Enlarged with AI from a smaller original
Geometric lion head on a calf
Geometric · Calf · Black and grey · Photo
A lion head is drawn in bold black outline, built from angular geometric facets across the mane, brow and muzzle. The eyes and nose are formed by simple triangular shapes, and the lines are solid with no shading inside the panels. The tattoo sits centrally on the lower leg against a plain, softly lit background, shown in greyscale.
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A story inspired by this tattoo · fiction
The boats came back to Skerry Haven that winter with empty nets, and the harbour women counted them twice, the way you count children after a fever. Eleven hulls had gone out past the Gannet Rocks. Nine came home. Each carried a lion at its prow, cut by Tam Rennick, who would not put a curve in wood if a straight cut would serve.
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His lions were all angles. The mane came off in fans of short planks, the brow notched like a roofline, and the muzzle was a single pointed shield with two triangles for eyes. The old men said a curve lets water slide under a boat, but a corner turns the sea aside. Tam had learned that from his father, who had learned it from a broken prow he found on the sand one morning, cut square where the wood had split.
The storm came from the north-east with no warning worth the name. Jessie Rennick, Tam's daughter, climbed to the headland with a lantern and counted the lights below her as the boats came in one at a time. She could not see the faces of the lions in the dark, only the sharp edges of them catching the lamp on the quay. When the ninth boat tied up, she counted again, and the number was still nine.
In spring Tam carved two new lions for the boats that had not come home, cutting the mane as sharp as ever. When Jessie asked why he had gone over the eyes a second time, he said a lion that looks at you from a corner is one the sea cannot get round. So the harbour kept its corners, and the boats kept coming in.
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