Mon (emblem)
Japanese emblems
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A mon reference in 2004 compiles Japan's 241 general categories of mon based on structural resemblance (a single mon may belong to multiple categories), with 5,116 distinct individual mon.
It is well acknowledged that there are a number of lost or obscure mon. Among mon, the mon officially used by the family is called jōmon (定紋). Over time, new mon have been created, such as kaemon (替紋), which is secondary or unofficial mon, and onnamon (女紋), which is created for a woman after marriage by modifying part of her original family mon, so that by 2023 there will be a total of 20,000 to 25,000 mon.
The devices are similar to the badges and coats of arms in European heraldic tradition, which likewise are used to identify individuals and families. Mon are often referred to as crests in Western literature, the crest being a European heraldic device similar to the mon in most functions. Japanese mon influenced Louis Vuitton's monogram designs through Japonisme in Europe in the late 1800s.
History
The concept of Mon, when defined as "stylized symbol", has a long history, possibly nearly comparable to the history of logograms. One of the oldest known examples is inscribed on a bronze ritual vessel from the Shang dynasty (c. 1600-1046 BCE). Early examples in refined form are Golden Sun Bird from c. 1200-1050 BCE, and Dharmachakra used by Emperor Ashoka around 270-230 BCE. The character 紋 (Chinese: 紋) in the Chinese language means 'design' (in two dimensions), 'pattern' or 'marking'; and the use of the character to mean "stylized symbol" is unique to Japan (and Korea).
Popular use of Mon originated in Japan as kamon (family Mon, or "mon of the house") in the mid-Heian period (c. 900–1000) as a way to identify families and pedigree among the nobility. They had a clear social rank order within the class, and when gissha (牛車, bullock cart) (which was the normal means of transportation for the noble) passed each other on the road, the one with the lower status had to give way. So the mon was indicated on the gissha as the practical status symbol. The Heiji Monogatari Emaki, an emakimono (絵巻物, picture scroll) depicting the Heiji rebellion (January–February 1160), shows kamon painted on gissha:
The nobility began to use mon on their own wardrobe, and the Samurai class that emerged in the late Heian period and came to power in the Kamakura period (1185–1333) followed suit. By the 12th century, sources give a clear indication that heraldry had been implemented as a distinguishing device, especially for use in battle. It is seen on flags, tents, and equipment. On the battlefield, mon served as army standards, even though this usage was not universal and uniquely designed army standards were just as common as mon-based standards (cf. sashimono, uma-jirushi). When heraldry is meant to describe the system of armorial bearings, Mon thus predate heraldry in the country by at least 100-150 years.
Gradually, mon spread to the lower classes, and in the Muromachi period (1336–1573), merchants painted emblems on their shop signs, which became mon. In the Edo period (1603–1867), kabuki actors used mon, and the general public was allowed to choose and use their favorite mon. By the Genroku period (1680–1709) in the early Edo period, the use of mon was fully established among the general public. However, the use of the chrysanthemum mon used by the imperial family and the hollyhock mon used by the Tokugawa shogunate was prohibited. Mon were also adapted by various organizations, such as merchant and artisan guilds, temples and shrines, theater troupes, and even criminal gangs. They served as a useful means for recognition, especially among the illiterate.
Japanese traditional formal attire generally displays the kamon of the wearer's family. Commoners without kamon often used those of their patron or the organization they belonged. In cases when none of those were available, they sometimes used one of the few mon which were seen as "vulgar", or invented or adapted whatever mon they wished, passing it on to their descendants. It was not uncommon for shops to adopt/develop mon to identify themselves and their products/services.
Occasionally, patrons granted the use of their kamon to their retainers as a reward. Similar to the granting of the patron's surname, this was considered a very high honor. Alternatively, the patron may have added elements of its mon to that of the retainer and granted the use, or chosen an entirely different mon for them.
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Design
Mon motifs can be broadly classified into five categories: animals, plants, nature, buildings and vehicles, and tools and patterns, each with its own meaning. The most common animal motifs are the crane and the turtle (often depicted as a hexagon representing the turtle shell), which, according to tradition, were symbols of longevity and were used to wish the family a long and prosperous life. Plant mon were symbols of wealth and elegance, so they were often used to wish for the improvement of the family's social status and economic power, and motifs such as wisteria and paulownia were often used. Mon depicting buildings, vehicles, or tools often indicated occupation or status. For example, a mon with a torii gate indicated a family associated with Shintō, a mon with a gissha wheel indicated nobility, and a mon with a nail puller indicated a family associated with construction. The mon of nature was a symbol of respect for nature and prayers for a good harvest, and motifs such as the moon, mountains, and thunder were used.
The most commonly used mon motifs are wisteria, paulownia, hawk feathers, flowering quince, and creeping woodsorrel, which are called the godaimon (五大紋, five major mon). However, according to a dictionary of mon published by Shōgakukan, oak is listed instead of paulownia. There are more than 150 types of wisteria mon, and their use by the Fujiwara clan led to their popularization.
Similar to the blazon in European heraldry, mon are also named by the content of the design, even though there is no set rule for such names. Unlike in European heraldry, however, this "blazon" is not prescriptive —the depiction of a mon does not follow the name— instead, the names only serve to describe the mon. The pictorial depictions of the mon are not formalized, and small variations of what is supposed to be the same mon can sometimes be seen, but the designs are, for the most part, standardized through time and tradition. At the same time, some small differences, such as a bird in the mon is depicted with an open or closed beak, can be significant, making the versions unique.
The degree of variation tolerated differs from mon to mon as well. For example, the paulownia crest with 5-7-5 flowers is reserved for the prime minister, whereas paulownia with fewer flowers could be used by anyone. The imperial chrysanthemum also specifies 16 petals, whereas chrysanthemum with fewer petals are used by other lesser imperial family members.
Japanese heraldry does not have a cadency or quartering system, but it is not uncommon for cadet branches of a family to choose a slightly different mon from the senior branch. Each princely family (shinnōke), for example, uses a modified chrysanthemum crest as their mon. Mon holders may also combine their mon with that of their patron, benefactor or spouse, sometimes creating increasingly complicated designs.
Mon are essentially monochrome; the color does not constitute part of the design, and they may be drawn in any color. Inverting the black and white on the monochrome image is called 地抜き (Jinuki), sometimes making the inverted mon unique, but most mon can be used both ways on dark or light-colored background. When both ways are used, white body on black background (the two kamon in the Mitsubishi example below) is normally called the formal 日向紋 (Hinata Mon), and black body or lines on white background (all the examples in the above Pattern variations) is the less formal 影紋 (Kage Mon). Probably because the application on the normally black formal Haori (called the 紋付 (Montsuki) "with mon") is the main usage.
Mon add and decide formality of a kimono. A kimono may have one, three or five mon, with the formality ranging from the least formal single 'shadow' (影 (kage)) crest (which is more formal than a kimono without a mon) to the most formal five "facing the Sun" (日向 (hinata)) crests. The most formal display is the 日向紋 (Hinata mon) on both sides of the chest, on the back of each sleeve, and in the middle of the back. On the armor of a warrior, it might be found on the 兜 (kabuto) (helmet), on the 胴 (dō) (breast plate), and on flags and various other places such as coffers, tents, fans, and other items of importance.
On kimono, typical applications start with a partial removal (抜き (nuki)) of base color or patterns, then the mon is dyed-on. Other application methods include painting (描き (kaki)) and embroidering (縫い (nui)).
Modern usage
Virtually all modern Japanese families have a mon, but unlike before the Meiji Restoration when rigid social divisions existed, mon play a more specialized role in everyday life. On occasions when the use of a kamon is required, one can try to look up their families in the temple registries of their ancestral hometown or consult one of the many genealogical publications available. Many websites also offer kamon lookup services. Professional wedding planners, undertakers and other "ritual masters" may also offer guidance on finding the proper kamon.
Mon are seen widely in stores and shops engaged in traditional crafts and specialties. They are favored by sushi restaurants, which often incorporate a mon into their logos. Mon designs can be seen on the ceramic roof tiles of older houses, or sometimes on excavated roof tile fragments of ancient castles and temples. Mon designs frequently decorate senbei, sake, tōfu and other packaging for food products to lend them an air of elegance, refinement and tradition. The paulownia mon appears on the obverse side of the 500 yen coin.
Items symbolizing family crafts, arts, or professions were often chosen as a mon; likewise, mon were, and still are, also passed down a lineage of artisans. Geisha typically wear the mon of their Okiya (geisha house) on their clothing when working; individual geisha districts, known as Hanamachi, also have their own distinctive mon, such as the plover crest (Chidori mon) of Ponto-chō in Kyōto.
A woman may still wear her maiden mon if she wishes and pass it on to her daughters; she does not have to adopt her husband's or father's mon. Flowers, trees, plants and birds are also common elements of mon designs.
As in the past, modern mon are not regulated by law, except the imperial chrysanthemum crest, which doubles as the national emblem, and the paulownia, which is the mon of the office of prime minister and also serves as the emblem of the cabinet and government (see national emblems of Japan for further information). Some local governments and associations may use a mon as their logo or trademark, thus enjoying its traditional protection, but otherwise mon are not recognized by law. One of the best-known examples of a mon serving as a corporate logo is that of Mitsubishi, a name meaning 'three lozenges' (occasionally translated as 'three buffalo nuts'), which are represented as rhombuses.
In Western heraldry
Japanese mon are sometimes used as charges or crests in Western heraldry. They are blazoned in traditional heraldic style rather than in the Japanese style. Examples include the swastika with arrows used by Japanese ambassador Hasekura Tsunenaga, the Canadian-granted arms of the Japanese-Canadian politician David Tsubouchi, and Akihito's arms as a Knight of the Garter.