Polynesian Tattoos from 1500bc-1900ad
Polynesian tattooing is the only art form from ancient Polynesian culture that made its way into western culture.
Traditional Polynesian tattoos from 1500bc were some of the most intricate tattoos of the ancient world and the level of precision rivals many tattoos done today. The Polynesian tattoo artist was a hereditary and highly privileged position. The tattoos were large elaborate geometrical designs embellished throughout the life, slowly covering the entire body over a lifetime. Tattooing was done in a large ceremony, with the artist and apprentice working in the center, watched by an audience. This marked a coming of age for the receiver.
In 1769 European explorer Joseph Banks wrote about the Polynesian tattoo process as he saw it. He wrote that a lamp black ink was made out of the smoke of oily nuts, mixed with water. The instrument was made out of bone or shells, with the edge cut into 3-20 teeth, fastened to a handle. the teeth are dipped into ink, held on the skin and then struck with a stick, hard enough to draw blood and be sore several days before it heals. |
In the mid 1800's, Europeans colonized most of the Polynesian Islands, and tattoos were widely outlawed. Tattoos were viewed by the colonizers as resistance to newly introduced European ways so the art died among many tribes. Ironically, at this same time, Polynesian tattoos spread to Europe because some European explorers got tattoos from the Polynesian tattoo artists and traveled back to Europe, then the style was then imitated by European artists. |
After a hundred years, the outlaw of tattooing ended in the Polynesian colonies and tattooing made a quick return. The biggest change that occurred from this century long break, was now women were tattooed as much, if not more then men. The technology and methods of tattooing were similar despite the gap. In 1906, Charles Hose, a European explorer, wrote about the process. He said that the pigment was soot in water and sugar cane juice. The tattoo instrument was 2 or 3 prickers that were attached to a wooded block with a handle out the side and a metal plate on top. The prickers were wooden rods with 3 or 4 short needles stuck in each. The process in described as the artist dipping a fiber of a palm leaf into the ink and drawing the design on the client, which is the first recorded process of a stencil used, by artists. The tattoo assistant and the artist each used their feet to stretch the skin of the client to make the needle go in smoother. Then the needles where dipped in a cup containing the pigment, and placed on the skin, then the metal plate on top of the block is struck with a metal rod, hard enough to draw blood. Hose also wrote that a large shriek of pain from the client followed the first few strikes.
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