Corinna Ross
When examining the tradition of tattooing, one finds very little specific information on the medieval European tradition. Most tattooing of the early 5th century can be traced to one of two traditions: pagan tribal or Roman slavery. It is not until the late 8th century when devotional tattooing becomes a notable form and none of these forms resembles the form of “fashion” which tattooing has taken in today’s popular culture.
In speaking of a pagan tradition at this time, there are many cultures to which one might turn, but here it is referring to the ‘Northmen’: the Anglo-Saxons and/or the Celtic traditions and perhaps Viking in the later Medieval era. One term commonly used for the pagan inking is the Latin ‘picti’ which means painted. Tattooing was heavily used as a symbol of status among the warrior class and its defensive impact by making them appear more ferocious and imposing in battle. The subsequent generations of these tribal tattoos have become some of the most popular in today’s tattoo culture, with its intricate knotting and its appealing designs; it has remained through the ages.
Another class frequenting these types of markings in the pagan custom is the sage, the other ‘nobility’, for the educated could communicate their oral traditions and translate them through images –a different language. One example is in an Irish legend of Túán, which has been “alive for centuries” but the stories have been “passed down to them is conflated with the literal inscribing of the story” (Caplan, p.41), this does not necessarily mean that these stories were always tattooed on an individual but also refers to the use of vellum inscriptions, however the storytelling is an important part of many of the cultural tattoos of this region and of the artwork which is seen in many of the later manuscripts. This can also be seen as a direct tie from the skin of man to the skin of an animal and, hence, to some of the very earliest manuscripts produced using vellum. These were all voluntary markings and they were brandished proudly. There is strong reason to believe, as noted by a contributor in Caplan, that these ‘picti’ may have been used to share cultural history and pass the wisdom of the tribes, as the legend of Túán implies.
The Roman slaves, on the other hand, were involuntarily marked with a letter or shortened word on the forehead; a letter referring to their crimes, i.e. ‘fur’ meaning ‘thief’, this was originally done to identify escaped slaves and became common to both criminals being sent to the mines and even those who had been sentenced to death. The placement of the tattoos was very important. Aside from being a particularly painful process and location for the ‘stigmata’, the forehead is also clearly visible to anyone passing: difficult to hide, difficult to escape and stands as a constant reminder to the individual themselves when they look upon their own reflection. The punishment seeps into their very soul in this manner and they are constantly identified with their label or ‘stigmata’. It also seems that the marking of the skin was believed to be visible in the afterlife at this time and criminals could carry this marking with them to the world which awaited beyond. During this time and in this reign, one of the most frequently punished crimes was that of being Christian. There is a late reference in Roman laws allowing criminals to be marked on their hands or feet. Both of these locations are still highly painful and regionally difficult to hide (Roman sandals and traditional dress leaving both exposed and visible).
However, as the Roman Empire dwindled and Christianity expanded, there a new movement in tattooing, that of memorializing and commemoration. The movement from the forehead to other locations in Roman tradition is important to the development of other traditions, especially among Christian tattooing during this era and the next several generations. During the Early Medieval period, Christianity becomes increasingly popular and some of these more dedicated Christians begin to tattoo themselves with the same markings with which their Christian-slave predecessors had been marked. Monastics are also noted with tattoos similar to those believed to be referenced in the bible:
In the book of Revelation, a work replete with mentions of marks and seals both positive and negative, John, writing near the end of the first century, describes a vision of a martial Christ as ‘the Word of God’, leading the armies of heaven:’And he has on his cloak and on his thigh the name inscribed: “King of kings and Lord of lords”…. One of these, a monk named Clemantianus, was found ‘having [the words] written on his thigh: “Mani, the disciple of Jesus Christ”’. (Caplan, p.29)
However, in 786-7 A.D., Pope Hadrian I and the Council of Northumberland denounce and forbid tattooing throughout the Empire if it is in the pagan tradition of tattooing which was considered ‘diabolical.’ It does allow, even considers religious or spiritual tattoos worthy of having, them as a deep expression of one’s devotion to God. This practice persists within monastic life for centuries—whether it was accepted and through the later period when it was not by some of the church leaders including today when it is generally not approved.
Christian tattooing also had a great increase during the Crusade with the soldiers participating and commemorating their journey to Jerusalem as well as the increasing popularity of the pilgrimage. Many returned home from Jerusalem with Coptic tattoos, perhaps similar to those which persist even today due to woodblocks which can be dated to at least as early at the 18th century. These designs are usually representative of the particular mission or pilgrimage and have location specifications based on design chosen and the age and gender of the recipient.
If one looks at early manuscripts such as the Book of Kells and compares it to the knot-work that is seen in many of the pagan Celtic tattoing, one can imagine that these Middle Aged Christian tattoos would begin closely echoing some of their Anglo-Saxon predecessors, as did much of the manuscripting of the era. This may be especially true since those tattoos which were ‘approved’ by the church were being marked on its most devout monastics, some of the very same that were-daily- copying the Celtic scrolls and patterning and designs into their lovely books.
Drawi Celtic Cross Rendering An example of an Insular-style animal pattern from the Book of Kells
It may be important to note that there is no mention of pagans halting their traditional practices of tattooing unless Christian conversions directly affected the regions. While Christian tattooing comes and goes underground and resurfaces, there is a consistency of existence among research within the pagan cultures of this practice. The causes may vary between a cultural defense mechanism to storytelling, it remains in practice. Civilized tattooing seems to definitely migrate in and out of practice and favor, just as it did for the Greeks and Romans.
There is another practice which has not, thus far, been mentioned and that is the practice of medicinal or magical tattooing, which may have some relation to the medieval period. However, not much research has been established in this vein. Based on other cultural regions at this time and even much earlier, one might deduce that some forms of tattooing—perhaps especially amongst women, which are little mentioned in European history—might have participated in this form of tattooing for the health of themselves, their husbands, and their children as so many women of other cultures did, including South and North American, Pacific Islanders, African, and Arab.
The reasons for tattooing will always vary from person to person, from culture to culture. The acceptance of tattooing will probably always differ for the same reasons, but in the Middle Ages, tattooing did exist throughout Europe and it did persist, whether it was fashionable or not and most of it can be seen in some of today’s tattoo generation in some small way. Most importantly, tattooing is able to tell a different part of the story of an everyday people for a period which only limited facts are thus far known. It is able to express depth of faith, depth of persecution, tribal stories and status symbols (this is a jewelry that cannot be taken off) and a level of belonging—to a faith, to a people, to a region.
Images dated 400 A.D. (Tribal Tattoos Through History)
http://www.vanishingtattoo.com/400adpicts.htm
http://www.vanishingtattoo.com/images/tattoo_2/400adpict.gif
Bibliography:
Caplan, Jane. Written on the Body: The Tattoo in European and American History. New Jersey: Princeton University Press. 2000. pps 17-45.
Celtic Cross History and Symbolism, Stephen Walker. April 17, 1996. < http://www.celtarts.com/celtic.htm>
The Christian Coptic Orthodox Church of Egypt. 1992-2001. Copt-Net.
Gilbert, Steve. Tattoo History: A Sourcebook, New York: Juno Books, LLC, 2000. pps.149-156.
Jones, C.P. “Stigma: Tattooing and Branding in Graeco-Roman Antiquity.” The Journal of Roman Studies, vol. 77, 1987. pps 139-155.
The Poor Blogger. Saturday, January 07, 2006. < http://poor-blogger.blogspot.com/2006/01/coptic-christian-tattoos.html>
Tattoo Symbol. 2002-2007. Terisa Green, PhD. < http://www.tattoosymbol.com/christian/christian1.html> and < http://www.tattoosymbol.com/christian/christian2.html>
Ancient Celtic Art vs. Medieval Celtic Art. 2007. WP Ancient-Celts.com
< http://images.google.com/imgres?imgurl=http://ancient-celts.com/ChiRhoDetail.jpg&imgrefurl=http://ancient-celts.com/AncientVsMedievalArt6.html&h=496&w=487&sz=248&hl=en&start=71&um=1&tbnid=0aMJ_tDTCkIDzM:&tbnh=130&tbnw=128&prev=/images%3Fq%3Dceltic%2Bcross,%2B%2522book%2Bof%2Bkells%2522%26start%3D54%26ndsp%3D18%26um%3D1%26hl%3Den%26sa%3DN>
Tribal Tattoos Through History. 1999-2007. Vanishing Tattoo.
No comments:
Post a Comment