Above the teeming streets of Temple Bar, where even the fire juggler’s torches can’t reach, sits Zulu Tattoo.
Perhaps the premier studio in Dublin, tattoo flash is displayed on the walls giving inspiration to those who need it. Buried deep among the design books on the tables sits a bland, black folder marked “Old School.” Largely ignored, this folder contains the relics of yesteryears, pictures of leprechauns and flags, shamrocks and harps.
Years ago, these traditional Irish symbols enjoyed great popularity across Ireland, but recently their popularity has faded. Instead, Celtic tattoo designs have emerged as a mainstream representation of Irish heritage.
“Tribal designs are popular now,” says Mick, manager of Celestial Ring studio at St. Stephen’s Green, “And I’d classify Celtic as tribal. With the thick lines and definition… they look deadly.”
Temple Bar
This may be true, but it requires a great amount of attention to work a Celtic design. The geometric patterns, which are often stylized knots and braids, require a steady hand and attention to detail. In fact, the intricate overlap and intersection of Celtic designs are their most striking features. Even the ornamental outlines and borders often have mazes and infinite spirals worked into the small spaces.
When Paul Moore, a native of Inchicore, Dublin, walked into Zulu Tattoo looking for a Celtic cross, artist Paul Hayde immediately got the transfer ready. Having tattooed for almost a decade, Paul explained that very few Celtic designs are done freehand.
“You have to be precise,” he says. “Symmetry counts and detail is important.”
Having survived thousands of years in manuscripts and on monuments, perhaps one of the modern appeals of these patterns is their longevity. Still instantly recognizable as Celtic, there has been no stereotype or caricature of the designs.
“I’ve got a Trinity Knot on my shoulder,” says Carl, an artist with Classic Ink in Temple Bar, says of the lone design to grace his bicep, “that’s all. Nothing else needed.”
Mick agrees that the longevity of the designs is key, particularly when considering them for a permanent tattoo. “They’ve been around for thousands of years,” he explains, “They aren’t going anywhere.”
And unlike modern Irish symbols, Celtic designs have no association with contemporary nations.
“I’d actually caution someone against that kind of thing,” Mick admits when asked about leprechauns and flags. “You never know where you’re going to be… things like flags can be controversial.”
It seems that much of Young Ireland agrees. Susan, a thirty-something Cork native, says she would never get an Irish symbol like a shamrock.
“I’d be afraid it would be too nationalistic,” she explains. Her friend Alan, a twenty-something from Navan, feels the same way, adding “I don’t need it to say I’m Irish.”
As opposition to the symbols rose along with modern Ireland, Celtic designs date back thousands of years and draw on several different heritages. With the Romans introduction of Christianity to Ireland in the 3rd century ensuing the Early Christian Period, Celtic crosses emerged.
By the 7th century, monks were using intricate knot-work patterns to illustratemanuscripts like the Book of Durrow, and later the Book of Kells. With the Viking invasion of Ireland 8th century, yet more imagery took root in Ireland. During the Middle Ages, manuscripts of Celtic mythology brought shape-shifting animals, gods, heroes and figures of the Otherworld into the collective Celtic conscience.
Celtic designs seem to strike just the right mix of personal identification and cultural heritage. Tara Martin, an artist at Zulu Tattoo, custom designed a pattern based on a Celtic torc for her neck, explaining “It’s because I’m Irish. I wanted something patriotic, but not ‘in your face.’”
By creating her own design, she was able to achieve just the right balance.
“Everything goes around, everything old will be new again” says Paddy, a pensioner from Drumcondra, Dublin whose arms are covered in Irish symbols. “When I got these I was showing who I was, as an Irishman. Young ones today, they don’t need that. So shamrocks are out. I’m glad to see the Celtic crosses are back in,” he says with a twinkle in his eye, unbuttoning his shirt to show off the beauty on his chest.
From the Book of Kells to the walls of Zulu, Celtic crosses and designs have survived and are once again flourishing. Like Paddy, it seems that many Irish are taking them to heart as a timeless celebration of their heritage.
Does your country have some fascinating tattoo traditions or practices? Let us know!
