Atayal in 涅
In ancient China, the art of tattooing was known as “ 涅 ” , which means “to dye black.” Tattoo, body art, engraving, pricking, dotting, and carving are terms used in different historical periods to describe this art of body coloring. To this day, many Chinese and Taiwanese ethnic minorities still maintain their ancient body tattooing traditions. These traditions continue due to religious reasons, totem worship, and fear of malevolent forces.
Despite being criticized as immoral and barbaric during political reforms in various regions in the 20th century, people with facial tattoos still exist. Hence, when we explore these traditions in the 21st century, we can still glimpse the full picture of various tribal tattoo traditions.
Facial tattooing is one of the most im portant customs of the Atayal and it is said to date back some 1,400 years. Unlike in some other cultures where facial tattoos have negative connotations, the aboriginal people of Taiwan such as the Saisiyat, Seediq, and Truku view them as a means to differentiate between ethnicities and as an indicator of one’s place within the tribe.
Atayal Totem
This skill was deemed so important that a woman without facial tattoos was not allowed to marry.
涅
There are several theories and legends as to how the custom started but perhaps the most popular one is the story of the time when many young Atayal girls died inexplicably. This caused great concern within the tribe, but one young girl dreamed that a spirit or god spoke to her explaining that if she tattooed her face, she would not die. The tribe decided to follow her ad vice, and soon after, the unusual deaths stopped.
The tattooing customs, during the Japanese colonial period, were considered barbaric practices and were completely banned. Related tools were confiscated, and severe punishments were imposed for non-compliance. For the Japanese, the ability to eliminate the facial tattoos of the Atayal tribe symbolized their effectiveness in governing the Atayal people.
Atayal tattoo artists, called patasan, were women. They had to be of high virtue and most of them inherited their profession from their mothers, though some learned it by apprenticeship. Tattooists commonly charged a piece of cloth or two strings of beads for an individual’s first tattoo; but, for one who had married or committed adultery, she would charge more —— sometimes one or two beaded skirts. Tattoo artists first stenciled their designs upon the skin with a linen thread soaked in black soot. The tattoo instrument resembled a toothbrush and fastened to a wooden handle. Before iron was introduced to the indigenous Atayal, thorns of orange or tangerine trees were used. The hammer, which pounded the tattoo instrument into the skin, was called totsin.
Excess blood was removed with a scraper (quwar) made from a rattan splint that was bent and bound at either end with linen thread. Lampblack (ihoh) was used as pigment but occasionally soot from charred pinewood resin was collected, to be stored in a gourd or small iron case. The process was understandably quite painful as traditional inking methods were used with no medical treatment available. Some of the older generations described it as an experience that was “worse than death itself”. However, the pain was actually part of the ritual as it indicated that a man or woman was strong enough to endure anything that would come their way. It was also believed that if a woman died in the process of being tattooed, then she must have been promiscuous.
The facial tattoos of Atayal women are known for their delicate and intricate designs. These tattoos are mainly concentrated on the cheeks and chin, forming elegant patterns resembling flowers, spirals, leaves, and other graceful motifs. Compared to men’s tattoos, the patterns on women’s faces are more detailed, with softer lines, emphasizing their gentle and serene beauty. The diversity of patterns reflects the roles and status of women in society and the family.
For Atayal women, facial tattoos are a symbol of identity and a rite of passage into adulthood. When a girl reaches a certain age and becomes proficient in braiding skills, she undergoes the coming-of-age ceremony. Elders use bamboo needles to tattoo her face, signifying her transition from girlhood to womanhood. The tattoo patterns represent family heritage, cultural identity, and personal growth journey.
In contrast, men’s facial tattoos are typically more complex and extensive, covering the forehead, temples, nose bridge, and chin. These tattoos consist of a series of continuous lines and geometric patterns, often vertical or diagonal lines with dotted decorations. The designs are relatively straightforward, emphasizing the boldness and determination of the men.
The designs themselves are rather interesting as, upon closer inspection, it’s apparent that the women’s tattoos are far more intricate than those of the men. These designs and whorls could take up to 10 hours to complete, and those that had more duties and responsibilities in the tribe would have the most intricate tattoos, indicating their place within the social hierarchy.
As Taiwan continues to develop as a colonized nation, many Indigenous people have abandoned their traditional lifestyle for one of modernity.
Recently, the number of Indigenous Taiwanese living in urban centers has surpassed the number of Indigenous people living in rural areas for the first time. By a small percentage, most Indigenous people now live in Taiwan’s cities. Taiwan’s Indigenous youth have to make a serious effort to recover their Indigenous identity; they must seek out resources to learn their language and go back to their villages to try to understand their culture, which is not often taught in schools.
Although Indigenous society has been threatened for decades, a number of policies have recently been introduced to protect these integral cultures and provide resources for their survival. This also helps to better preserve and pass down the techniques of tattooing.
