Jimmy Ho is a tattoo artist in Hong Kong. Jimmy has had his own shop since he was 14, and was tattooing before that, thanks to his father, James. His father opened Hong Kong’s first tattoo shop in 1946 called “The Rose Tattoo”, and by 1950 the shop was working non-stop to fill the demands of American soldiers getting tattooed. Jimmy has had his own shop since 1958.
Jimmy started tattooing sailors at night before he was 14, when his fathers shop was technically closed. He wanted to help out and make some money so he started doing them himself, and has been tattooing ever since.
During the Korean war he and the other artists at his father’s shop would tattoo 30-40 men per day due to the high demand. Jimmy would tattoo soldiers everyday from 11am until 4am, non stop.
Jimmy has his own style, modelled after his fathers. A mix of traditional Chinese and American traditional, but specializing in dragons.
Jimmy still tattoos, but most of the pictures on his Instagram are from the 70s-90s if you’re trying to find a portfolio.
There are some differences between Chinese and Japanese dragons, as you’ll see in Jimmy’s work. His dragons usually have 4 claws, which was used in ancient Chinese history for high ranking officials and nobility, while the 3 toed dragons were for common people, as well as the Japanese.
If you can’t make it all the way to Hong Kong for a tattoo you can always get some of Jimmy’s flash off of big cartel here. tattooflash.bigcartel.com
The Li people live in Hainan Province, China’s most southern point. Tattoos in Hainan can be traced as far back as 3000 years ago. Hainan is often referred to as “The Tail of the Dragon”, as it is the most southern point of China, though also used to be called one of the eyeballs of China (along with Taiwan when it was a part of China) as it is an island province.
According to one German ethnologist (branch of anthropology that compares and analyzes the characteristics of different peoples and the relationship between them), Hans Stübel, the origin of their tattooing came from a story about a descendant of the original Li. This descendant of Li had a daughter whose mother died early in the child’s life. When this happened, a colourful native bird called the hoopoe fed the child with grains to keep her alive. In remembrance of this, the Li women tattoo themselves to look more like the birds, both in their colour and the patterns of their wings.
Others still believe that the women tattooed themselves in order to be recognized in the afterlife.
A more practical reason that these women tattooed themselves, particularly on their faces, is the fact that their villages would be attacked often by many of their neighbors. In order to appear unattractive to the invading men, the Li women tattooed quite intricate designs on their faces and down their necks. Making themselves appear less attractive protected them from violence and rape.
Later on in history though, these women saw the tattoos as an enhancement to their beauty. When a girl turned 13 or 14, an older woman would tattoo her, first on the nape of her neck, then her face and throat over the course of 5-7 days. Then, over the next 3 years, she would continue to be tattooed along her arms and legs. The only thing that interrupted this would be the death of a family member. Once a woman married, her hand would also be tattooed, marking her as a married woman.
Like many ancient cultures, the Li used a bamboo rod, with rattan needles to hand tap the designs into the skin. The patterns used did vary from tribe to tribe, but all used motifs taken from nature, such as plants, animals, and totemic symbols passed down through generations.
Information taken from:
-Carrie E. Reed. “Tattoo in Early China.” Journal of the American Oriental Society, vol. 120, no. 3, 2000, pp. 360–376.Liu, H. (1939).
-“Hainan: The Island and the People.” The China Journal 29(5-6): 236-246; 302-314.
-McCabe, M. [and Q.Y. Wang] (2008). “Tattooed Women of Yunnan, China.” Skin and Ink Magazine (11): 64-74.
-Stϋbel, H. (1937). Die Li Stämme der Insel Hainan: Ein Betrag zur Volkskunde Sϋdchinas. Berlin: Klinkhardt & Bierman.