‘Under the Skin’ showcases the art of Japanese tattoos

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‘Under the Skin’ showcases the art of Japanese tattoos
November 30, 2010
by Matthew Welch
The Tufts Daily

apan's history with tattoos has taken many turns since they were first popularized there in the 18th century. Since then, tattoos have moved from ubiquity among both the upper and lower classes in the Edo period to complete taboo status after their illegalization in the early 20th century, when they were relegated to members of the yakuza, or the Japanese mafia.
The Museum of the Fine Arts, Boston (MFA) exhibit "Under the Skin: Tattoos in Japanese Prints," running until Jan. 2, explores the vivid relationship between Japanese tattoos and their representation in woodblock prints. The exhibit focuses primarily on depictions from the 18th and 19th centuries, when Japanese tattoos first acquired the distinctive style they still carry today.
The MFA's exhibit is planned and organized very well. Placards are highly informative, giving the viewer a complete sense of the historical and cultural context for every woodblock print.
Since many Japanese tattoos portray mythical scenes and creatures, the exhibit is carefully arranged to show the transition certain folk tales made from woodblock to tattoo and back. The mythical figure Wu Song, for example, was reputed for his immense strength, which he famously used to slay a tiger. The pieces displayed show original depictions of tigers and Wu Song before moving on to woodblock prints of people with tattoos of the original pictures.
By giving the viewer a linear presentation of the pieces, the museum stresses the interesting relationship between woodblock prints and tattoos.
In the beginning of the Edo Period, tattoos transitioned from shameful marks inflicted to punish criminals to legitimate forms of art. Woodblocks, which could be produced in high quantities with relative ease, were among the first inspirations for the medium. The most requested tattoos in Japan during this period were popular woodblock images, and many tattoo artists started their careers working with woodblocks.
The exhibit pairs tattoos and the images that inspired them to great effect. Given the cyclical dynamic between the two media, the displays show a level of cohesiveness one rarely sees in any art form.
The strokes, lines and color schemes in the tattoos and the prints that preceded them are highly complimentary. Both showcase wonderful senses of color and contrast, with various prints leaping off the wall with bold scenery and eye−catching tints.
One of the most striking examples of this vividness was "Heroes in Hell" (1864), an incendiary print depicting Chinese bandits recently reincarnated in Buddhist Hell. Unlike most of the pieces in the exhibit, the work depicts an imaginary setting that existed outside of common folklore.
Rather than face their punishment, the rogues shown in the print assault the realm's various demons in a dramatic, highly stylized image. The bandits' matching, floral patterned body tattoos help distinguish them from their demonic adversaries, who are trying in vain to escape.
Many of the pieces show more common aspects of Japanese life.
"Onitsutaya and Gontaro, a Man of the World" (c. 1798−1799) shows a pair of lovers affirming their romantic commitments with a pair of tattoos, a common practice in Edo−era Japan. Gontaro, the male, receives the tattoo from his wife, grimacing humorously as she prints her name on his arm.
Despite the small scale of the exhibit, "Under the Skin: Tattoos in Japanese Prints" does a laudable job of giving the viewer an idea of the cultural role tattoos played in Japan. The exhibit showcases the multi−faceted symbolism of tattoos in Japanese culture as emblems of everything from power, status and wealth to love, commitment and piety.