived “moral” failings might disqualify them from service, states the NHHC.

The onset of World War II, however, and the vast expansion of Naval personnel ushered in a new era of the tatted tradition, thanks in large part to artist Norman Keith Collins — also known as Sailor Jerry.

Since then, the Navy has been the most lenient among the other military branches in regard to its tattoo policy.

In a bid to recruit more sailors, the Navy eased its policy even further in 2016, allowing men and women to “have neck tattoos, sleeves and even markings behind their ears,” writes Mark Faram of Navy Times.

Some Traditional Sailors' Tattoos 

Anchor: Originally indicated a mariner who had crossed the Atlantic. In the present day, an anchor in one form or another may be the first nautical tattoo a young Sailor acquires (often during his or her first liberty from boot camp) and is essentially an initiation rite into the naval service.

Braided rope/line: Usually placed around left wrist; indicates a deck division seaman.

Chinese/Asian dragon: Symbolises luck and strength—originated in the pre–World War II Asiatic Fleet and usually indicated service in China. Much later, dragons came to symbolise WESTPAC service in general (also worn embroidered or as patches inside jumper cuffs and on cruise jackets).

Compass rose or nautical star: Worn so that a Sailor will always find his/her way back to port.

Crossed anchors: Often placed on the web between left thumb and forefinger; indicate a boatswain’s mate or boatswain (U.S. Navy rating badge).

Crossed ship’s cannon or guns: Signify naval vice merchant service; sometimes in combination with a U.S. Navy–specific or patriotic motif.

Crosses: In many variations—worn as a sign of faith or talisman. When placed on the soles of the feet, crosses were thought to repel sharks.

Dagger piercing a heart: Often combined with the motto "Death Before Dishonour"—symbolises the end of a relationship due to unfaithfulness. 

Full-rigged ship: In commemoration of rounding Cape Horn (antiquated).

Golden Dragon: Indicated crossing the international dateline into the "realm of the golden dragon" (Asia).

“Hold Fast” or “Shipmate”: Tattooed across knuckles of both hands so that the phrases can be read from left to right by someone standing opposite. Originally thought to give a seaman a firm grip on a ship’s rigging.

Hula girl and/or palm tree: On occasion, hula girls would be rendered in a risqué fashion; both tattoos indicated service in Hawaii.

Pig and rooster: This combination—pig on top of the left foot, rooster on top of the right—was thought to prevent drowning. The superstition likely hearkens back to the age of sail, when livestock was carried onboard ship. If a ship was lost, pigs and roosters—in or on their crates—floated free.

Shellback turtle: Indicates that a Sailor has crossed the equator. “Crossing the line” is also indicated by a variety of other themes, such as fancifully rendered geo-coordinates, King Neptune, mermaids, etc.

Ships’ propellers (screws): A more extreme form of Sailors’ body art: One large propeller is tattooed on each buttock (“twin screws”) to keep the bearer afloat and propel him or her back to home and loved ones.

Sombrero: Often shown worn by a girl. May have indicated service on ships home-ported in San Pedro (Terminal Island, Los Angeles) or San Diego prior to World War II, a liberty taken in Tijuana, or participation in interwar Central and South American cruises.

Swallow: Each rendition originally symbolised 5,000 nautical miles underway; swallows were and still are displayed in various poses, often in combination with a U.S. Navy–specific motif or sweetheart’s/spouse’s name.

Kuniyoshi and his impact on Traditional Japanese Tattooing

Many would recognize Kuniyoshi as one of the most iconic Japanese woodblock print artists, yet he is also credited with influencing another visual art form, that of traditional tattoo designs. These are still a source of inspiration and are followed with precision by tattooists practising Japanese style tattoos worldwide. In this article, we look at how Kuniyoshi depicted the heroes of his time in woodblock prints and how he skilfully integrated tattoos in designs that still carry a meaningful message.

Kuniyoshi (1797 – 1861) was born in Edo (present-day Tokyo) as the son of a silk-dyer. It is said that he had a great interest in drawing from a young age. Even though Kuniyoshi eventually became a well-known and respected artist, the way to success and acknowledgment was a long struggle. His break-through came in 1827 with the series of ‘The 108 Heroes of The Tale of Suikoden’, which is based on a Chinese novel of the same name from the 14th century about brave rebels who fought against injustice and corrupt government officials. The story struck a sensitive chord within the common people of Edo, equally repressed by a military government and unable to openly show their dissent.  

Most of the motifs that appear in the Suikoden tattoos are animal and floral designs, but mythical characters such as the god of wind, Fujin, or the god of thunder, Raijin, also appear. Furthermore, it is during the time of Kuniyoshi’s Suikoden series that different tattooing techniques and set-ups, the use of backgrounds and compositions found in modern Japanese tattoos arose.

It is assumed that Kuniyoshi himself might have been tattooed, which explains the high level of detail brought out by his designs. Nicknamed ‘scarlet skin’, some depictions of the artist testify to his playful nature. Few portraits of the artist exist, but they all show Kuniyoshi engaged in what he loved most – designing woodblock prints or teaching students. His clothes were richly decorated with patterns that may have been an indication of more designs hiding underneath. Because of the laws of the time, common people were restricted from wearing overly decorated clothing, yet Kuniyoshi was never afraid to walk a thin line and cleverly challenge rules in his own eccentric way.

Other students of Kuniyoshi drew sketches and used tattoos as a theme in their woodblock print designs and Kuniyoshi himself revisited the topic many times in other series with the same recognition. Kuniyoshi had a great passion for his craft, as is evidenced by the large number of prints he produced. He was a simple, straight-forward and broad-minded man who educated many artists including Yoshitoshi, Yoshiiku and Yoshitora. It is thought that Kuniyoshi particularly favoured Yoshitoshi, the best student among them who would become a great ukiyo-e master himself.

There is no mistaking the fact that Kuniyoshi’s interpretation of the Suikoden heroes had a major impact on tattoo culture in Japan. The intense swirling patterns, colours, and motifs, that are so iconic today might not exist as seen and practiced today were it not for this novel and the associated artwork. Consequently, many Japanese tattoo artists still render their own versions of popular themes, stories, or prints from Suikoden, becoming their own contemporary telling of a timeless story that has indelibly influenced their craft.

Origins of Moko

Are you interested in getting started on a traditional Māori tattoo but have always wondered where the practice comes from? 

Mythological origins

Like other Māori rituals, those pertaining to tā moko derive from the mythological world of the atua (gods). The word ‘moko’ is thought by some to refer to Rūaumoko, the unborn child of Ranginui and Papatūānuku. Rūaumoko is commonly associated with earthquakes and volcanic activity and has been translated as ‘the trembling current that scars the earth’.

The story of Mataora and Niwareka

According to legend, Mataora, a rangatira who lived in Te Ao Tūroa (the natural world), married a tūrehu (spirit) named Niwareka, from Rarohenga (the underworld). One day he struck Niwareka across the face in a rage. She fled back to her homeland, as domestic violence was unheard of in Rarohenga. Mataora, overcome by guilt and love, set off to find her.

In Rarohenga he met Niwareka’s father, Uetonga, a rangatira descended from Rūaumoko, and a specialist in tā moko. Mataora was intrigued, for in his world moko was a temporary application of designs on the face. This form of adornment was termed ‘whakairo tuhi’ or ‘hopara makaurangi’, and used soot, blue clay or red ochre. Uetonga wiped his son-in-law's face to show the worthlessness of a temporary tattoo.

Mataora asked if Uetonga would apply moko to his face. The pain of the process was almost unbearable and as a consequence Mataora began to chant to Niwareka.

Niwareka was summoned by her sister, but Mataora, blinded by the swelling caused by the tattoo, was unrecognisable to her. However, she identified the cloak she had woven for her husband, pitied him for his suffering and greeted him with tears.

When his moko healed, Mataora asked Niwareka to return with him to Te Ao Tūroa. He promised Uetonga that he would not harm his daughter again as the moko he was now wearing would not rub off. As a parting gift, Mataora was presented with the knowledge of tā moko.

"Suminagashi" - Tattoos inspired by Traditional Japanese art

The art of paper marbling, or “Suminasashi” which translates to ‘floating ink’, appears to have began in Japan around the 12th century.

Various claims have been made regarding the origins of suminagashi. Some think that may have derived from an early form of ink divination (encromancy). Another theory is that the process may have derived from a form of popular entertainment at the time, in which a freshly painted Sumi painting was immersed into water, and the ink slowly dispersed from the paper and rose to the surface, forming curious designs, but no physical evidence supporting these allegations has ever been identified.

According to legend, Jizemon Hiroba is credited as the inventor of suminagashi. It is said that he felt divinely inspired to make suminagashi paper after he offered spiritual devotions at the Kasuga Shrine in Nara Prefecture. He then wandered the country looking for the best water with which to make his papers. He arrived in Echizen, Fukui Prefecture where he found the water especially conducive to making suminagashi. He settled there, and his family carried on with the tradition to this day. The Hiroba family claims to have made this form of marbled paper since 1151 CE for 55 generations

Our artist James Dean, who primarily specialises in black work tattoos has recently began experimenting with “Suminagashi” inspired tattoos. Incorporating black, light shading and negative space, James has placed these swirling designs on the human form that ebb and flow with the shape of the body. The result is interesting large scale concepts that highlight the human form. 

Checkout some examples of the concepts in the gallery below, and if this is something that interests you definitely get in contact with the shop to book in a consultation 

FLORAL MOTIFS IN TRADITIONAL JAPANESE TATTOOING - PART 5 CHRYSANTHEMUM

Traditional Japanese tattooing is typically created with three main elements, Background or “Gakubori”, the main subject matter, and an often overlooked complimentary floral element.

Floral elements are an important element of Traditional Japanese tattooing. They have a variety of meanings in Japanese culture, and when paired correctly with the right subject matter, they can create a harmonious tattoo rich with history and tradition.

In Japan, the chrysanthemum or “kiku” is associated with royalty–namely the emperor, who sits on what the Japanese have titled the Chrysanthemum Throne. It represents perfection and, in some interpretations, deity. It is also known as the “King of Flowers”. The chrysanthemum is also symbolic of happiness or joy, as well as longevity. Dragons can often be seen in Japanese tattooing paired with Kiku.