Horiyoshi III, Legendary Irezumi Master

This is going to be a painful excursion: On the second floor above a Chinese restaurant in a quiet shopping street in Yokohama is Horiyoshi III’s studio. An artist that paints by carving into people’s skin and inserting ink - the legendary Horiyoshi III is a traditional irezumi master and folks from all over the world make an appointment half a year in advance to get one of his colourful tattoos. PingMag stepped into his studio to get to know more about this ancient Japanese artform.

Written by Kevin Mcgue

First, let’s distinguish between the terms irezumi and tattoo: In Japan, they certainly have different meanings. “An irezumi is something that is normally hidden beneath clothing,” Horiyoshi III says. “Many young people in Japan today are getting tattoos to show them off. That is very different.”

History

The history of Japanese irezumi, literally “putting in ink,” stretches back at least to the Yayoi Period from 300 B.C. to 250 A.D. The marks were status symbols, but from the Kofun Period (250 to 538 A.D.), criminals were punished with compulsory inky markings. Still, it developed simulteously as an art form. Much later, in the Meiji Era (1868-1912), irezumi was regarded as “barbaric” and not befitting of a country that was trying to open itself to the world. It was banned and irezumi artists became criminals overnight, constantly moving from place to place to avoid being caught.

A priceless tool kept in a place of honour in the irezumi artist’s studio…

…and the tip of this tool for irezumi: The attachment, for gradation filling, has 46 stainless steel needles. Ouch!

However, in the port town of Yokohama there was a large community of foreign merchants and sailors largely beyond the reach of Japanese law. Many irezumi artists moved to this area and practised their trade on the skin of foreign sailors, spreading the art of Japanese irezumi around the world. After World War II, irezumi became legal again, though it was and still is often associated with the yakuza. Many artists didn’t openly advertise and would get customers only through introductions, a custom which continues today.

Horiyoshi III in his younger years, wearing the traditional kimono underwear, fundoshi.

But back to Horiyoshi III. Despite the name, he’s not the son of Horiyoshi II. Born as ‘Yoshihito’, in 1971, he became the live-in apprentice of the second Horiyoshi, watching his master’s work, helping him, and practising his technique on his own legs. In 1979, he was recognised as a master himself and received the “III” and also the honorific prefix that is often used by irezumi masters, “hori,” which literally means “carve” or “engrave.” Today, he is 61 years old and still practising.

Technique

Tebori means literally “hand carving” and is the most painful technique. It is done with a tool that resembles a calligraphy brush, except that it is tipped with extremely sharp needles. This tip is dipped into ink, and then the needles puncture the flesh, leaving colour under the surface of the skin. It takes an expert hand, as there is no way to correct mistakes, and a slip could injure someone.
“It hurts!” says Vancouver-based tattoo artist Thomas Lockhart. In the 1970s, he sought out some of the most famous tattoo artists in America and had them decorate his skin. Then, he became interested in the traditional art of Japanese irezumi, especially the tebori technique. In 1980 he went to Japan to receive elaborate work by Horiyoshi III. Today, Lockhart is one of the most popular tattoo artists in North America, known for his Japanese-style tattoos. For him, Horiyoshi III is “a legend known around the world.” Although the two did not have much in the way of a common language, they became friends. By means of thanks, Lockhart gave Horiyoshi III his first tattoo machine.

Close up of this irezumi: Every detail is carved with fine lines.

“The hand tapping technique and using a machine are completely different,” Horiyoshi explains. “It’s like with baseball practice, where you can have a batting machine or a real human pitcher. They both throw a ball, but otherwise everything is different.” The master finds himself using machines more often: “It’s simply faster. But I still do a lot of hand tapping.” Thomas Lockhart explains the difference: “I remember when Horiyoshi was doing the grey water on my koi [carp]; he never watered it down or used white, he just very lightly tattooed the black in. Something that’s just about impossible with an electric machine.”

Horiyoshi III is also an accomplished illustrator: “36 Ghost” by Horiyoshi III, book cover.

This is his illustration of the ghost story Hoichi the Earless.

“The client and I decide on the designs as the work progresses. I add my suggestions to the client’s request, and we build the work together,” Horiyoshi explains. “Very few people with an irezumi body suit know they want that from the beginning. One reason: They don’t know how much it’s going to hurt. Many get a back piece done, and then decide to go for full-body work.”

Thomas Lockhart, today a famed tattoo artist in his own right, getting a hand tapped tattoo from Horiyoshi III, circa 1980.

Also in Yokohama is a Tattoo Museum run by Horiyoshi. Near the entrance you can spot a photo of the irezumi master with Anthony Kiedis, vocalist for the Red Hot Chili Peppers. So, does Horiyoshi have many foreign clients? “Oh, yes, lots,” he answers. “If it’s someone living overseas, they make a reservation about half a year in advance.” Of course, he wouldn’t name the celebs he has decorated, but there have been many.

Finally, just how much does it hurt? “That’s impossible to explain in words,” Horiyoshi says with a gentle voice, smiling. “You just have to experience it yourself to understand…” Argh!

Horiyoshi III and Thomas, thanks for telling us about the fascinating world of Japanese irezumi.

Information:
Tattoo Museum
Imai Bldg 1F, 1-11-7 Hiranuma, Nishi-ku, Yokohama.
Phone: (+81)-(0)45-323-1073.
Open: noon to 7pm; closed the 1st, 10th and 20th of each month.
Entry: ￥1,000

10 Comments

1. Hats off to traditional tattoo artists, truly amazing skills and control!

   Posted by: Andrei Sarusi on October 11th, 2007 at 9:21 pm

2. Agreeing with Andrei! It takes true skills to do something as intricate as irezumi! The tool for irezumi sure looks painful though. 46 needles! x__x

   Posted by: razori on October 11th, 2007 at 9:31 pm

3. Wow! This is really impressive!
   Those guys must’ve suffered a lot lol

   Posted by: Akai on October 12th, 2007 at 12:47 am

4. [...] Horiyoshi III article over at pingmag Horiyoshi III, Legendary Irezumi Master [Link] [...]

   Posted by: Its Beyond Me » Horiyoshi III… on October 12th, 2007 at 1:38 am

5. Great article!! I recommend the short story 刺青 (shisei) by Tanizaki to your readers.

   Posted by: James on October 20th, 2007 at 3:31 pm

6. Full of respect for Horiyoshi III. I’m loving colorful tattoo. ;-)

   Posted by: nico on October 26th, 2007 at 5:35 am

7. amazing !!

   Posted by: yui on January 1st, 2008 at 12:10 am

8. two thumb up !!!

   Posted by: vivin on July 19th, 2008 at 12:59 pm

9. [...] English Text [...]

   Posted by: Kevin Mcgue - Tokyo Based Journalist & Filmmaker » Horiyoshi III, Legendary Irezumi Master on January 27th, 2009 at 2:43 pm

10. The Number One.

    Posted by: Maron very good friend of the Master on March 27th, 2009 at 3:22 pm

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