One Man Syndicate

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Anonymous asked: do you feel there are some artists that don't get the credit they deserve and do you feel some get too much credit

Fuck that’s a touchy ass subject. I might delete this in a few hours but let me answer this so hopefully who ever asked gets the answer. 

I’m a american, I don’t live in Japan, I don’t speak good japanese, I cant read Japanese so my outlook on this might be a a bit skewed. All my knowledge i get is from books written in english and every once in a while I talk to a Horishi just to get some quick answers. There are very very good artists that NO ONE in the western world even knows about… not even me. There are artist that I stumble on and I’m are blown away by their work and I wonder “why havent I ever heard of this guy”. Guys like Horiosa, Horigoro III, Horihiro, Horigiku, Yokohama Horimitsu, Masayoshi, Wakatomo, and Bonten Family.

Those guys are virtually unknown because that’s how the art of traditional tattoo is supposed to be. They don’t go to overseas conventions, no one is chasing them around with a camcorder shooting a movie about them, no journalists ever come knocking on their door. They do good work, its all word of mouth for the most part and the rest is history. It also doesn’t help that many Horishi share the same name, even some in the same region. 

When it comes to “too much credit” only two things come to my mind. Artists like Gotch, Gakkin, Shige, and Tomo do really great work. Real bright and colorful, very unique and experimental. But some people praise their work and claim it like they are true to the tradition Horishi. In my opinion they are not, their work just lack some of the core elements that define a traditional Japanese tattoo. Should people not get work by them? Hell no! Do they deserve respect? Hell Yeah! But I feel their work should be classified by something else.

I will admit, at a certain point I considered them true traditional artists as well until I studied the craft more in depth. There needs to be a definitive line drawn between the traditional and neo japanese style.The second thing that comes to mind are the Japanese artists that do western one point work in Japan. Yet go overseas to conventions and do Japanese style work. Some even give them selves Hori names! That’s some weird stuff right there, but at the same time potential clients need to do more research before heading to a convention and getting work done.

But all of this is just my opinion, just because I say it doesn’t make it right. Take it for what it is. 




Holy shit this picture is awesome missmisairu

Utamaro Kitagawa「美容師」

One of the pages from the diptych Watanabe no Tsuna Meets the Ibaraki Demon at Modoribashi Bridge (Ibaraki no oni; Modoribashi Tsuna henge ni au)dated 1810 by #kunsada #ukiyoe #art #artist #print #japan #japaneseart #japaneseculture #tattooreference #visitmuseums #mfa by caliseowin

Kitagawa Utamaro (Japanese: 喜多川 歌麿; c. 1753 – 31 October 1806) 

Ofuji handing over a handscroll to Okita, by Kitagawa Utamaro | via The Gingko Pages

船鉾 - 山鉾巡行 / Gion Festival, [Japan] (via Active-U)

Five-story pagoda at Senso-ji temple in Asakusa, Japan.  Photography by Takashi Hososhima on Flickr

Young Nile Monitor

#japanesetattoo #tebori old work 2004 (horimitsu Ikebukuro Tokyo)