Unraveling Japan’s Complex Relationship with Tattoos

The Onsen Problem – Why Tattoos Spark Debate in Japan

Recently, there’s been growing attention on cases where individuals, particularly foreign tourists, are denied entry to onsen (hot springs) and public bathhouses due to having tattoos.
This phenomenon highlights Japan’s intricate cultural backdrop concerning tattoos.
According to the Japan Tourism Agency (part of the Ministry of Land, Infrastructure, Transport and Tourism), policies regarding tattooed guests vary significantly among ryokans (traditional inns).
Historically, tattoos in Japan have been associated with “members of anti-social organizations” (commonly referring to yakuza, or organized crime).
To prevent unease among other patrons, establishments have often refused entry to tattooed individuals.

This issue isn’t merely about hygiene or aesthetics; it’s deeply intertwined with Japan’s historical memory and societal anxieties.
The onsen, a very traditional and communal space in Japanese culture, has become a point of friction where these traditions clash with globalized modern cultural practices and the expectations of international tourists.
Some facilities are adapting, offering private baths (kashikiri-buro) or permitting entry under certain conditions.
For example, Beppu City in Oita Prefecture has launched progressive initiatives like distributing multilingual maps indicating the tattoo-acceptance policies of local establishments.

However, the fact that many facilities still shy away from tattoos underscores the need to understand how tattoos have been perceived throughout Japanese history and how that perception has evolved.
This article uses the “onsen problem” as a starting point to explore the complex history and social dynamics that have shaped the current image of tattoos in Japan.

Ancient Roots: Bodily Adornment in Early Japan

The history of tattooing in Japan is ancient, with origins tracing back to the Jomon period (around 5000 BCE), evidenced by clay figurines (dogu) with facial and body markings.
The 3rd-century Chinese historical text, “Records of Wei: Account of the Wa” (Gishi Wajinden), describes men of Wa (ancient Japanese) adorning their faces and bodies with tattoos.
It states, “all men, young and old, tattoo their faces and bodies.”
Initially, these tattoos were believed to ward off harm from aquatic creatures, later evolving into decorative forms.
Designs likely varied by region and social status.

The acceptance of tattoos in antiquity for decorative, magical, or tribal identification purposes contrasts sharply with the negative image that would form in later eras.
This means the stigma against tattoos was not inherent in Japanese culture from its inception but was socially constructed over time.
While the exact point at which tattoos began to acquire negative connotations is unclear, the Kofun period and their adoption as a form of punishment in the 8th century are considered significant turning points.
This shift in values may also be linked to changes in the ruling class and societal structure.

A Mark of Dishonor: Tattoos as Punishment in the Edo Period (Irezumi-kei)

During the Edo period (1603-1868), tattooing was institutionalized as irezumi-kei, a form of punishment for criminals.
This was a type of corporal punishment, officially legislated in 1720 (Kyoho 5), though it had been practiced customarily before then.

The purpose of irezumi-kei was to visibly mark offenders with specific patterns or characters, thereby socially branding them.
This made ex-convicts outcasts, rendering rehabilitation extremely difficult.
It was, quite literally, an indelible mark of shame.

Tattoo designs for punishment were not standardized nationwide and varied by region and the type of crime committed.
They were often applied to conspicuous areas like the arms or forehead.
For instance, thieves commonly received lines on their arms, while more serious crimes, like murder, might result in a mark on the forehead. Here are some examples:

The widespread use of tattoos as punishment deeply ingrained the association between tattoos and criminality in the public consciousness.
This is a crucial source of the prejudice that persists today.
The institutionalization of irezumi-kei also reflected the Tokugawa shogunate’s efforts to establish social order and control, making invisible transgressions visible to maintain societal stability.
Interestingly, it’s said that some individuals would later have these punitive tattoos covered with more elaborate, decorative designs.

The Underground Flower: The Flourishing of Tattoos as Art and Subculture

In stark contrast to punitive tattoos, the Edo period also witnessed the blossoming of decorative and cultural tattooing (horimono) among the common people. This duality is a key characteristic of Edo-era tattoo culture.

Commoners’ Style and Self-Expression

Decorative tattoos were particularly favored by those in professions where their skin was often exposed.
Prime examples were firefighters (tobi), who were often seen as town heroes.
For them, tattoos were a mark of courage and camaraderie, and were also said to serve as identification if they died in a fire.
Designs like dragons and koi (carp), associated with water, were also believed to offer magical protection from fire.
A tobi‘s tattoos were a source of pride for their neighborhood.
Other groups like couriers (hikyaku), palanquin bearers (kagokaki), and craftsmen also wore tattoos.

Influence of Ukiyo-e and Popular Culture

Ukiyo-e, woodblock prints that reached their zenith in the Edo period, significantly influenced tattoo designs.
Characters from the Chinese vernacular novel “Water Margin” (Suikoden), depicted by artists like Utagawa Kuniyoshi with heroic tattoos, became immensely popular, and their tattooed imagery was widely adopted.
Motifs such as dragons, tigers, koi, deities, and legendary heroes were favored, each imbued with meanings like strength, courage, protection, or good fortune.
For example, the tiger symbolized “bravery, martial valor, and authority.”

Wabori Techniques and Artistry

Traditional Japanese tattooing techniques are known as wabori, and their artistry is highly esteemed.
They employ advanced skills like sujibori (strong outlines) and bokashi (exquisite shading and gradations of ink).
In particular, tebori (hand-poking), where bundles of needles are used to meticulously apply ink dot by dot, is said to create a unique depth and texture of color distinct from machine tattooing.
The process has been likened to pointillism, infusing color into the living canvas of the skin.

Symbol of “Iki” and Rebellious Spirit

For some, elaborate tattoos were an expression of iki, a distinct aesthetic sensibility of the Edo period.
This encompassed sophisticated urban taste and a subtle spirit of rebellion against the authority of the samurai class.
Tattoos were also used as marks of camaraderie and self-assertion among outlaw groups like kyōkaku (chivalrous commoners) and bakuto (gamblers), who valued a code of honor.
Yakuza members got tattoos to demonstrate their manliness by enduring the pain and to signify their status within the organization.

Thus, in the Edo period, tattoos as state-imposed punishment coexisted with tattoos as art and self-expression nurtured within commoner culture.
The same act of marking the skin held entirely different meanings: one signifying social exclusion, the other representing individual identity, aesthetic sense, or belonging to a group.
This complex coexistence suggests that society at the time possessed a sophisticated cultural capacity to interpret the meaning of tattoos based on context and wearer.

From Edo Chic to Meiji Prohibition: Shifting Values (Late 19th – Early 20th Century)

The Meiji Restoration (1868) brought about significant transformations in Japan’s social structure and culture, including a dramatic shift in the official stance on tattoos.
As Japan pushed for modernization and sought to establish itself as a “civilized nation” on par with Western powers, tattooing came to be viewed as a barbaric custom.

In 1872 (Meiji 5), the Meiji government issued the “Tattooing Prohibition Edict,” officially banning tattoos.
Several reasons lay behind this prohibition.
Firstly, the need to erase symbols of pre-modern Edo culture in the drive for Westernization.
Secondly, the intention to assimilate the Ainu and Ryukyuan peoples, who had their own distinct tattooing traditions, into a centralized nation-state.
Thirdly, with the opening of the country, tattoos were considered detrimental to Japan’s international image.

This ban rendered tattooing illegal, forcing the practice underground.
Consequently, of the diverse meanings tattoos once held, their anti-social aspects became particularly emphasized, further solidifying the link between tattoos and criminals, especially the yakuza.
With the path for tattoos to develop as a public art form closed off, its practitioners were inevitably pushed to the fringes of society.

Interestingly, while the ban prohibited Japanese citizens from getting tattooed, foreigners visiting Japan were often tacitly allowed to get tattoos as souvenirs.
This indicates that the prohibition was not only about domestic moral reform but also about managing Japan’s image abroad.

The Meiji government’s prohibition of tattoos was a turning point where state policy actively reshaped cultural perceptions.
By associating a practice with diverse meanings primarily with crime, the government inadvertently played a role in cementing the negative image of tattoos that would follow.

Modern Ink: Japan’s Search for Coexistence with Tattoos

Although the Tattooing Prohibition Edict was repealed in 1948 after World War II, the negative image of tattoos – particularly their strong association with yakuza (organized crime) – forged through Edo-period punishments and Meiji-era prohibition remains deeply entrenched in contemporary Japanese society.

Deep-Rooted Prejudice: Yakuza and Anti-Social Image

The perception of “tattoos = anti-social forces/criminals” is still a common one held by many Japanese, and this is the primary reason for tattoo restrictions in public places like onsen, pools, gyms, and beaches.
It’s said that during the “super sento” (large public bathhouse) boom of the 1980s and 90s, signs stating “No Tattoos Allowed” became widespread to prevent yakuza members from mingling with general customers.
This image can also be disadvantageous in employment and social life.
A 2021 survey revealed that over half of respondents held negative opinions about customer service employees having tattoos.

Globalization and Generational Shifts in Awareness

On the other hand, as exposure to international cultures where tattoos are common as fashion or art increases, signs of change are emerging in Japanese attitudes, especially among younger generations.
A 2023 survey of university students found that 63% believed tattoo bans in public baths should be lifted, and 10% expressed a desire to get a tattoo in the future.
This contrasts with the stricter views on tattoos held by older generations.
A 2021 survey also indicated that people in their 20s and younger are more tolerant of tattoos or hold no particular opinion compared to older demographics.

Tourists and Government Response

The increase in foreign tourists with tattoos has created friction with long-standing domestic customs.
In response, the Japan Tourism Agency issued a notice in 2016 advising bathing facilities that refusing entry solely based on the presence of tattoos is not appropriate.
It suggested alternative measures such as covering tattoos with stickers, adjusting bathing times, or guiding guests to private baths, urging consideration for foreign tourists to enjoy bathing.

Legal Framework and the Future of Tattoos

There have also been changes regarding the legal status of tattooing.
For many years, tattooing could be interpreted as a medical act requiring a doctor’s license.
However, a 2018 court decision (significantly influenced by the trial of tattoo artist Taiki Masuda) indicated that tattooing does not necessarily constitute a medical act, marking an important step towards the recognition of tattooists as professionals.

Contemporary Japan is truly in a transitional period regarding tattoos.
The historical anxieties stemming from Edo-era penal systems and solidified by Meiji-era prohibition linking tattoos to yakuza are being challenged by the wave of global culture and new values among younger generations.
The onsen problem is one symbolic manifestation of this major societal shift in consciousness.
Japanese society is currently grappling with how to coexist with tattoos, caught between traditional values that emphasize social harmony and adapting to an era of globalization that embraces diversity.

Understanding Japan’s Complex Perspective on Tattoos

As we’ve seen, the acceptance of tattoos in Japan has a complex historical background that cannot be summarized by simple approval or disapproval.
It began with decorative and magical meanings in ancient times, coexisted in the Edo period as both a harsh form of punishment and a vibrant aspect of commoner art and self-expression.
However, the Meiji-era prohibition drastically altered this trajectory, outlawing tattoos and consequently strengthening their association with criminality.
In modern times, this historical legacy often leads to a prevailing anti-social image.

Therefore, we hope you can appreciate the background to why tattoos are often not welcomed in Japan.
This perspective is not arbitrary but a product of a long, complex, and sometimes contradictory history.
Understanding this historical context is key to comprehending why an act accepted as art or self-expression in other cultures can provoke such different reactions in Japan.

Reference site

• Japan Tourism Agency – Ministry of Land, Infrastructure, Transport and Tourism
• The history of colorful Japanese tattoos
• Rekishijin
• Firefighters with Edo-style tattoos

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