Still Life of Irezumi Client and Tube of Vaseline.

THE MARVELS PROJECT #4

(click images to enlarge)
THE MARVELS PROJECT #4 hits the shelves this week. In addition to the pages above, you can see a preview here.

Walking Back to the Temple (Shunkoin).

As Myself and Horikitsune were walking back to the Zen temple we had chosen as our accomodation in Kyoto this scorching hot and early september, I captured some images that have come to be important to me. The why is a silent one.

Horikitsune Updates.

Horikitsune, dear friend of mine and student of master Horiyoshi III of Yokohama has updated his briliant new website with some more photos of his work, as well as some more texts to accompany his and Horiyoshi III's vision of Irezumi.
I truly recommend a visit to www.horikitsune.com

Path.

After ten years of regular western tattooing, it was really a case of creative life and death for me.
I had gradually lost all contact with that glimpse of the true Heart that I had experienced so vividly during those first fumbling trying years, and was caught in a selfsustaining web of increasing delusion. For me, tattooing had become whimsical and only existed as a means of fueling the increasing and confused ego of the beginning new millenmium.
Since the early 90's I had gradually and willingly regressed in my tattooing style, searching for some kind of system, order or content. I had a intuitive understanding of the various urges and needs that drew humankind towards the tattoo, but the attempts made in order to aid the individual in this process seemed unfocused and weak. Where was this true Heart, this fireball in the inner gut? All I saw was a very visual world of tattooing where content came in at the bottom of the list. I am sure that this was not the case for all individuals tattooing and getting tattooed but on the whole, it seemed to be without greater function to me.

The Japanese influence was not an obvious one. At first, I didn't properly acknowledge the attraction, diving in and out of the Irezumi universe, thinking I could come and go as I wanted. I honestly thought I could pick and choose. So I tried and tried and failed again. I felt restless and eager but couldn't grasp that the fault was my own. I was a popular and fairly well known Swedish tattooist with many collegues and a large clientele granting me the freedoom to create almost whatever I saw fit. I honestly imagined myself a true artist. I looked at ink paintings by Hokusai and decided to "fix" them a little, adapting them to my "style". It's embarassing when I look back at those feeble attempts, but I seek comfort in the fact that I was a spoiled brat artistically and spiritually. I had yet to learn about Irezumi, zen and the Heart, and had just begun to polish the brass mirror that still remains somewhat smudged and fogged.

After several years of being this restless ghost floating about, unable to satisfy my hunger, I came to the conclusion that finally did set me free. It was obvious and so very hard to acknowledge at first. I was standing in my way, blocking all chance of hope for a rebirth.

I now understood that I had to let tattooing go in order to attain even the shallowest of understanding of the way of Irezumi. Matti had to die in order for Horimatsu to be born.
I was no longer a popular tattoist with years of experience to support me. I was a newcomer. a newborn and a child. All hope was lost and all I had to do know was to move my feet a quarter of inch forward and begin the rest of my creative life. I never hesitated, even if I doubted, and my gut pointed me in the right direction. Slowly I learned to crawl, then walk, then sit steadily and firmly dedicated, understanding that I never needed to run anymore.

Horimatsu Awaiting The Train in Kyoto.

"Those who see worldly life as an obstacle to Dharma see no Dharma in everyday actions; they have not discovered that there are no everyday actions outside of Dharma."

Dogen Zenji (1200-1253)

Companionship.

The old tree that always follows me up the stairs to my place of work.

My days.

I spend my days breathing Kenninji incense, Nanzenji incense, Eiheiji incense....
My morning is the candle and the coffee and the offering of the incense to the Buddha. I dream of reading the Hannya Shingon and touch the handle of the Tebori I brought back from Yokohama.
I gaze at the eightyfive black and white photos from Kyoto that fill the wall next to the worn Tatami mats where I do my work and have my conversations. I remember the exact moment I captured every one of them as if it was one second ago. It is bittersweet, almost like a love that one has lost, but hopes to meet again.
Then I return to the Sumi and the skin and the needles, quite content and reassured. Things could be worse. A lot worse.

Autumn colors.

Shoki Goes to Afghanistan.

I finnished the first stretch on Jonas's Shoki last weekend. The other arm will portray a Tora (tiger), as Shoki's companion and aid in the correcting of Oni (demons). I made Shoki's skin red in order to show the viewer how strong this character is. Usually, in Irezumi and other Japanese traditional arts, his skin has normal color. However, I saw an old piece by master Horiyoshi III of Yokohama showing Shoki with red skin and really liked the idea. The red brings a lot to the mixture of black and grey that is the image of Shoki.

This thing with the red color should be used with caution, so do not go ahead and color every strongman and warrior red just because it tickles your fancy. The decision has to be made with the confidence of someone who has studied the matter wholeheartedly and over an extended period of time.

Jonas is a young man and soldier who is going to Afghanistan as part of the Swedish peacekeeping operation there. My views being what they are concerning young mean going of to war, made it all the more important to complete this piece before he leaves. In Afghanistan many demons need correcting. But who are the demons? The answer is as obvious as it is cloaked in mist. The Heart knows.

I hope Jonas returns safely and that his path is a good one.

Nothing is Black or White.

Not even this Blog. All that black weighed heavy upon the heart in November of the North.
This new Gray will shed a dull light on things.

Day Off.

Today is my day off Irezumi.
No, that's not entirely true. Even though I will not pierce any skin, there's poetry to be read, breaths to inhale and then let go, photographs to capture and family to experience. I will light a stick of Kenninji incense and stop fighting it so much. All my hours and minutes drifts towards this thing.
Today will be a slow day and tomorrow will stand almost at a still. Come monday, who can tell who Horimatsu is anymore.

Old Sakura.

It has been a hectic week. Only one more working day to go.
Sakura comes and goes, and so does the photographs from the old version of the blog apparently.

Just recieved two great books with poetry from great Zen calligrapher and poet Ryokan (1758-1831), and I'll soon begin sharing my favourites here. Before that comes work, cleaning, cooking, playing with the kids, washing the car, doing taxes, grocery shopping, redecorating the house, developing photos, sweeping the yard, talking to the neighbour and shaving my head. But then.......

“Do or do not... there is no try.”

Yoda (????-????)

Irezumi or Sucking Marrow.

Irezumi is a great vehicle for the heart that needs and desires it. If your interest is shallow the rewards are likewise. You will get back the exact amount that you put in, no more and no less, and you yourself already know and feel this.
This art is not for wearing. It's for being. You can be a part, you can be a piece, peripheral, or you can become Irezumi itself, mirroring centuries before you.
So what is there to wait for?
What is the delay?
Why do you stand there at the door, having difficulties entering and assuming your position?
You have to suck the marrow out of the Irezumi spine! Don't run around in circles and try to find reason you cannot have, because logic has nothing to do with it!
One minute of hesitation easily leads to a thousand years.

This is the same for Horishi and Client alike.

"The true person is
Not anyone in particular;
But like the deep blue color
Of the limitless sky,
It is everyone,

Everywhere in the world."

Dogen Zenji (1200-1253)

Try.

I sat down tonight with the purpose of writing about Irezumi, trying to explain or at least open the door so that you can glimpse what I see in there. I fumbled around with the words, but they seemed uneasy, not wanting to settle down and become.
Then I realized that it was an exercise in futility, this trying to share in words something that can only be experienced first hand.
The becoming of a single human being, transformed into color and shape during hours upon hours of hard labor and testing of the will to complete. I've read many explanations and theories regarding Irezumi, its character, its heart and mind, but they form at best only patterns of facts that in the end become meaningless without that personal experience.
"What is the meaning of this and that?".
If I tell you, would you understand? Really understand? The Ryu (dragon) should have three claws on each paw, I tell you, but how does it feel when that fact is a part of your body? Whenever I am with a client and great progress has been made on that persons Irezumi piece, we do not analyze or dress it up in words. It is what it is. Regardless. We nod, acknowledging and smiling. We'll see each other next week. Same time, same amount of time, using time to create time. It's without beginning or end. Before Irezumi there was everything else. Now Irezumi is everything else.

Go and have some tea,
as Josshu would have said

Where It Is!

The study of Irezumi is the study of Ukiyo-e (images of the floating world), and any true devotee of the traditional Japanese tattoo should spend many hours looking at, appreciating, reading about, understanding and researching Ukiyo-e woodblock prints and paintings. Anyone interested in creating Irezumi him- or herself MUST study Ukiyo-e to have at least a minimal chance to grasp what is the reality of Irezumi. I've studied Ukiyo-e for many years and hopefully it has brought some degree of quality to my work.

A good place to start is at this exellent guide to Ukiyo-e websites. Hans Olof Johansson should have the Nobel Prize for his work of bringing Ukiyo-e to You, dear readers!

"That you carry yourself forward and experience the myriad things is delusion. That the myriad things come forward and experience themselves is awakening"

Dogen Zenji (1200-1253)

New Ryu.

I started this Irezumi piece on Mattias almost immediately after returning from my visit to Horiyoshi III in Yokohama. Instantly, I realized that something had changed within me. A different flow and a different view of things. I choose not to analyze or question these changes as they occur. I try to accept and use what is given.

This piece is special, as it represents all that came before and all that will follow. We will soon be completing this one, but I don't think I have seen the last of Mattias.

Scales and Other Things in Black.

I was able to put some more sumi in to Deshi Oscar's torso piece the other day. It's a wonderful feeling when the empty skin is transformed into a complex pattern of blacks, grays and colors. Like som many other of the pieces I am working on right now, I wish that I could just keep going until it is completed.

I never tire of the classic designs! Ryu, Koi, Tora, Shishi, Ho-o, all the flowers......practice makes practice (makes perfection, I hope not?), because what mirror should I polish when this one is clear?
Bring It On!

The Horimatsu Studio.

Horimatsu Deshi Micael is a photographer whose work I really respect and admire. He brings his Canon 7D camera to the Horimatsu Studio every time he comes by and documents what he sees and experiences. The new photographic material is published here.It's great photography for anyone who finds it so, and for everyone else it's an interesting way to check out what I and everybody else is up to.

Horikitsune Update.

Dear friend, Irezumi Horishi and long time student of Master Horiyoshi III Horikitsune (Alex Reinke) has totally remodeled his website. The new site is amazing and well worth a visit. Go there!

Frankenstein

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It's a little late for Halloween, but hopefully you'll enjoy this shot of Frankenstein's monster anyway. Not that it means anything, but this is the first painting I've done in Photoshop CS4. I haven't noticed a whole lot of difference from CS3, other than the rotate canvas feature which is completely awesome (even though I don't think I ever used it on this particular piece).

And just because I kind of liked the way it turned out, here's a detail of the face:

"You should study not only that you become a mother when your child is born, but also that you become a child."

Dogen Zenji (1200-1253)

Checking the Landing Gear.

Now there's two more sessions on Emanuel's Irezumi backpiece. What follows?

Tora-o-Maru. Day Three.

Henrik sailed through our first engagement with flying colors. Three hours a day for three days in a row, not complaining , not flinching, merely accepting. The path to walk to acomplishment! It's hard to believe we only spent nine hours so far on this piece. This includes making the stencil of Tora-o-Maru himself, drawing the rest on with a marker, setting up and breaking down the workspace three times, legstretches, toiletbreaks, coffee sipping, bandaging three times and of course the actual work of inserting the ink into the skin. I am proud! Henrik's proud! My wife is proud! Hell, even the crows in the old three out the back of the studio are proud!

Every day is a good day, indeed!

Tora-o-Maru. Day Two.

Henrik Stood up well to the enclosing walls of possible defeat, and we managed to get a lot of the upper background design in there, as well even start the Bokashi (shading). Tomorrow we'll concentrate on just bokashi. I really enjoy when an Irezumi piece is created at this speed! Total concentration and full inspiration.

Tora-o-Maru. Day One.

Henrik flew up from Falkenberg (southwest of Sweden) in order to start his Irezumi backpiece.
He's young but determined and have chosen to image of Tora-o-Maru and his tiger. An odd design indeed but very powerful. I've based Tora-o-Maru on a woodblock print designed by Utagawa Kunisada. The Tora (tiger) is entirely my own design.
This is what we did in two hours yesterday afternoon. How much can we push in there today? Henrik's got fantastic skin and terrific stamina, so I'll guess we'll be able to get ahead well.

I'll show you more tomorrow.

Kyoto in Shades of Gray; Kenninji Revisited.

I have lost track of how many times I've been to Kenninji. It's the oldest Zen temple in Kyoto and Dogen Zenji stayed here for a while. I often wander around here experiencing the worn floorboards through my worn socks.
I am usually by myself, which is the way to welcome Kenninji. I have a strong longing for these enviroments.
In my house, my dusty meditation cushion mocks me like a drunk little fat man.
One day.

Kyoto in Shades of Gray; September Moon over Myoshinji Temple

The first evening Horikitsune-san and I spent at Shunkoin Temple (Myoshinji Rinzai Zen Temple Complex) in Kyoto we went for a walk around the grounds before dinner. We were struck with the beauty of the moonlight pouring down over the serene buddhist temple landscape. We made desperate attempts to capture it with our cameras and sometimes we came pretty close.
I distinctly remember the feeling of being in some woodblock print by Kawase Hasui.

"Studying the Buddha way is studying oneself.
Studying oneself is forgetting oneself.
Forgetting oneself is being enlightened by all things.
Being enlightened by all things is to shed the body-mind of oneself, and those of others.
No trace of enlightenment remains, and this traceless enlightenment
continues endlessly."

Dogen Zenji (1200-1253)

Kyoto in Shades of Gray; view from my smoking spot outside the Myoshinji Zen temple Complex.

When I went to Kyoto with Horikitsune-san, we stayed at the Shunkoin Temple, which is a part of the huge Mysoshinji Rinzai Zen temple complex. Horikitsune-san had been there before and I was pleased when he suggested it as a place to stay. In the mornings we participated in Rinzai Zazen (zen meditation according to the Rinzai Zen sect) and had some great talks with Takafumi-san, the head priest of Shunkoin. I strongly recommend anyone that visits Kyoto to stay at least a couple of nights at this beautiful place.

I used to be a smoker, but nowadays I only smoke when in Japan, and the morning cigarette is the one I cherish the most. When staying at Shunkoin I had to walk for some distance until stepped out through the gate of the Mysohinnji temple complex itself. There I stood every morning, watching the people of Kyoto going to work and school.

These are some photographs taken from that very spot.

Karashishi Botan.

The Shishi (it's a mythical chinese lion, please refrain from calling it foo dog), is not a very common pick among the clients of the Horimatsu School. It's a powerful design that works beautifully when paired with Botan (peony). Traditionally the Shishi is portrayed in its female role, pushing her cubs down a cliff in order to teach them to survive in the mountains where are thought to live. A cub that manages to climb back up on its own accord will be able to face many difficulties.

The Shishi is one of the Five Auspicous Animals and you'll find more information regarding its origin and myth here.

This Irezumi piece just got finnished and as soon as Johan is healed up properly we'll photograph it in a studio setting. On his other arm there will be a Ho-o, as part of a rather tricky cover-up