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Category Archives: Horimatsu Family
|Anton is getting somewhere with his Chushingura full body Irezumi piece.|
Over christmas Anton returned in order to start coloring his Chushingura (Loyal 47 Ronin) backpiece. In the en we will end up with a fully closed (Donburi) body suit in one way or the other incorporating all the famous fortyseve ronin.
For anyone interested in this story, it’s true and fabled backgrounds, please visit the in depth website of Samurai Archives.
|Uesugi Kenshin and Takeda Shingen in their famous stand off .|
|Uesugi Kenshin (top) and Takeda Shingen (bottom). Characters based on a Kabuki woodblock print by Toyohara Kunichika (1835-1900)|
|Fugen Bosatsu bonji.|
This piece was started about 4 years ago. During that time Emanuel moved away to Stockholm in order to study, and the opportunities to complete it has been scarce since then. However, a few days after the new year we made a joint effort and finally reached the end of the journey.
Marius visited from Leipzig, Germany in order to start his Fudo Myoo Irezumi piece. The image above shows where we left it after about twelve hours of work.
When I mention how many hours each part takes it’s mainly because I want the prospective new client to understand at which speed I work and how long something may take to create. The twelve hours mentioned includes making the stencil of Fudo Myoo, drawing on the skin in order to create the rest, setting up and breaking down the work area and equipment and the actual tattooing.
The image was captured using a Fujifilm X100 camera and is straight out of the camera with no post enhancement whatsoever.
After a two year absence Viktor from Stockholm returned for in order to make progress on what has to be one of my favourite pieces, depicting Hatsuhana doing pennance under the Tonowaza waterfall. During three days and the equal amount of four-hour sessions we touched up some of the shading on the back and started work on both gobu (5/10) sleeves.
This is the painting I did back in 2005 which forms the basic for this piece. Seven years is a long time when you constantly work to refine your work, and its interesting to see ones own development. This especially applies to the design of the background.
Above are two of the original woodblock prints (Ukiyo-e) that inspired me for this painting and they are still among my absolute favourites. Especially the lower one, designed by Utagawa Kuniyoshi.
|Bamboo Sumi-e painting by unknown Japanese painter.|
As the winters first snow silently begins it attempts of blanketing the world in its white cold embrace, I finally sit down to begin writing the beginning of what is hopefully an ongoing essay on my path of Irezumi, the traditional Japanese tattoo.
In these writings I will try to share my personal experience of the phenomena, as well as my insights and personal views on the subject matter. Forgive me if my language at times may seem overly academic and unessecary embroidered. Over the years I have come to realize that this is the way I speak about these things, and trying to change that fact would be an act of futility.
I will not try to write about things in any specific order. They will be jotted down as they come to me. neither will there be a certain space and time inbetween the posting of these writings. If I do not have anything to say, I will remain silent. If you as a reader choose to comment, please bear in mind that I am a more than full time working artist with a wife and three children. Answers will come when I have time.
It is also very important to keep in mind that my views and thoughts on Irezumi do not offer any universal way of viewing the matter. Just like any art form or tradition, Irezumi is a living breathing entity which changes parts of its appearance as it chooses new hosts to dwell in.
The principal reason I have for sharing and discussing my path of Irezumi, which involves many other aspects of culture and spirituality ( both Japanese and western), is that I feel that so far the great boom in traditional Japanese tattooing here in the west usually focuses overwhelmingly on the graphic language, and that a door into a deeper understanding needs to be inched open.
I am not saying that there’s anything wrong with simply enjoying creating tattoos more or less influenced by Irezumi. Anyone is perfectly free to create his or hers personal art. I nevertheless want to try and share the deeper knowledge and insights that I share with some of the Japanese masters as well as some of the few european ones.
Because if you as a person and an artist find yourself attracted to the aesthatics and visual shape of Irezumi, there is so much more enjoyment and growth to be had if you try and penetrate just a little deeper into it.
Of course I can only speak for myself. I have intensly studied this artform and its traditions for over ten years by now. I have read more books on Japanese art, history, culture and religion than I can remember. I have the tendencies of somebody manic when I delve into things and Irezumi (japan) has proved to be the thing that I have stuck with the longest so far. All these words that has passed before my eyes would on the other hand have little or no meaning in reality if they were not paired up with the unchallenged power of personal experience of the phenomen
So please feel free to return to this blog in the near future in order to take what you want, need or care for in what I choose to share with the reader. Be sure that there are a few things I prefer to keep a secret until you have matured enough. When that happens, the things are no longer a secret to you, and I will not have to tell you.