In ancient Egypt, body markings and tattoos were exclusively associated with slaves and prisoners. Yet, in many cultures, the body itself is regarded as a decorative medium, with the patterns and techniques employed constituting a distinct art form.
Permanent body markings are often used to signify membership in a particular social group. Such markings typically involve stimulating the skin and injecting ink beneath the surface; some methods intentionally impede wound healing to promote scar formation. Non-permanent designs are commonly painted onto the body, often for temporary roles in activities such as religious rituals. A prime example is Leni Riefenstahl's photographs of the facial paintings of the Dabbe tribe during Nuba ceremonies in Sudan in the 1960s and 70s.
As an art form, tattooing can be traced back to the 5th century BCE. In the Pazyryk burials located in the border regions of Russia, Mongolia, and Kazakhstan, well-preserved remains of a tribal chief with tattoos were found sealed in permafrost. From the discernible sections, his tattoos depict images of fish and other animals, alongside curved plant motifs. In 17th-century Japan, tattoo art absorbed the essence of painting, and highly skilled tattoo masters were deeply respected. They utilized needles affixed to bamboo sticks and a palette of colors to create intricate chiaroscuro effects and exquisite lines and color blocks. The influence of Japanese tattoo aesthetics was seen when Issey Miyake designed a clothing item in the 1990s, integrating patterns from Western popular culture with traditional Japanese tattoo artistry.
While much of Japanese tattoo art is largely related to individual artistic taste, for the Māori of New Zealand, tattoos symbolize social status and tribal affiliation. Their intricate, swirling facial designs bear a close resemblance to traditional patterns found in wood carving. However, their creation processes share certain similarities: Māori also utilize sharp tools to incise linear wounds onto the skin, subsequently applying pigments to the incisions.
Since the 1960s, with the widespread adoption of body painting, the human body has become a highly politicized artistic medium. Hannah Wilke, in her "SOS — Starification Object Series" (1974–1979), photographed her own body, adorned with chewed gum molded into unique shapes and affixed to her skin. In 2001, she created the video Skin Like Snow, exploring the theme of skin color, featuring the naked body of South African artist Berni Searle, covered extensively with flour to render it white. In the 1990s, French performance artist Orlan profoundly connected art and the body. Through a series of selective surgical procedures, she transformed her own appearance to embody characteristics found in famous artworks, such as the forehead of the Mona Lisa.
