Japanese nobori follows certain conventions, just like European armory, even as those conventions are not necessarily the same as European armory. Many of these conventions can be described using European terms: field, charge, etc.
Charges
Star-based Mon
Many Japanese charges, such as flowers and ordinaries, can be described using the same terms as their European counterparts. However, other charges, such as tomoe, must be described using Japanese terms or translations of the Japanese terms.
One such charge is the star-based mon, a roundel surrounded by several roundels of the same size or smaller. In O-Umajirushi, translated by Xavid “Kihō” Pretzer, Kihō explains many mon refer to legendary/historic events. In the case of the star-based mon, the mon refers to a victory that occurred after the Chiba prayed to Myōken Bosatsu, a Bodhisattva (spirit of enlightenment) associated with the Big Dipper constellation, and received a vision (Pretzer, p. xxviii). The mon symbolized the moon (either a roundel or, less commonly crescent) surrounded by several smaller roundels representing stars.
In a short review of Daibukan, a book on heraldry in Japan by Hiroshi Hashimoto, shows star-based mon with number of circles varying between 3 and 10 (a 3-star mon looks like a triangle), with most star-based mon containing odd number of roundels. The following star-based mon can be found before 1600 (Solveig confirmed the dates on these pages:
- Page 9, row 1 has a nine-star mon.
- Page 10, row 1 has a nine-star mon. Row 2 has 3 nine-star mon.
- Page 12, row 6 has a nine-star mon.
- Page 17, row 3 has a nine-star mon and an eight-petal plum blossom mon (the central roundel is smaller than the outer roundels).
- Page 22, row 3 has 2 nine-star mon. Row 4 has a nine-star mon. Row 5 has a three-star mon.
- Page 23, row 1 has a three-star mon. Row 4 has 2 ten-star mon. Row 5 has a nine-star mon.
- Page 24, row 1 has a nine-star mon and an eight-star mon. Row 2 has a seven-star mon. Row 4 has a nine-star mon made of three-swirl tomoe (and looking at the charge next to it, making charges of tomoe is not restricted to star mon). Row 5 has a three-star mon and a nine-star mon.
- Page 39, row 2 has an eight star-mon.
- Page 47, row 4 has a ten-star mon . Row 6 has a ten-star mon.
- Page 61, row 3 has a nine-star mon . Row 6 has a nine-star mon.
- Page 62, row 6 has a nine-star mon.
- Page 64, row 1 has a seven-star mon.
- Page 100, row 1 has a six-petal plum blossom mon. Row 2 has two nine-star mon. Row 4 has a nine-star mon in combination with a square perforated diamond mon. Row 6 has a nine-star mon in combination with another mon (I believe is one of the leaf mon).
- Page 101, row 1 has three nine-star mon. Row 2 has another star mon that is not visible enough to count all the roundels. Row 3 has a six-petal plum blossom mon. Row 6 has a six-petal plum blossom mon and nine-star mon
- Page 102, row 1 has a six-petal plum blossom mon. Row 3 has a has a seven-star mon. Row 4 has a nine-star mon. Row 5 has sever-star mon and a nine-star mon. Row 6 has a ten-star mon and a nine-star mon.
- Page 103, row 1 has a three-star mon and a six-petal plum blossam mon. Row 2 has a nine-star mon.
- Page 106, row 1 has a three-star mon made of flowers. Row 2 has a nine-star mon. Row 4 has a six-star mon.
- Page 107, row 2 has a nine-star mon.
Clearly, while I can’t read Japanese, not all of these individuals are related.
In O-Umajirushi, translated by Xavid “Kihō” Pretzer, the following Star-based mon are shown (quotations are Kihō’s descriptions):
- Ota no Izumo-no-kami (1590-1674). Volume 4, Figure 21. “This nobori features horizontal stripes and a horizontal division to a black field with a white mon on it. The mon is a nine stars design with each star replaced by swirl of three tomoe. (right-facing tomoe)
- Toda no Samon, referring to Toda Kazuaki (1541-1602) or possibly Toda Ujikane (1576-1655). Volume 4, Figure 17. “A white nine stars motif on red, white a red maneki. ‘Shoshō Shōki Zu Byōbu’ “ (written on back of the nobori).
- Hosokawa Higo-no-kami (1619-1649) Volume 4, Figure 14. This nobori features a black nine stars mon on a white background with stitching.
- Hosokawa Higo-no-kami (1619-1649) Volume 4, Figure 14a. ban-sashimono: fan of three blades each with a white nine stars mon.
- Matsura Hizen-no-kami (1591-1637). Volume 3, Figure 8d. ban-sashimoto. White three stars mon on red field.
- Kuki Nagato-no-kami (1573-1632). Volume 2, Figure 21c. ban-sashimono. Gold seven stars mon on a black field
- Kuki Nagato-no-kami (1573-1632). Volume 2, Figure 21. This banner features a horizontal division between red and black and a seven stars motif in white.
- Matsudaira Shikibu-no-kami (1605-1665). Volume 2, Figure 15c. White nine stars mon on a red field.
- Matsudaira Shikibu-no-kami (1605-1665). Volume 2, Figure 15. “The nobori uses the common ‘nine stars’ motif”.
- Matsudaira Yamashiro-no-kami (1597-1659). Volume 2, Figure 4d. “This arrangement nine stars, with one larger one in the midle, is more common than the nine stars grid […] In fact, it is one of the earliest motifs found in mon, dating back at least to 1160. In addition to number, the stars motif is distinguished from the visually similar “plum bowl” motif by having the central circle larger than the ones around it.
- Matsudaira Oki-no-kami, referring to Matsudarioa Sadakatsu (1560-1624) or Matsudaira Sadayuki (1587-1668). Volume 2, Figure 3b. ban-sashimono. White six stars mon on a black field.
There is also a mon called a plum bowl that is a smaller circle surrounded by five larger circles. Sometimes these circles are connected with a line and sometimes they are not.
- Maeda Yamato-no-kami (1594-1637). Volume 6, Figure 3. “A variation of the plum bowl motif that shows black connection lines…This is an example of a mon used in a three-colored design”.
- Matsudaira Oki-no-kami, referring to Matsudarioa Sadakatsu (1560-1624) or Matsudaira Sadayuki (1587-1668). Volume 2, Figure 3. “A diagonal band with a pattern of ircles,. While similar to the stars motif (also made of circles around a central circle), this particular pattern, with the smaller middle circle, is a simple version of the ‘plum bowl’ motif. It comes from a simplified five-petaled plum blossom. The plum blossom is a common subject of Japanese poetry. It is associated with Tenjin (the deified Sugawara no Michizane), god of poetry, calligraphy, and scholarship.
There are two significant differences between these two mon.
- Plum bowl mon are always six circles – five outer circles and one inner circle – symbolizing the five petals of a plum blossom. Star-based mon can vary from three to ten circles.
- The central circle of the plum bowl mon is always smaller than the outer circles while the central circle of the Star-based mon is the same size or larger than the outer circles.
The Star-based mon and plum bowl mon are clearly single charges, even though they appear to be multiple charges in European heraldry. These charges resemble sparks or ermine spots more than roundels in an arrangement. Examples of nobori with more than one Star-based mon appear in O-umarjirushi.
- Itŏ Shūri-no-suke (1512-1585). Volume 5, Figure 32. “A nine stars mon. White on black.” This nobori has three nine stars mon.
- Togawa Higo-no-kami (1567-1627). Volume 5, Figure 2. “A six stars mon.” [ed – white on black] This nobori has three six stars mon.
In treatment, these charges should receive the same treatment given to European charges such as the spark, the ermine spot, or a cross of Jerusalem, in which a charge with multiple noncontinguous parts are still treated as a single unit.
Fess/Stripe/Band
Japanese armory also used charges that resembled some European armory, particularly the fess. However, the Japanese fess had two characteristics that were very different from its European counterpart. The first difference is the thickness of the fess/stripe. The thickness of the fess/stripe could vary significantly, even when a single stripe was used. The thickness of the stripe varies from approximately 1/10th the size of the nobori to 1/3 rd of the nobori. The second difference, and perhaps the most striking, The fess/stripe was not expected to be in the center of the armorial display. The fess/stripe can be located in chief, in the center, or in base. However, the thickest stripes, 1/3rd of the nobori, tend to be in the center of the nobori. (See Appendix A.)
Most Japanese nobori feature a single type of mon on the field. However, there are several examples of nobori with mon above one or more stripes on the field.
- Shimazu Uma-no-kami (1550-1610). Volume 5, Figure 28. “A white nobori with a cross mon and two horizontal stripes.” This nobori has stripes on the bottom of the nobori with a charge on the top of the nobori.
- Matsura Hizen-no-kami (1591-1637). Volume 3, Figure 8. “This nobori features a three stars mon and two horizontal stripes.” This nobori has a X-stars mon that uses a number of stars other than the typical 9. This nobori has stripes on the bottom of the nobori with a charge on the top of the nobori.
- Matsudaira Iwami-no-kami, refers to Matsudaira Yasuyasu (1555-1623) or Matsudaira Teruzumi (1604-1662). Volume 3, Figure 15. “This nobori has red disc on white and a black horizontal band.” This horizontal band is around 1/4 of the nobori. The band is in the center of the nobori. This nobori has a stripe and another mon.
- Nanbu Shinano-no-kami (1576-1632). Volume 2, Figure 9. “This nobori features a crane and two horizontal stripes.” This nobori has stripes on the bottom of the nobori with a charge on the top of the nobori.
- Matsudaira Tosa-no-kami (1592-1664). Volume 1, Figure 27. “This mon shows three oak leaves in a ring enclosure. […] It’s unusual that the space within the enclosure is the same color as the circle and the leaves, rather than contrasting with them, leaving the black outline alone to distinguish them.” [ed – black field, white stripe, oak leaf mon] This nobori has a charge in the top third over the stripe. The stripe is nearly 1/3 of the nobori.
- Honda Mino-no-kami (1575-1631). Volume 1, Figure 16. “This banner uses the character ____ (hon, meaning ‘root’), the first kanji in the Honda name (and also the second character in the Nihon/Nippon, the name of Japan). It also features a large black horizontal band”. [ed – the field is white] This nobori has a charge above a thick stripe.
- Matsudaira Iwami-no-kami, refers to Matsudaira Yasuyasu (1555-1623) or Matsudaira Teruzumi (1604-1662). Volume 3, Figure 15. “This nobori has a red disc on white and a black horizontal band.” This horizontal band is around 1/4 of the nobori. The band is in the center of the nobori. This nobori has a band and another mon.
- Kuroda Mankichi (1546-1604). Volume 3, Figure 3. “This nobori has a mon of wisteria branches in the shape of a tomoe above a white horizontal band.” [ed – the field is black]
Appendix A
Japanese armory uses stripes/bands in much more diverse ways than European armory. As shown below, the stripes/bands vary greatly in thickness and in location on the nobori.
Center bands
- Sanada Izu-no-kami (1566-1658), Volume 6, Figure 34a. “This white nobori has a red horizontal band.” This horizontal band is nearly 1/3 of the size of the nobori.
- Matsudaira Yamato-no-kami (1604-1648). Volume 6, Figure 2. “A black nobori with a white horizontal band”. The band is nearly 1/3 of the nobori.
- Honda Ise-no-kami (1600-1645). Volume 6, Figure 1. “This red nobori features a black horizontal band”. The band is nearly 1/3 of the nobori.
- Matsudaira Nagato-no-kami (1595-1651).Volume 5, Figure 21. “A red nobori with a white horizontal band”. The band is nearly 1/3 of the nobori.
- Shinjō Echizen-no-kami referring to Shinjō Naosada (1562-1618) or his son Shinjō Naoyoshi (1599-1662). Volume 5, Figure 18. “Two white diagonal stripes on black.” The two stripes are thin and nearly centered.
- Matsudaira Emon-no-suke (1602-1654). Volume 5, Figure 15. “A black nobori with a white horizontal band.” The band is nearly 1/3 of the nobori.
- Kurushima Dewa-no-kami (1561-1597). Volume 5, Figure 9. “A black horizontal band on a white nobori.” This stripe is nearly 1/4 of the nobori.
- Hotitsuyanagi Kenmotsu. (1564-1636). Volume 5, Figure 3b. “A black horizontal band on white.” This band is about 1/4 of the nobori.
- Abe no Bitchū-no-kami (1569-1647). Volume 4, Figure 16b. “A double banner each black with a white horizontal band.” The bands are thick, about 1/6 to 1/4 of the nobori.
- Bizen no Saishō (1572-1655). Volume 4, Figure 7. “A black nobori with a white horizontal band with stitching.” The band is thick – about 1/3 of the nobori.
- Matsudaira Wakasa-no-kami (1600-1682). Volume 3, Figure 16e. “The same black character on white disc mon, this time on a red field.” [ed – the field is black with a red stripe. On the red stripe is the white disc with black characters.]
- Kuwayama Kaga-no-kami (1604-1629). Volume 3, Figure 9. “A black nobori with a white horizontal band.” The band is thick, approximately 1/3 of the nobori.
- Kuroda Mankichi (1546-1604). Volume 3, Figure 3b. guard identifying object. “Two horizontal stripes” [ed – the field is red and stripes are black] Stripes are thin and centered on nobori.
- Naitō Sama (1568-1634).Volume 2, Figure 18. “This nobori features a black horizontal band on white”. The stripe is thick – about 1/4 of the nobori.
- Matsudaira Yamashiro-no-kami (1597-1659). Volume 2, Figure 4. “A black nobori with two white horizontal stripes.” These two stripes are thin and in the center of the nobori.
- Okudaira Daizen (1577-1614) Volume 1, Figure 14. “This nobori features a large red horizontal band on a white banner; the small accompanying maneki features several white horizontal stripes on red.”
Chief bands
- Matsukura Bungo no-kami ( -1630) Volume 6. Figure 30. “A nobori with a three colored design, a horiztonal division between black and red and white horizontal stripe”. This horizontal stripe is thin and in the upper third of the nobori.
- Arima Saemon-no-suke (1586-1641). Volume 5, Figure 34. “This black nobori features two white horizontal stripes.” Both stripes are thin and in the upper third of the nobori.
- Katō Dewa-no-Kami (1611-1677). Volume 5, Figure 11. “Two white horizontal stripes on black.” Both stripes are thin and in the upper 1/3 of the nobori.
- Kurushima Dewa-no-kami (1561-1597). Volume 5, Figure 9b. ban-sashimono. “Two white horizontal stripes on black.” These stripes are thin.
- Hotitsuyanagi Kenmotsu. (1564-1636). Volume 5, Figure 3. “Two black horizontal stripes on white and a horizontal division to black”. The two stripes are thin.
- Sō no Tsushima-no-kami (1604-1657). Volume 4, Figure 23. “A red nobori with two horizontal stripes and a white maneki.” The two stripes are thin.
- Asano Aki-no-kami (1617-1693). Volume 4, Figure 10. “Two horizontal stripes and a dashi of a tuft of feathers.” The two stripes are thin.
- Sanada Kawachi-no-kami (1595-1635). Volume 1, Figure 22. “A white nobori with a thick red horizontal band”. The band is a thick band, nearly 1/3 of the nobori, in the center.
Base bands
- Shimazu Uma-no-kami (1550-1610). Volume 5, Figure 28. “A white nobori with a cross mon and two horizontal stripes”. This nobori has two thin stripes on the bottom of the nobori with a charge on the top of the nobori.
- Katagiri Izumo-no-kami (1601-1638). Volume 5, Figure 7. “A white nobori with an intresting black shape that combines a horizontal stripe and a diagonal division.” The stripe is thin.
Non-Horizontal Lines
- Matsudaira Echigo-no-kami (1615-1707). Volume 2, Figure 2c. “A gold diagonal stripe on a red field.” The stripe is thin and goes from upper right corner to bottom left corner.
- Sakai Uta-no-kami (1572-1636). Volume 1, Figure 24c. “This banner has an unusual design of two vertical jagged lines.” [ed - field is black and stripes are gold]
- Niwa no Sakyō (1621-1701). Volume 5, Figure 10. “This standard uses a bold red X shape on white.” The X is thin lines but not throughout.
- Akita Kawachi-no-kami (1598-1649). Volume 6, Figure 9. “A white nobori with two vertical way lines”. [ed. Vertical wavy lines are black] The wavy lines are thin.
- Matsushita Iwami-no-kami (1579-1627). Volume 6, Figure 12. “A gold X shape on black”. The X is very thin and spans from corner to corner of the nobori.
- Kinoshita Kunai (1573-1637). Volume 6, Figure 24. “This black nobori features a jagged line.” The jagged line is thin.
Bibliography
Hiroshi Haishimoto. Daibukan, Volume I, Tokyo: Meicho Kanōkai, 1965.
Pretzer, Xavid “Kihō”. O-umajirushi: A 17th-Century Compendium of Samurai Heraldry. Cambridge, MA: Academy of the Four Directions. 2015.