当人们试图了解刺青这门技艺的时候如果只是从刺青本身入手，而不结合艺术史以及各个民族本身的历史，似乎总会显得略有一些不知所措。因为当我们的了解逐渐深入便会发现，无论是作为边缘文化抑或是某些民族的主流风俗，即便是在相同文明的不同历史时期中，刺青也会有好几副不同的面具。它或者随着文明演进的脚步时而迈入主流视野，时而在黑暗中跳舞，但却一直都在，从未离开。
刺青的本质离不开书画，若是从这个视角出发，我们是否有必要追溯一下绘画与文字产生的初衷？而又是什么让分散在世界各地的早期人类在通讯尚不发达的时代不约而同地发展出了这种刺破皮肤将色彩注入其中留下痕迹的技艺？无论刺青在现代人眼中有多少种衍生含义，但从源头追述，装饰身体似乎只是这门技艺其中一个喜闻乐见的附加产物。
目前您看到的这些文字应该算是一个短小的开篇。笔者将会在这里不定期分享一些自己的研究进程，如果您对这个话题感兴趣欢迎注册本网站并且留言互动。
When people try to understand tattooing, they might get a bit confused if they did not combine art history and the general history of different cultures when they were doing research. Because as we get more in-depth, we will start to aware of the various roles that tattooing had played in history, whether as a scary subculture or the mainstream custom of some ethnic societies.
If we say that tattooing is painting and writing on the skin, a particular media apart from paper. Would you start to realize the importance of questioning the initial drive of drawing and writing? What made our ancestors scattered around the world to develop the craft of injecting colour into punctured skin? Either it is about identification or memorization, it seems that body decoration has always been a pleasant side effect of tattooing, no matter how many different understandings that tattooing has been attached in modern civilization.
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Image by: Parkinson, Sydney, 1745-1771; Chambers, Thomas, 1724?-1789
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