Mon (emblem)



Mon (紋), also called monshō (紋章), mondokoro (紋所), and kamon (家紋), are Japanese emblems used to decorate and identify an individual, a family, or (more recently) an institution, municipality or business entity. While is an encompassing term that may refer to any such device,  and  refer specifically to emblems that are used to identify a family. An authoritative reference compiles Japan's 241 general categories of  based on structural resemblance (a single  may belong to multiple categories), with 5,116 distinct individual. However, it is well acknowledged that there are a number of lost or obscure. Among, the officially used by the family is called jōmon (定紋). Over time, new have been created, such as kaemon (替紋), which is unofficially created by an individual, and onnamon (女紋), which is created by a woman after marriage by modifying part of her original family's, so that by 2023 there will be a total of 20,000 to 25,000.

The devices are similar to the badges and coats of arms in European heraldic tradition, which likewise are used to identify individuals and families. are often referred to as crests in Western literature, the crest being a European heraldic device similar to the in function. Japanese influenced Louis Vuitton's monogram designs through Japonisme in Europe in the late 1800s.

History
originated in the mid-Heian period (c. 900–1000) as a way to identify individuals and families among the nobility. They had a pecking order, and when bullock cart (牛車) passed each other on the road, the one with the lower status had to give way, and the was painted on the. The, an picture scroll (絵巻物) depicting the Heiji rebellion, shows painted on. Gradually, the nobility began to use on their own costumes, and the samurai class that emerged in the late Heian period and came to power in the Kamakura period (1185–1333) also began to use. By the 12th century, sources give a clear indication that heraldry had been implemented as a distinguishing feature, especially for use in battle. It is seen on flags, tents, and equipment. On the battlefield, served as army standards, even though this usage was not universal and uniquely designed army standards were just as common as -based standards (cf., ).

Gradually, spread to the lower classes, and in the Muromachi period (1336–1573), merchants painted emblems on their shop signs, which became. In the Edo period (1603–1867), kabuki actors used, and the general public was allowed to choose and use their favorite. By the Genroku period (1680–1709) in the early Edo period, the use of was fully established among the general public. However, the use of the chrysanthemum used by the imperial family and the hollyhock  used by the Tokugawa clan (Tokugawa shogunate) was prohibited. were also adapted by various organizations, such as merchant and artisan guilds, temples and shrines, theater troupes and even criminal gangs. In an illiterate society, they served as useful symbols for recognition.

Japanese traditional formal attire generally displays the of the wearer. Commoners without often used those of their patron or the organization they belonged to. In cases when none of those were available, they sometimes used one of the few which were seen as "vulgar", or invented or adapted whatever  they wished, passing it on to their descendants. It was not uncommon for shops, and therefore shop-owners, to develop to identify themselves.

Occasionally, patron clans granted the use of their to their retainers as a reward. Similar to the granting of the patron's surnames, this was considered a very high honor. Alternatively, the patron clan may have added elements of its to that of its retainer, or chosen an entirely different  for them.

Design
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, which, according to tradition, were symbols of longevity and were used to wish the family a long and prosperous life. Plant 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. depicting buildings, vehicles, or tools often indicated occupation or status. For example, a with a  gate indicated a family associated with Shinto, a  with a  wheel indicated nobility, and a  with a crowbar indicated a family associated with construction. The 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 motifs are wisteria, paulownia, hawk feathers, flowering quince, and creeping woodsorrel, which are called the five major (五大紋). However, according to a dictionary of published by Shogakukan, oak is listed instead of paulownia. There are more than 150 types of wisteria, and their use by the Fujiwara clan led to their popularization.

Similar to the blazon in European heraldry, 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 does not follow the name—instead the names only serve to describe the. The pictorial depictions of the are not formalized and small variations of what is supposed to be the same  can sometimes be seen, but the designs are for the most part standardized through time and tradition.

The degree of variation tolerated differ from to  as well. For example, the paulownia crest with 5-7-5 leaves is reserved for the prime minister, whereas paulownia with fewer leaves 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 from the senior branch. Each princely family, for example, uses a modified chrysanthemum crest as their. holders may also combine their with that of their patron, benefactor or spouse, sometimes creating increasingly complicated designs.

are essentially monochrome; the color does not constitute part of the design and they may be drawn in any color.

Modern usage


Virtually all modern Japanese families have a, but unlike before the Meiji Restoration when rigid social divisions existed, play a more specialized role in everyday life. On occasions when the use of a 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 lookup services. Professional wedding planners, undertakers and other "ritual masters" may also offer guidance on finding the proper.

are seen widely on stores and shops engaged in traditional crafts and specialties. They are favored by sushi restaurants, which often incorporate a into their logos. designs can even be seen on the ceramic roof tiles of older houses. designs frequently decorate, , tofu and other packaging for food products to lend them an air of elegance, refinement and tradition. The paulownia appears on the obverse side of the 500 yen coin.

Items symbolizing family crafts, arts or professions were often chosen as a ; likewise, were, and still are, also passed down a lineage of artists. Geisha typically wear the of their  (geisha house) on their clothing when working; individual geisha districts, known as, also have their own distinctive , such as the plover crest  of Ponto-chō in Kyoto.

A woman may still wear her maiden if she wishes and pass it on to her daughters; she does not have to adopt her husband's or father's. Flowers, trees, plants and birds are also common elements of designs.

also add formality to a kimono. A kimono may have one, three or five. The themselves can be either formal or informal, depending on the formality of the kimono, with formality ranging from the most formal 'full sun'  crests to the least formal 'shadow'  crests. Very formal kimono display more, frequently in a manner that makes them more conspicuous; the most formal kimono display 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 (helmet), on the  (breast plate), and on flags and various other places. also adorned coffers, tents, fans and other items of importance.

As in the past, modern are not regulated by law, with the exception of the Imperial Chrysanthemum, 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 seals of Japan for further information). Some local governments and associations may use a as their logo or trademark, thus enjoying its traditional protection, but otherwise  are not recognized by law. One of the best known examples of a 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. Another example of corporate use is the logo for the famous soy sauce maker Kikkoman, which uses the family of the founder, and finally, the logo of music instrument/equipment and motorcycle builder Yamaha, which shows three tuning forks interlocked into the shape of a capital 'Y' in reference to both their name and the origin of the company.

In Western heraldry
Japanese 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.