Enlarged with AI from a smaller original
Henna-style hand and finger design
Hand · Black and grey · Photo
A fine, dark brown ornamental design covers the back of a hand, extending from the wrist across the knuckles and onto the fingers. The linework is delicate and symmetrical, with arches, teardrop shapes, dots and hanging chain-like strands, and the design appears to be temporary henna rather than an inked tattoo. The hand rests against a denim-shorted thigh, with blue painted nails, and the pattern is shown in clear, even light.
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A story inspired by this tattoo · fiction
Mary Oyelaran had been painting her sister's hands since the ship left Leith, using a paste of crushed leaf and lemon juice that stained the skin a dark rust-brown. Their grandmother had taught them the pattern in a kitchen with no sea in sight: arches for the doorways they would walk through again, teardrops for the rain, and dots for every stitch the sailmaker had made. Ruth held still and complained about the cold, and Mary kept on drawing.
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The crossing to the spice ports took forty-one days. On the twenty-third, a squall came out of the south and took the foremast, and Ruth was on the lines when it went. Her wrist was caught in a turn of rope. Mary, who had been watching from the galley door, saw the chains of ink running from Ruth's wrist to her fingertips and remembered the old saying her grandmother had always made them repeat: a pattern that is drawn carefully will hold the shape of whatever it is wrapped around.
Ruth's hand came free, bruised but whole. The leaf-ink faded in three weeks, the way it always did, and by the time they sighted land there was nothing left on her skin. The captain, who kept a careful log, later found that Mary had copied the pattern into the margin of the ship's book, one arch and one chain for every day of the voyage. The book is still in the harbour office at Leith, and the marks there have not faded at all.
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