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Irezumi (入れ墨, lit. ' inserting ink ') (also spelled 入墨 or sometimes 刺青) is the Japanese word for tattoo, and is used in English to refer to a distinctive style of Japanese tattooing, though it is also used as a blanket term to describe a number of tattoo styles originating in Japan, including tattooing traditions from both the Ainu people and the Ryukyuan Kingdom.
Aladdin's lamp. "Aladdin's Mallet" is one rendition of uchide-no-kozuchi. [4]Cornucopia, the horn of plenty.; Mjölnir, the Norse god Thor's magic hammer; One interpretation of the Sampo, in Finnish mythology, is that of a hand-mill that can produce infinite amounts of at least some goods.
Ensō (c. 2000) by Kanjuro Shibata XX.Some artists draw ensō with an opening in the circle, while others close the circle.. In Zen art, an ensō (円 相, "circular form") [1] is a circle hand-drawn in one or two uninhibited brushstrokes to express the Zen mind, which is associated with enlightenment, emptiness, freedom, and the state of no-mind.
The Meaning Behind Mandala Tattoos Mandala is the Sanskrit word for “circle” and a decorative illustration representing elevated thought and more profound meaning (per World History Encylopedia ).
Pages in category "Japanese tattoo artists" The following 5 pages are in this category, out of 5 total. This list may not reflect recent changes. B. Tarō Bonten; H.
Ray refers to his combat style, in which he fires Shinsu at the speed of light. Barracuda is the name of the most aggressive fish in the tower. Urek is a tall and muscular young man with short blonde hair under a white baseball cap, and fiery red eyes. On his back, a tattoo of a tree with 7 pairs of wings (the symbol of Wolhaiksong).
The shīsā (シーサー), the stone animals that in Okinawa guard the gates or the roofs of houses, are close relatives of the shishi and the komainu, objects whose origin, function and symbolic meaning they share. [22] Their name itself is centuries old regional variant of shishi-san (獅子さん, lit. ' Mr. Lion '). [6]
Rarohenga is predominantly depicted as a place of peace and light. [3] As articulated by Māori ethnographer Elsdon Best: It is a place where darkness is unknown. [3] "This is the reason why, of all spirits of the dead since the time of Hine-ahuone…, not a single one has ever returned hither to dwell in this world". [3]